Pinocchio Unstrung will be available on Digital in the United States on Tuesday, August 25.

The Pinocchio horror movie released in theaters on July 24. It didn’t make much of a splash at the box office despite getting positive reviews, the film scaring up just $815,655 worldwide.

Daniel Kurland wrote in his review for Bloody Disgusting, “Those who were left empty from Winnie the Pooh: Blood and Honey and its various offshoots may be pleasantly surprised by this.”

“It’s a morbid, mindless way to spend 80 minutes,” Kurland adds in his 3-star review. He also calls the film “a genuine love letter to practical effects and old-fashioned animatronics.”

Watch Pinocchio Unstrung at home beginning tomorrow.

The chilling reimagining of the familiar fable unfolds inside an elite London prep school. Created by Geppetto and influenced by a sinister Cricket, Pinocchio launches a violent crusade to carve himself into a real boy like his brother, one piece at a time…

Richard Brake (Barbarian) stars in Pinocchio Unstrung as the obsessive Geppetto, with horror icon Robert Englund (Nightmare on Elm Street) as the voice of Cricket.

Pinocchio is voiced by Jude Evan Lloyd and brought to life via a practical animatronic created by Todd Masters (“Tales from the Crypt,” Slither). Cameron Bell, Jessica Balmer, Jack Art Gray, and Peter De Souza-Feighoney round out the horror movie’s cast.

Rhys Frake-Waterfield (Winnie-the-Pooh: Blood and Honey) writes and directs the British slasher, in addition to producing alongside Scott Jeffrey via their Jagged Edge Productions.

This is fifth entry in the Twisted Childhood Universe, following Winnie-the-Pooh: Blood and Honey and its sequel, Peter Pan’s Neverland Nightmare, and Bambi: The Reckoning.

The Poohniverse continues with Winnie-the-Pooh: Blood and Honey 3 and the crossover film Poohniverse: Monsters Assemble, both of which are coming soon. Stay tuned for more.

The post Watch ‘Pinocchio Unstrung’ on Digital at Home This Week appeared first on Bloody Disgusting!.

Its message is still evergreen, and the reason that two separate big-budget Pinocchio films by auteur directors were released in 2022. And yet, it’s a story that also has creepy enough bones to fuel a really potent horror film when properly executed (please watch Pinocchio’s Revenge if you’ve never seen that piece of dark, gonzo filmmaking before).

The Twisted Childhood Universe – or TCU, if we must call it this – has largely been more hits than misses. That being said, Pinocchio Unstrung isn’t just a surprisingly entertaining horror film, but it’s a genuine love letter to practical effects and old-fashioned animatronics instead of being some cheap CG slog. Rhys Frake-Wakefield has crafted a disturbing reimagining of Pinocchio that doesn’t get its strings tied up in knots.

In Pinocchio Unstrung, James (Cameron Bell) loses his mother and best friend, so he’s sent to live with his grandfather Geppetto (Richard Brake, 3 From Hell), who seems detached and isn’t necessarily the best role model for this grieving boy. There’s actually a fairly interesting idea here by having both Pinocchio (Jude Evan Lloyd) and a real boy living with Geppetto, while Pinocchio forms a frightening attachment towards James.

Geppetto built Pinocchio for James so he can have a friend, rather than it being a creation to heal his own sadness and loneliness. This heads into even more tragic territory for this vulnerable boy that feels like something that’s more akin to The Boy, Child’s Play, or even the later Puppet Master sequels, rather than Pinocchio. This Pinocchio wants more than to just be a real boy. He wants to be James’ “best mate” and a real friend, which is achieved by killing the various people who have wronged him in life and gotten in James’ way.

Going against Geppetto’s wishes, James brings Pinocchio to school and chaotic carnage ensues as the student body – particularly James’ bullies – become casualties in this macabre learning experience. The messaging is very heavy-handed, which is not unexpected for a film of this nature, especially one that’s pulling from such a moralistic fairy tale in the first place that’s designed to teach lessons.

