A scene from British sci-fi comedy TIME TRAVEL IS DANGEROUS. Courtesy of Level 33 Entertainment
TIME TRAVEL IS DANGEROUS is a droll British sci-fi comedy is low budget, low key and low delivery, under-serving a high concept. Writer/director Chris Reading started with an amusing twist on the time-travel milieu. Two rather dim-witted women (Ruth Syratt and Megan Stevenson) who own a dowdy resale shop stumble across a small vehicle that was dumped in an alley by its disenchanted inventors, who never quite mastered its time-hopping capabilities. The ladies use it to snatch clothes and minor objects from earlier eras to upgrade the inventory of their failing business, filling the humble rented space to the rafters with relics of affordable consumer value. No heists. No cash grabs. Just stuff that wouldn’t be missed much by its owners.
The haul includes videotapes of a public-access version of Mr. Wizard starring two guys (Johnny Vegas and Kiell Smith-Bynoe) who happen to have been the machine’s inventors. They are now part of a club of eccentric wannabe inventors with what could have been a charming cast of oddballs. The right cast was in place, but without the right writing to let them shine.
Although the bones were there for a delightful romp, the script failed to deliver the goods. Some of the best-known actors – Stephen Fry, Brian Blessed, Jane Horrocks – were underutilized. What we end up with could have been called BILLIE AND TEDDIE’S EXCELLENT ADVENTURE, if the temporal sojourners weren’t named Ruth and Megan. Their visits to earlier times, ranging from the age of dinosaurs to recent decades, are among the film’s best moments. But they were too small a percentage of the running time. One long sequence in a sort of time-warp limbo was intriguing – as if an ALICE IN WONDERLAND style of encounter had been written and directed by Terry Gilliam.
Budget limitations are obvious, and perhaps should be used to cut this production more slack. Time-travel shows are inherently fraught with logical issues, even when played for laughs. This one avoided some of the usual traps, but became more annoying than engaging as events unfolded. Too much petty quibbling among, and bad decisions by, the principals for entertainment value.
TIME TRAVEL IS DANGEROUS opens in select theaters and on-demand on Friday, Nov. 21, 2025.
(L-R) Stephen Fry, Lena Dunham, and Stefan Zbigniew Zamachowski in TREASURE. Photo Credit: Bleecker Street and FilmNation
Lena Dunham and Stephen Fry play a daughter and her Holocaust-survivor father, on a trip to his native Poland in the 1990s, in the dramedy TREASURE. The trip is the daughter’s idea, and her plan is to learn about her family history, something her father and late mother always refused to talk about. Angry and frustrated at her parents’ refusal to share anything about their past, she plans to visit sites related to dad’s family and life to learn about the family she knows nothing about. Her father has steadfastly refused to talk about it, and with the death of her mother, she figured going to their home country of Poland was the only way. Unsurprisingly, revisiting Poland is not something dad wanted to do but he goes along, pretty much uninvited, to “protect her,” as he puts it. What he is protecting her from is a little unclear.
This pair couldn’t be more different in temperament, and have a prickly relationship. The daughter, Ruth (Lena Dunham), is grim, humorless, and no-nonsense, a New York-based music journalist, a vegan with rigid habits, who doesn’t seem to enjoy travel and worries about her tight budget. Dad Edek (Stephen Fry) is a joyful, outgoing fellow, who stops to flirt with most women he meets along the way and tells everyone they meet that his daughter is rich and famous, although she is neither. He refuses to be serious, at least on the surface, and Dad does his best to distract his daughter, to delay things, waste time, and send her on the wrong track, even trick her, to keep her from her mission. He is sometimes helped by a local taxi driver (Stefan Zbigniew Zamachowski) that the pair have picked up at the airport and turned into a kind of tour guide, after dad refuses to board the train his daughter had booked for the trip.
Julia von Heinz wrote and directs this dramedy about family, memory and Poland in WWII and in post-communist 1990s. The story is emotional, and often funny. At first, the situation seems a bit forced, contrived and awkward, but as the story unfolds, the film improves and becomes more believable. Fry and Dunham soften and deepen their characters, and both father and daughter work through some issues. Zamachowski as the driver provides a mediator between battling father and daughter, and adds his own comedy touches or serves as a comic foil, while supplying information about the post-communist Poland as they travel.
