A Terry Gilliam exercise in excess, as dense, as heavy, as torpifying as a Christmas fruitcake. (Or as Brazil, The Adventures of Baron Munchausen, The Brothers Grimm.) The muffled narrative, revolving around an immortal travelling showman, his magic-mirror portal to the realm of imagination, and his deal with the Devil, gets overpowered by the relentless production: the desolate stark smoky post-apocalyptic real world and the digitalized escape-scapes, a bit of Oz, a bit of Wonderland, a bit of Middle-Earth, a bit of Maxfield Parrish crossed with Salvador Dali. Just to make the weird weirder, all of it's apt to be shot in bulbous wide angles. Released nearly two years after his death in mid-shoot, this constitutes Heath Ledger's final screen appearance, a supporting role (given deceitful top billing) resourcefully completed by a tag team of Johnny Depp, Jude Law, and Colin Farrell, each of whom, uniformly dressed and groomed, appears more engaged in the role. In the last analysis it deposits a spot of tarnish, a smudge of dullness, on the Ledger legend. Christopher Plummer, Andrew Garfield, Lily Cole, Tom Waits. (2009) — Duncan Shepherd
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