To the film’s credit, there are some genuinely creepy and unnerving scenes during the film’s first act when Pinocchio bonds with James and demonstrates a fascination with his anatomy and how they’re different. Pinocchio also acquires a checklist of body parts, skin, teeth, hair, eyes, and items to become a real boy. This, while formulaic, is the right style of creepy for this film. It provides a clear focus and trajectory for what’s to come, but also facilitates a lot of gruesome gore.

There are actually some decent gore effects that are well-executed, even if some of them have weak and unearned setups. Obviously, a film like this is trying to be tongue-in-cheek and doesn’t strive to be taken as high art, but it could work a little harder to build to its gory setpieces instead of just throwing them out there and making it seem like it doesn’t care about anything else. A second pass could have helped refine a lot of these elements and turned this into something truly great, rather than operating like a clunky series of poorly written scenes that are designed to string together exaggerated deaths.

These vicious kills are very Terrifier–coded and, on their own, aren’t bad and should please the gorehounds in the audience. There’s an inspired “nose kill” that Pinocchio Unstrung holds off on, but is worth the wait. Pinocchio Unstrung is arguably the goriest of the TCU films, which is a step in the right direction, even if other elements are lacking. In the end, there’s effort here, and director Frake-Waterfield is genuinely trying, even if some of his instincts are misguided or need to be sharpened. For instance, there’s a running throughline where Pinocchio wishes that he had had a penis.

Robert Englund delivers a committed and satisfying performance as Cricket, Pinocchio’s de facto conscience. However, Frake-Wakefield also includes a ridiculous “Wood Mother” concept, which is another wooden abomination who is there to get in Pinocchio’s head. The Wood Mother is presumably meant to be a Blue Fairy analogue, but she just feels extraneous and an excuse to show off more animatronics. Somehow all this leads into a story about rebirth and immortality as the film broadens its scope, which doesn’t always work in its favor. There are plenty of ideas here that are interesting, but ultimately half-baked.

When it comes to Pinocchio himself, the titular puppet’s design initially feels a little lacking, albeit still creepy. Fortunately, it actively improves throughout the film as Pinocchio builds upon his anatomy and “becomes” more human. It also doesn’t hurt that Jude Evan Lloyd is actually a competent actor and a worthy foil for Pinocchio.

Most importantly, it looks like a real movie and features some compelling lighting, which is more than what some of the earlier Twisted Childhood Universe films can claim.

To this point, Pinocchio Unstrung proudly boasts that the film is all done with practical effects and puppetry, which makes such a difference. There’d be no point in even making this movie if it didn’t commit to this practical authenticity. It’s not just a better movie because of this, but it reflects a respect and passion for the craft that’s lacking in other TCU entries. It’d be very easy to cut corners here, and so it’s appreciated that it puts in the effort and goes the extra mile. There’s also a really effective shadow puppetry introduction that’s reminiscent of 2021’s Candyman and a great way to kick off the movie.

Pinocchio Unstrung gradually finds its rhythm and confidence as it goes on, just like a young boy who is figuring out his way in the world. It develops a genuine personality by its end, and there are some weird, unique scenes that really unexpectedly go off the rails and transcend anything from the other TCU films. The place that the film ends is legitimately shocking and feels completely different than the type of movie that’s initially teased. This sort of radical pivot is worth it and turns Pinocchio Unstrung into something weird and wonderful, even if a lot of it still doesn’t work. It deserves credit for taking such big swings, even when they’re unsuccessful.

Those who were left empty from Winnie the Pooh: Blood and Honey and its various offshoots may be pleasantly surprised by this. It actually manages to say something about identity, morality, autonomy, and rising above the expectations that are placed on us, which seems like an insane thing to say for a film like this. It’s a morbid, mindless way to spend 80 minutes.

By the end of this experience, Pinocchio Unstrung transforms from a wooden concept into a real horror film.

Pinocchio Unstrung releases in theaters on July 24, 2026.

The post ‘Pinocchio Unstrung’ Review: Practical Effects Bring This Twisted Fairy Tale to Life appeared first on Bloody Disgusting!.

Part of the cinematic universe known as the “Poohniverse,” Pinocchio Unstrung puts a horror movie spin on the classic tale, releasing in theaters on July 24, 2026.