Ruth is there to investigate her family’s history, not to have fun, so she goes about his trip like a woman on a mission, or working an assignment. But her trip does include some educational tours, mostly because she has so few clues from her parents, both to learn about Poland and the Holocaust. The film does note how odd it is to have such tours of sites like Auschwitz. As admirable as it is to educate people, with the aim of “never again,” it is still seems strange and unsettling to have them as tourist sites. However, Ruth is mostly there to learn about her family. She has done some research and also visits places like a family cemetery and a one-time family home. But the closer she gets to the family sites, the more smiling, fast-talking dad seems desperate to derail her search.
Both Dunham and Fry are good, with Fry especially charming and funny. Early one, some odd-couple humor feels forced, but as things go along, the film improves as Fry’s and Dunham’s characters become more relaxed. Fry’s Edek is quite a plotter but slowly becomes less a hindrance, even revealing why he has been so secretive all these years. The film touches on true-history subjects, such as giving insight on how neighbors turned on their Jewish friends and neighbors, exploiting the Nazi occupation for their own advantage. Eventually the meaning of the title is revealed, in a twist that brings father and daughter together at last.
TREASURE debuts streaming on demand on Tuesday, July 30.
Taylor Zakhar Perez as Alex Claremont-Diaz and Nicholas Galitzine as Prince Henry, in RED, WHITE & ROYAL BLUE. Courtesy of Amazon Prime
It’s still summer, so it’s still time for light, puffy comedies while the temps are warm. RED, WHITE & ROYAL BLUE is a beach-read of a comedy, a frothy confection in which a young American meets a young British prince. Except this American is not someone ordinary but the son of the President – a woman President no less. But the president’s son and the royal develop an immediate mutual dislike, but despite their dislike, they are forced to pretend to be friends for diplomatic reasons. You know where this goes but what looks at first like a bromance quickly shifts into gay rom-com. RED, WHITE & ROYAL BLUE is a modern fantasy packed with rom-com tropes, plenty of silliness, plus a touch of Jane Austen and Harry and Meghan flavor. And it all starts with a disaster involving a giant cake.
Based on the novel by Casey McQuiston, first-time director Matthew Lopez sets out to create a escapist fantasy geared to please fans of the book. This rom-com may be the feature film directing debut for Matthew Lopez, who also co-wrote the script with Ted Malawer, but Lopez is a Tony Award-winning playwright, winning for “The Inheritance.”
Alex Claremont-Diaz (Taylor Zakhar Perez) is sent by his mother, President Claremont (Uma Thurman, sporting an odd Southern accent), along with Nora (Rachel Hilson), the granddaughter of the vice president, to represent the U.S. at a royal wedding of Britain’s Prince Phillip (Thomas Flynn), the heir to his grandfather’s throne. The media likes to compare the President’s handsome son Alex to Phillip’s younger brother Prince Henry (Nicholas Galitzine), which irritates Alex no end. Entering the wedding reception already miffed by a a perceived snub, Alex has a bit too much to drink and there is an altercation next to the enormous wedding cake, with disastrous results. Back home, the President, Alex’s mom, orders her son back to Britain to pretend to be buddies with Henry, a plan cooked up with British contacts to smooth the diplomatic and PR water prior to an important economic summit.
You know where this goes, but that predictability is part of what rom-com fans like and this one delivers on that with karaoke, parties and other familiar tropes. This is a decidedly modern rom-com too, including a clever representation of texting and some nice banter. The movie uses a lot of familiar names from the actual British royal family but the family structure is significantly rearranged.
The two leads are handsome and appealing, with Nicholas Galitzine adding a “shy Di” touch to his blonde prince. While Prince Henry is gay, Alex is less sure of his sexual orientation, and explores some of that as part of the plot, although there is nothing really heavy here. A few bedroom scenes earned the film an R rating.
Clifton Collins Jr. gives a nice, and too brief, turn as Alex’s Hispanic dad. Stephen Fry gives us a fine turn as the King. Rachel Hilson brings a lot of charm and humor as Alex’s lively best friend Nora, while Sarah Shahi brings a breathless hysteria as the President’s assistant, often tasked with keeping wild Alex in line.
There is not much reality in this fantasy romance, including that re-imagined royal family. Alex moves freely without Secret Service and Henry is able to go unrecognized in a Texas bar, just by wearing a baseball cap. Except for Alex’s one pal who is a member of the press, reporters and paparazzi are remarkably absent.
At about 2 hours, RED, WHITE & ROYAL BLUE feels like it runs a bit too long, and sags a bit in its later third. For rom-com fans and particularly fans of the book, this movie should satisfy but for the rest of us, this light late-summer romantic fantasy is pretty light on interest too.
