The film’s Victorian opening perhaps suffers from feeling a little too artificial not enough of a contrast to the titular four realms in which Clara soon finds herself, but ultimately – and given the film’s young target audience – is not a great disappointment. Some of the imagery – Mother Ginger’s giant mechanical tent, and the animated hordes of mice – are particularly well composed and staged. While there is a heavy use of computer-generated effects, there is also a larger-than-typical proportion of physical sets and props. To its credit the film has a beautiful sense of design, based a strong sense of colour and a charming 19th century aesthetic. Hoffman’s short story and Tchaikovsky and Petipa’s famous ballet to create a story that is both a sequel to both works and a relatively contained children’s narrative all of its own. Produced by Walt Disney Studios it failed to attract audiences and critics and wound up losing the studio almost US$70 million, which is a deep shame for a high budget Disney production that was not a superhero film, Star Wars sequel, or cartoon adaptation.
The Nutcracker and the Four Realms is a 2018 fantasy film directed by Lasse Hallström and Joe Johnston, with the latter overseeing reshoots when the former was unavailable. The hunt for the key takes her on an unexpected journey to a world of snow, sweets, and flowers, as well as a struggle to save that world from the elusive and threatening Mother Ginger (Helen Mirren).
On the Christmas after her mother has died, Clara (Mackenzie Foy) receives one final gift: a locked egg-shaped box.
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