Meet Geppetto and his creepy wooden puppet in an official clip from Pinocchio Unstrung below.

The chilling reimagining of the familiar fable is set inside an elite London prep school. Created by Geppetto and influenced by a sinister Cricket, Pinocchio launches a violent crusade to carve himself into a real boy like his brother, one piece at a time…

Horror icon Robert Englund (Nightmare on Elm Street) voices the role of Cricket.

Pinocchio is voiced by Jude Evan Lloyd and brought to life via a practical animatronic created by Todd Masters (“Tales from the Crypt,” Slither). Cameron Bell, Jessica Balmer, Jack Art Gray, and Peter De Souza-Feighoney also star.

Rhys Frake-Waterfield (Winnie-the-Pooh: Blood and Honey) writes and directs the fairy tale slasher, in addition to producing alongside Scott Jeffrey via their Jagged Edge Productions.

Pinocchio Unstrung has been rated ‘R’ for “strong bloody horror violence and gore, language and brief graphic nudity.”

This is fifth entry in the Twisted Childhood Universe, following Winnie-the-Pooh: Blood and Honey and its sequel, Peter Pan’s Neverland Nightmare, and Bambi: The Reckoning.

The Poohniverse continues with Winnie-the-Pooh: Blood and Honey 3, currently in production, and the crossover film Poohniverse: Monsters Assemble, slated to shoot this summer.

The post ‘Pinocchio Unstrung’ Clip Uncovers Geppetto’s Dark Secret appeared first on Bloody Disgusting!.

Part of the cinematic universe known as the “Poohniverse,” Pinocchio Unstrung puts a horror movie spin on the classic tale, and Robert Englund is voicing the character Cricket.

Meet Robert Englund’s Cricket in an official clip from Pinocchio Unstrung below.

Pinocchio Unstrung has been rated ‘R’ for “strong bloody horror violence and gore, language and brief graphic nudity.” Check out the official trailer underneath the new clip.

The Pinocchio horror movie will release in theaters July 24, 2026.

The chilling reimagining of the familiar fable unfolds inside an elite London prep school. Created by Geppetto and influenced by a sinister Cricket, Pinocchio launches a violent crusade to carve himself into a real boy like his brother, one piece at a time…

Richard Brake (Barbarian) stars in Pinocchio Unstrung as the obsessive Geppetto, with horror icon Robert Englund (Nightmare on Elm Street) as the voice of Cricket.

Pinocchio is voiced by Jude Evan Lloyd and brought to life via a practical animatronic created by Todd Masters (“Tales from the Crypt,” Slither). Cameron Bell, Jessica Balmer, Jack Art Gray, and Peter De Souza-Feighoney round out the horror movie’s cast.

Rhys Frake-Waterfield (Winnie-the-Pooh: Blood and Honey) writes and directs the British slasher, in addition to producing alongside Scott Jeffrey via their Jagged Edge Productions.

This is fifth entry in the Twisted Childhood Universe, following Winnie-the-Pooh: Blood and Honey and its sequel, Peter Pan’s Neverland Nightmare, and Bambi: The Reckoning.

The Poohniverse continues with Winnie-the-Pooh: Blood and Honey 3, currently in production, and the crossover film Poohniverse: Monsters Assemble, slated to shoot this summer.

The post ‘Pinocchio Unstrung’ Clip Introduces Robert Englund as a New Kind of Horror Villain appeared first on Bloody Disgusting!.

Pinocchio Unstrung has been rated ‘R’ for “strong bloody horror violence and gore, language and brief graphic nudity.” Check out the official trailer below for a sneak peek.

The Pinocchio horror movie will release in theaters on July 24, 2026.

The chilling reimagining of the familiar fable unfolds inside an elite London prep school. Created by Geppetto and influenced by a sinister Cricket, Pinocchio launches a violent crusade to carve himself into a real boy like his brother, one piece at a time…

Richard Brake (Barbarian) stars in Pinocchio Unstrung as the obsessive Geppetto, with horror icon Robert Englund (Nightmare on Elm Street) as the voice of Cricket.