RED, WHITE & ROYAL BLUE opens Friday, Aug. 11, on Prime Video.
Be one of the first to see Amazon Studios’ latest film, RED, WHITE & ROYAL BLUE.
Click the link below for your chance to attend the advance screening on Wednesday, August 9th, 7pm, at the Alamo Drafthouse St. Louis in the City Foundry.
Based on the New York Times best seller, the film will premiere globally on August 11, exclusively on Prime Video.
These seats are first-come first-served, so we encourage guests to arrive early. Everyone that attends will go home with a special gift.
Alex Claremont-Diaz (Taylor Zakhar Perez), the son of the first woman President of the United States (Uma Thurman), and Britain’s Prince Henry (Nicholas Galitzine) have a lot in common: stunning good looks, undeniable charisma, international popularity… and a total disdain for each other. Separated by an ocean, their long-running feud hasn’t really been an issue, until a disastrous – and very public – altercation at a royal event becomes tabloid fodder driving a potential wedge in U.S./British relations at the worst possible time. Going into damage control mode, their powerful families and respective handlers force the two rivals into a staged “truce.” But as Alex and Henry’s icy relationship unexpectedly begins to thaw into a tentative friendship, the friction that existed between them sparks something deeper than they ever expected.
Based on Casey McQuiston’s critically acclaimed New York Times bestseller, Red, White & Royal Blue marks the feature film writing and directing debut of Tony Award-winning playwright Matthew López (The Inheritance).
Credit: Jonathan Prime/Prime VideoUma Thurman as President Ellen Claremont and Sharon D. Clark as the British prime ministerRW&RB
Opening in theaters on April 12, 2019 is the upcoming animated film MISSING LINK. From LAIKA and Annapurna Pictures watch the first trailer and check out the new poster for the film featuring the voices of Hugh Jackman, Zoe Saldana, Zach Galifianakis, Timothy Olyphant, David Walliams, Matt Lucas, Ching Valdes-Aran, Stephen Fry, Amrita Acharia and Dame Emma Thompson.
This April, meet Mr. Link: 8 feet tall, 630 lbs, and covered in fur, but don’t let his appearance fool you… he is funny, sweet, and adorably literal, making him the world’s most lovable legend at the heart of Missing Link, the globe-trotting family adventure from LAIKA.
Tired of living a solitary life in the Pacific Northwest, Mr. Link recruits fearless explorer Sir Lionel Frost to guide him on a journey to find his long-lost relatives in the fabled valley of Shangri-La. Along with adventurer Adelina Fortnight, our fearless trio of explorers encounter more than their fair share of peril as they travel to the far reaches of the world to help their new friend. Through it all, the three learn that sometimes you can find a family in the places you least expect.
THE HIPPOPOTAMUS screens as part of the 26th Annual Whitaker St. Louis International Film Festival on Sunday, November 5 at 1 PM at Landmark’s Tivoli Theatre. Click HERE for ticket information. It also screens there on Sunday, November 12 at 9:15 PM. Click HERE for ticket information for that day.
From across the pond comes a pitch black comedy set amongst the veddy, veddy upper classes. Proving that Larry David doesn’t have a monopoly in the US as an ill-tempered cranky curmudgeon, celebrated actor/ writer Stephen Fry gives us a most unlikely screen hero, middle-aged failed poet, reviled theatre critic, and “boozehound” Ted Wallace. He’s played with swaggering bravado by Roger Allam, an actor known for his deep baritone, who has amassed a long list of supporting roles (THE QUEEN, THE BOOK THIEF) and now proves that he’s more than ready for a leading role. After being canned from his theatre critic newspaper job (in a very funny sequence he heckles an inept Shakespeare cast, who leap into the audience to physically attack him) he is pleased to be approached by a lovely young woman at his favorite pub. Turns out that she’s the daughter of a former flame, who seems to have been cured of a fatal malady by the healing powers of young David Logan, Ted’s godson. Ted is hired by this woman, Jane, to look into David’s “gift”. And so Ted returns to Swafford Hall and re-unites with eccentric billionaire Michael Logan (Matthew Modine) and his wife Anne (Fiona Shaw). Seems there are other guests, drawn by stories of David’s talents. Flamboyant director Oliver Mills (Tim McInnerny) wants off his meds, while the much-married socialite Valerie Richmonde (Lynn Renee) wants her daughter Clara (Emma Curtis) to shed her plain appearance and blossom into a beauty. Playing sleuth, Wallace is determined to learn the truth, and answer all of Jane’s questions.
Director John Jencks has crafted an entertaining mix of farce and upper-crust mystery. The location work is superb, making the Logan estate a modern-day castle of secrets. But the film works best as a great showcase for this cast. Despite his surly attitude and penchant for the bottle. Allam’s Wallace is a most compelling detective. He’s equal parts W.C. Fields, the late, much missed Christopher Hitchens, Sherlock Holmes, Poirot,and Columbo. He’s given great support by McInnerny as the over-the-top diva, who’s hiding much sadness over his fading years. And kudos to the lone “Yank” in the cast, Modine as the aloof, self-absorbed master of the mansion. The witty script is full of devastating insults, quick retorts, and some sight gags that truly shock (David’s “laying on of the hands” is unorthodox). Though the title beast is only mentioned in passing, THE HIPPOPOTAMUS is wild wonder full of beastly behavior.
Film comedies packed witty, biting humor and whip-smart dialog are pretty rare these days. So LOVE & FRIENDSHIP, director Whit Stillman’s screen adaptation of Jane Austen’s lesser-known early short novel “Lady Susan,” is particularly welcome. With Kate Beckinsale shinning in the lead role as clever, ruthless Lady Susan, the witty comedy is even more delicious.
LOVE & FRIENDSHIP is pure fun, a brilliant comedy filled with laugh-out-loud moments and terrific ensemble performances by a largely British cast, making it entertaining even for those who are not big fans of Jane Austen or costume films.
Unlike other more familiar Austen works, LOVE & FRIENDSHIP is more comedy than romance, although there is some of that too. The story might be described as a comedy of manners but that label makes this very funny film sound more tame than it really is. The story is set in the 1790s, a little earlier than most Austen stories, and focuses on the mother more than the daughter, as Austen usually does.
Writer/director Whit Stillman (“The Last Days of Disco”) crafts Austen’s work into a sharp, zinger-filled, twisty romp, a far funnier, smarter comedy and a refreshing change from the typical comedies in theaters now.
Kate Beckinsale turns in one of her sharpest, funniest performances as Lady Susan. Since her husband’s death left her with a daughter and a noble title but insufficient funds, she has stayed with a string of better-off relatives. Sharp-witted Susan has a well-deserved reputation as an accomplished flirt and a woman who can wrap a man around her finger. Now that her daughter Frederica (Morfydd Clark) has reached a marriageable age, Lady Susan is determined to find her a rich husband, and one for herself as well.
That is the plan when a touch of scandal, involving Susan’s married lover, the handsome Lord Manwaring (Lochlann O’Mearain), brings her to the quiet country estate, Churchill, of her late husband’s brother., where she hopes to hide out while gossip dies down. Charles Vernon (Justin Edwards) welcomes his sister-in-law but his wife Catherine DeCourcy Vernon (Emma Greenwell), who has never met her before, is more leery, as Lady Susan’s fearsome reputation for twisting circumstances to her advantage, particularly with men, precedes her.
Susan has her eye on Reginald DeCourcy (Xavier Samuel), the handsome bachelor brother of her hostess. Catherine regards that possibility with suspicion and alarm, as do her parents, Lady DeCourcy (Jemma Redgrave) and Sir Reginald DeCourcy (James Fleet). Her husband Charles has a more kindly view of his brother’s widow.
Susan arrives at the estate with a friend, Mrs. Cross (Kelley Campbell), who assists her like a combination companion, lady’s maid and seamstress, although as she tells her hostess, it would be “offensive to us both” if she paid her. However, Susan’s romantic plans are complicated when her daughter Frederica also arrives, tearfully fleeing the attentions of Sir James Martin (Tom Bennett), the always-sunny but dull-witted wealthy aristocrat that her mother had selected as a suitable husband for her daughter. The very silly Sir James soon arrives as well, uninvited, and becomes another house guest.
Susan confides her frustration and plots to her close friend Alicia Johnson (Chloe Sevigny), an American married to an English aristocrat, the “very respectable” Mr. Johnson (Stephen Fry). Their conversations allows us to see inside Susan’s Machiavellian plans. To make things a big more complicated, Mr. Johnson’s former ward is Lady Lucy Manwaring (Jenn Murray), the jealous, hysterical rich wife of Susan’s lover.