Pinocchio is voiced by Jude Evan Lloyd and brought to life via a practical animatronic created by Todd Masters (“Tales from the Crypt,” Slither). Cameron Bell, Jessica Balmer, Jack Art Gray, and Peter De Souza-Feighoney round out the horror movie’s cast.

Rhys Frake-Waterfield (Winnie-the-Pooh: Blood and Honey) writes and directs the British slasher, in addition to producing alongside Scott Jeffrey via their Jagged Edge Productions.

This is fifth entry in the Twisted Childhood Universe, following Winnie-the-Pooh: Blood and Honey and its sequel, Peter Pan’s Neverland Nightmare, and Bambi: The Reckoning.

The Poohniverse continues with Winnie-the-Pooh: Blood and Honey 3, currently in production, and the crossover film Poohniverse: Monsters Assemble, slated to shoot this summer.

The post Horror Movie ‘Pinocchio Unstrung’ Gets ‘R’ Rating for Strong Bloody Gore & Graphic Nudity appeared first on Bloody Disgusting!.

Pinocchio Unstrung premiered at the Brussels International Fantastic Film Festival over the weekend, and we’re hearing that someone in the audience fainted during the movie. True story? Viral marketing? Well, this information has been corroborated by the festival itself, while a fan in attendance also confirms the validity of the reports in a YouTube video he just posted.

YouTuber Azz L’epouvantail previews, “It’s the goriest film in the entire universe, by far. We really have some gory scenes that will make us think of things like the Terrifiers because they go so far. We have characters whose skin is being slashed. We have a scene worthy of Final Destination in a gym with characters who will find themselves contorted into positions that are painful to watch. We’re going to have a whole bunch of mutilations and tongue pulling outs. We’re going to have some scalping. We’re going to have a lot of pretty trashy scenes.”

“In fact,” he continues, “someone in the room fainted. And for the first time since I started this channel, I can tell you that this is verified information because this person was sitting a few seats away from me in the same row. I unfortunately witnessed this person’s collapse and we did everything we could to ensure the emergency services arrived quickly. And, well, I can’t actually confirm 100% that this discomfort was due to the violence in the film. But on the other hand, it’s still likely. And I want to believe it.”

Director Rhys Frake-Waterfield tells Bloody Disgusting, “We had an incredible first reaction this weekend with audiences at Brussels International Fantastic Film Festival. During the world premiere someone passed out due to how gory one of the death scenes were.”

Thankfully, we’re also being told, this person is “alright now.”

British slasher Pinocchio Unstrung is the fifth entry in the Poohniverse, and it’s coming soon from ITN Distribution. You can check out the previously released official trailer below, which makes it pretty damn clear that we’re in for one hell of a gory twist on the classic tale.

Also check out the exclusive official poster premiere below!

A dark coming-of-age reimagining of Carlo Collodi’s classic story, the upcoming Pinocchio Unstrung follows the iconic puppet’s disturbing journey toward becoming real.

Richard Brake (Barbarian) stars as Geppetto, with Robert Englund as the voice of Jiminy Cricket. Pinocchio is voiced by Jude Evan Lloyd and brought to life via a practical animatronic created by Emmy winner Todd Masters (“Tales from the Crypt,” Slither). Cameron Bell, Jessica Balmer, Jack Art Gray, and Peter De Souza-Feighoney round out the cast.

The Poohniverse will continue with Winnie-the-Pooh: Blood and Honey 3, entering production in April, and the crossover film Poohniverse: Monsters Assemble, slated to shoot this summer.

The post ‘Pinocchio Unstrung’ Exclusive Poster Reveal; Audience Member Reportedly Fainted at Festival Premiere appeared first on Bloody Disgusting!.

The twisted reimagining of the timeless tale is written and directed by Carlo Bath, who promises an emphasis on practical effects.

When an enchanted puppet breaks free from his creator’s workshop, he enters a fractured world ruled by fear and facades. Each step toward humanity forces him to make choices that test his morality. Along the way, he confronts figures who embody the themes of temptation, betrayal, and redemption.

Blending psychological depth, visceral emotion, and contemporary stakes into a dark fairy tale, the indie film explores what it means to be human through the trials that forge one’s character.