It may seem like a lot of characters to keep track of but Stillman’s well-crafted script and firm directorial hand keeping things running smoothly and makes keeping everyone straight easy. Of course, no one does this kind of story as well as Austen.
Unsurprisingly, the period costumes are gorgeous and perfect, and sets and locations are lush and lovely, as is the polished photography. The gracious beauty of the clothes and locations deliciously contrasts with the ruthless social maneuvering taking place, part of the humor.
Few complications are beyond Susan’s powers to turn to her advantage, although plots may not turn out exactly as planned. Beckinsale’s fast-talking Susan is a force of nature, who both lights up and transforms every room she enters, but really the whole cast is a dream, nailing each character perfectly so that the whole plot unfolds in hilarious precision. Sevigny is particularly good as Susan’s confident, whose husband is alarmed by her wife’s friendship and threatens the unthinkable – leaving London for the wilds of Connecticut. Greenwell is very good as Catherine, appalled and intimidated by the relentless Susan. Samuel is also excellent as Reginald, who falls under Susan’s charms, and expresses the best shock at Sir James’ jaw-dropping witlessness. Bennett is wonderfully funny as the always happy, clueless Sir James. The ensemble cast works great as a clockwork whole.
LOVE & FRIENDSHIP is just great fun, a fast-paced and brilliant gem that is sure to enchant Austen fans and non-fans alike.
THE MAN WHO KNEW INFINITY is a handsome, well-acted historical drama based on the unexpected true story of an India-born, self-taught mathematical genius. In 1913, the young genius was brought to England, by a mathematics professor at Trinity College in Cambridge, who recognized the young man’s gift despite the prejudices of the time.
Dev Patel (“Slumdog Millionaire”) plays Srinavasa Ramanujan, a poor and poorly-educated Hindu man who is obsessed with mathematics, working out ground-breaking original theorems in the dust of his local temple floor. Jeremy Irons plays mathematics professor G.H. Hardy, a flinty fellow who counts among his friends and colleagues Bertrand Russell (Jeremy Northam). The story is set against the historical backdrop of World War I, and the colonialism and cultural prejudices of the era.
Even before traveling half way around the world to the foreign culture of Great Britain, Ramanujan was already a fish-out-of-water even in his home city of Madras, a young man who cares more about numbers than people. One of the few people he connects with is his beloved new wife Janaki (Devika Bhise), who is living with his mother while her husband looks for work. Despite his lack of a degree, Ramanujan secures a job as accounting clerk in a British colonial office, after a man in the office reads Ramanujan’s notebooks and recognizes the young man’s brilliance. The job allows Ramanujan to move his new wife and widowed mother into a home with him. Meanwhile, his supervisor encourages the young clerk to write a mathematics professor in England for help to get his work published, and his British employer picks Hardy as the academic to target. It turns out to be serendipity. Hardy responds and invites him to England but leaving India means Ramanujan must defy his mother, who fears he will not return, as well as leaving his beloved wife behind.
A low-level government clerk producing brilliant mathematical/scientific discoveries sounds like another early 20th genius – the young Albert Eisenstein. Ramanujan is not a famous name but as this intriguing film suggests, except for the intervention of chance, he might have been as well known as Eisenstein or even Newton. The interaction of genius and chance are running themes in this excellent film.
Making an involving drama about mathematics is no small feat, yet THE MAN WHO KNEW INFINITY succeeds brilliantly, thanks to fine acting by Patel and Irons, and a strong supporting cast that includes Toby Jones and Stephen Fry, and skillful direction by Mathew Brown. The director wisely focuses on the human story, particularly the relationship between Ramanujan and Hardy, instead of burying the audience in mathematical detail. Brown crafts a tale of hard-work, genius, and cross-cultural friendship that spotlights an important but little known gifted man who overcame remarkable odds to make a contribution upon which science and technology are still drawing even today.
The film features splendid photography and gets all the period details right, but the ideas it raises is what makes it so intriguing. THE MAN WHO KNEW INFINITY explores, deftly, how prejudices and assumptions can cloud our ability to see brilliance in unexpected places and people, and reminds us that genius can pop up anywhere. Not surprisingly, prejudice is a topic that crops up in this early-twentieth century story but it is not the whole story. Ramanujan is not only from a colonial country but he is an Asperger’s-like character whose social difficulties make it difficult for him to explain his intuitive insights and ground-breaking ideas. He resists doing the proofs needed for publication, with a mix of self-confident arrogance and basic cluelessness about why they are needed for the ideas to be accepted. The drama is as much about the central character’s difficult personality as the cultural differences between him and his mentor Hardy, or the knee-jerk prejudice against an Indian man who lacks formal education that they both encounter. As Patel plays him, there is a mix of sweetness and otherworldliness in this young genius.