James Wingate, Stephen Guy, Jerome Wise, and Katie Jarvis star in the fantastical horror movie.

Bath produces via his Film It VFX Studio alongside JNR Productions and Mad Angel Entertainment.

Currently in production in London, Pinocchio Unleashed is aiming for a release later this year.

The post ‘Pinocchio Unleashed’ Teaser Trailer – The Enchanted Puppet Breaks Free in Practical Effects-Driven Indie Horror appeared first on Bloody Disgusting!.

Neither movie will be the first Pinocchio horror movie, however. Up above you’ll see a still from Pinocchio’s Revenge, which was released way back in 1996! But I digress…

Variety reports this morning that Peter Stormare (Clown, lots of cool shit) will star in the upcoming Pinocchio: Carved from Darkness from Oceana Studios.

The company is launching sales at the upcoming Cannes market.

Variety details, “This dark turn on Carlo Collodi’s classic 1883 tale sees woodcarver Geppetto (Peter Stormare) carve a puppet resembling his recently deceased son from a block of wood discarded at a crime scene and cursed by Agatha, the priestess of a dark cult.

“As Pinocchio turns into a vengeful killer, a teen named Charlie and his mother Nancy arrive in the town looking for a fresh start. Meanwhile, a detective named Georgina starts investigating Agatha’s crimes. The characters intertwine with some tragic consequences.”

 Vicki Berlin and Daniel Nuta will also star in Pinocchio: Carved from Darkness. Joona Tena (“Superfurball”) is directing the film, written by Paulie Siegel (“Jeremiah”).

Danny Sawaf of Oceana Studios, previews, “We’re thrilled to tell a story that has entertained people around the world for well over a century. Ours is set in a modern world while subverting the audiences expectations given the character has personified good since its inception. The combination of CG and live action will be surreal and audiences are going to be riveted.”

The post Peter Stormare Starring in Horror Movie ‘Pinocchio: Carved from Darkness’ appeared first on Bloody Disgusting!.

“I wish you were a real boy. Then I wouldn’t be all alone.” 

Carlo Collodi’s The Adventures of Pinocchio was first published in 1883 and for more than a century it’s proven to be an evergreen text that’s fascinated so many diverse storytellers and filmmakers. Disney’s animated Pinocchio is getting close to celebrating its 100th birthday, but audiences have no lack of options when it comes to Pinocchio adaptations. There’s 1996’s unintentionally-terrifying The Adventures of Pinocchio with Jonathan Taylor Thomas, Roberto Benigni has been responsible for two separate Pinocchio movies, and 2022 alone has marked the release of two new feature-film adaptations: Robert Zemeckis’ live-action Pinocchio and Guillermo del Toro’s somber stop-motion take on the classic tale. Pinocchio isn’t a story that resonates with everyone and those who are looking for a truly different take on the story should turn to Pinocchio’s Revenge, a psychological horror film from 1996 that punches way above its wooden boy-weight and is the definitive Pinocchio adaptation for horror fans. 

Horror fans of the VHS era have perhaps heard of Pinocchio’s Revenge, but it’s often dismissed as direct-to-video shlock that’s along the lines of Jack Frost or Uncle Sam. Pinocchio’s Revenge is actually a surprisingly deep psychological horror movie that does, yes, feature a possibly evil Pinocchio doll, but it also tells a harrowing story about parenthood, guilt, and societal pressures that echo the original Pinocchio narrative, but with a hauntingly bittersweet twist. 

Coming off the success of the Leprechaun franchise, Trimark was interested in riding this wave, even if it’s through an ancillary property about a different iconic tiny terror. Kevin S. Tenney of Witchboard, Night of the Demons, and Witchboard 2: The Devil’s Doorway fame approached this project with lofty goals. Originally written under the much more bad-ass title, The Pinocchio Syndrome (which sounds like a political thriller from the 1970s), Tenney draws most inspiration from the Anthony Hopkins ventriloquist dummy drama, Magic, rather than contemporary series like Leprechaun, Critters, or Child’s Play (although curiously the plot of Pinocchio’s Revenge does more closely resemble what was originally planned for Child’s Play where Chucky was more a dark harbinger of Andy’s id).

There’s a good deal of talent that goes into the physical creation of the titular entity from Pinocchio’s Revenge. The film details a special “Pinocchio Effects” credit for Gabe Bartalos, who previously impressed Trimark with his make-up work in the Leprechaun series. Pinocchio’s voice, which is limited in the movie, is also attributed to legendary voice actor Dick Beals, who voiced major characters in Davey and Goliath, Richie Rich, and The Gumby Show. Pinocchio’s Revenge also marks the screen debut of Verne Troyer of Austin Powers fame as a stand-in for Pinocchio, no less. “Pinocchio’s Revenge was pretty bad. I was basically a stunt double for a doll,” is what Troyer has had to say about the project. Nevertheless, it gives this film some odd cache, albeit not quite in the same sense as Warwick Davis in the Leprechaun series.

Some audiences will never give Pinocchio’s Revenge a fair chance because of its B-movie name and sensibilities, but there’s real depth to this film, right down to its inspired cinematography. Lynchian overlays function as transitions from one moody moment to the next. The visuals in Pinocchio’s Revenge can cover the same material, but reflect completely different extremes that are dependent upon whether it’s Zoe or Jennifer who experiences these events. These tactics are subtly employed, which allows the viewer to grow progressively savvy towards how everything is not as it seems. It’s a clever visual cue that foreshadows what’s to come that’s far more sophisticated than most of Tenney’s other directorial efforts. Another similarly impressive touch is how Pinocchio’s Revenge painstakingly doesn’t show its hand and keeps its audience guessing until the end; and even then there’s a massive twist to be had. 

The film carefully doesn’t show anything that’s out of the realm of possibility with Pinocchio whenever it’s in an omniscient third-person vantage point. There’s plausible deniability right up until the end of the movie over whether this Pinocchio doll is real or if it’s just in this fractured family’s imagination, which is really what’s the most fun about this film. A weaker movie would give into temptation to show a moving Pinocchio early on, or feature a creepy head turn to punctuate a scene. Oddly enough, a film that’s called Pinocchio’s Revenge manages to show restraint in this department, all of which comes at the benefit of a better, more challenging horror film. Pinocchio’s Revenge succeeds beyond a simple killer doll movie like Child’s Play or Annabelle, but it also manages to evolve and subvert the classic Pinocchio myth at the same time, too.

Pinocchio’s Revenge quickly cobbles together the grounded with the supernatural into a formidable hybrid. The film’s first half-hour is like a bizarre courtroom drama from the weirdest episode of Law & Order: Special Victims Unit, and yet, in spite of itself, it works. It’s just bizarre that this direct-to-video slasher film titled Pinocchio’s Revenge decides to begin with a hard-boiled, gripping piece of legal bureaucracy before there’s any hint that an evil sentient Pinocchio doll may be in the mix. The horrors in Pinoccho’s Revenge properly begin once Vincent Gotto (Lewis Van Bergen) whittles a Pinocchio doll that’s dropped in a shallow grave near the resting place of his dead son, only for it to inadvertently wind up in the hands of Zoe (Brittany Alyse Smith), the young daughter of Jennifer (Rosalind Allen), Gotto’s defense attorney. 

Zoe forms an unhealthy attachment with the Pinocchio doll and suddenly everyone around her that does her wrong seems to meet a grisly end. This is a strong enough setup that then asks the audience to consider if there are supernatural circumstances going on with this doll–which is probably the case considering the film’s name and poster–or if Zoe is the one who’s hurting these people. Pinocchio’s Revenge certainly gives the young Zoe enough obstacles that eat away at her youthful innocence. Her parents’ separation, and her mom’s reentry into the dating world is the biggest source of stress in Zoe’s life and Pinocchio’s Revenge earnestly explores her pain rather than turn this melodramatic family scenario into a ’90s trope. 