Chance is a theme that runs through THE MAN WHO KNEW INFINITY. But this excellent historical drama also obliquely touches on other roles for chance in the recognition of genius. The story prompts one to wonder how often a Beethoven, a Van Gogh or an Einstein was simply born in the wrong time and place, or how often such a genius died before the gift could fully expressed. Once in a while, history uncovers such unrecognized or forgotten geniuses but how many more of them leave no trace to uncover?
THE MAN WHO KNEW INFINITY is a surprisingly engrossing film about an unknown figure that offers great acting, an intriguing true story, a thought-provoking meditation on genius and an inspiring tale of courage and friendship.
Written and directed by Matthew Brown, THE MAN WHO KNEW INFINITY is the true story of friendship that forever changed mathematics.
In 1913, Srinivasa Ramanujan (Dev Patel), a self-taught Indian mathematics genius, traveled to Trinity College, Cambridge, where over the course of five years, forged a bond with his mentor, the brilliant and eccentric professor, G.H. Hardy (Jeremy Irons), and fought against prejudice to reveal his mathematic genius to the world.
The film also stars Devika Bhise, Stephen Fry and Toby Jones. This is Ramanujan’s story as seen through Hardy’s eyes.
THE MAN WHO KNEW INFINITY Opens in St. Louis on Friday, May 13th at LANDMARK’S PLAZA FRONTENAC CINEMA and LANDMARK’S TIVOLI.
WAMG invites you to enter for a chance to win a pass (Good for 2) to the advance screening of THE MAN WHO KNEW INFINITY on Tuesday, May 10 at 7PM in the St. Louis area.
We will contact the winners by email.
Answer the following:
Jeremy Irons starred in the British television adaptation of Evelyn Waugh’s novel. Name the 1981 miniseries and Irons’ character.
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Disney has released a new TV spot, along with a colorful new poster, for ALICE THROUGH THE LOOKING GLASS, starring Johnny Depp, Anne Hathaway, Mia Wasikowska, Rhys Ifans, Sacha Baron Cohen and Helena Bonham Carter.
The latest video features Pink’s cover of the iconic song “White Rabbit.” P!NK will write and record an original song for the film and you can get a behind-the-scenes look at P!nk’s cover of “White Rabbit” in the featurette.
In the all-new spectacular adventure featuring the unforgettable characters from Lewis Carroll’s beloved stories, Alice returns to the whimsical world of Underland and travels back in time to save the Mad Hatter.
Directed by James Bobin, who brings his own unique vision to the spectacular world Tim Burton created on screen in 2010 with ALICE IN WONDERLAND, the film is written by Linda Woolverton based on characters created by Lewis Carroll and produced by Joe Roth, Suzanne Todd and Jennifer Todd and Tim Burton with John G. Scotti serving as executive producer. “
ALICE THROUGH THE LOOKING GLASS reunites the all-star cast from the worldwide blockbuster phenomenon, including: Johnny Depp, Anne Hathaway, Mia Wasikowska and Helena Bonham Carter along with the voices of Alan Rickman, Stephen Fry, Michael Sheen and Timothy Spall. We are also introduced to several new characters: Zanik Hightopp (Rhys Ifans), the Mad Hatter’s father and Time himself (Sacha Baron Cohen), a peculiar creature who is part human, part clock.
Alice Kingsleigh (Wasikowska) has spent the past few years following in her father’s footsteps and sailing the high seas. Upon her return to London, she comes across a magical looking glass and returns to the fantastical realm of Underland and her friends the White Rabbit (Sheen), Absolem (Rickman), the Cheshire Cat (Fry) and the Mad Hatter (Depp), who is not himself. The Hatter has lost his Muchness, so Mirana (Hathaway) sends Alice on a quest to borrow the Chronosphere, a metallic globe inside the chamber of the Grand Clock which powers all time. Returning to the past, she comes across friends – and enemies – at different points in their lives, and embarks on a perilous race to save the Hatter before time runs out.
Presented in Digital 3D, Real D 3D and IMAX 3D, Disney’s ALICE THROUGH THE LOOKING GLASS opens in U.S. theaters on May 27, 2016.