These circumstances also plant the seeds for a heartbreaking schism between Zoe and her mother, whose relationship is the film’s beating heart. Rosalind Allen and Brittany Alyse Smith are both excellent in these roles, but Smith really shines as Zoe and brings a natural quality to this girl that makes the movie’s ending all the more devastating. The movie presents them both as flawed individuals who are afraid to admit how much they need each other. At different moments they both separately feel like the puppet on the other’s strings. Jennifer and Zoe have their own unique demons, neither of which are fully put to bed by the end of the movie, but Pinocchio’s Revenge also finds the time to engage in larger meditations on the nature of evil as if this is an episode of The X-Files. Jennifer waxes philosophical with a priest as she briefly considers that maybe this Pinocchio doll is some sinister creation of the devil. Pinocchio’s Revenge doesn’t go too far down this path or posit this as one of the more believable explanations for the events of the film, but it’s still a valid viewpoint that the film makes time from. The original Pinocchio is certainly obsessed with morality, wickedness, and corruption, so it’s fitting to see it addressed here.

A lot of horror movies of this nature create tension through pitting the kids against their parents, who tend to not believe their outlandish claims, but the resolution to all of this in Pinocchio’s Revenge is both heartbreaking and borderline vicious. The film doesn’t just subvert the initial expectations that it’s set up, but it pivots to a pitch black conclusion that’s become increasingly rare in cinema, especially in a “killer doll” movie. There’s a lot to cherish in Pinocchio’s Revenge, but the audacity of its ending might be the film’s best and most memorable trait. It’s just so unexpected to see the film take such a grim turn where even the faint glimmer of hope that’s teased is still infinitely conditional. It hits you in the gut and leaves you stunned as the credits roll, like the ending of Sleepaway Camp. 

Pinocchio’s Revenge thankfully doesn’t feel the need to bend over backwards to check arbitrary boxes on a Pinocchio checklist, but it does find clever ways to pay service to a cricket conscience and the Blue Fairy concept. Pinocchio’s Revenge also begins with a grieving father, Vincent Gotto, who’s also a talented woodworker. However, Gotto feels like a real person and it’s appreciated that Pinocchio’s Revenge doesn’t opt to indulge in a caricature like “Joe Petto.” It’s a move that wouldn’t be questioned in direct-to-video fare of this nature. In fact, Tenney actually deserves infinite accolades for avoiding an obvious setpiece where Pinocchio tells a lie and impales someone with his nose.

However, Pinocchio’s Revenge is stronger as a psychological homage to Carlo Collodi’s text rather than a direct adaptation, which has been what’s sunk so many of these big-budget live-action Pinocchio experiments. The only other real connection to Pinocchio that this movie makes is that, metaphorically, this non-living Pinocchio doll does “come to life” through Jennifer and Zoe’s frayed mental states. What’s even more fascinating is that Pinocchio’s Revenge also chronicles a real girl’s transformation into one that’s fake by the end of the movie. It’s a decidedly more haunting resolution for a Pinocchio story that’s akin to Psycho, The Shining, or appropriately enough, Magic, just like Tenney had intended.

There are a lot of options out there, but make sure that Pinocchio’s Revenge is the wooden boy companion piece for the emotional rollercoaster that is Guillermo del Toro’s Pinocchio. They’re two twisted sides of the same coin. 

The post ‘Pinocchio’s Revenge’ – The Definitive Pinocchio Adaptation for Horror Movie Fans appeared first on Bloody Disgusting!.

A preamble shows how master woodcarver Geppetto (David Bradley) came to carve the wooden boy Pinocchio (Gregory Mann) from the pine tree grown by his beloved son Carlo’s grave. Geppetto’s refusal to relinquish his steadfast grip on grief moves the Wood Sprite (Tilda Swinton) to grant Pinocchio life in the hopes of bringing Geppetto happiness. But Pinocchio isn’t like the obedient Carlo, despite many pleas to conform to rules and society by everyone around him. That includes his appointed guide, the raconteur Sebastien J. Cricket (Ewan McGregor), the narrator of this story. The wooden puppet’s curiosity for life, vivacious naïveté, and desire to earn his papa’s approval send him on a profound adventure that’ll teach him what it means to live.

Del Toro and Patrick McHale’s script recontextualizes the classic tale with the simple shift in setting it during Mussolini’s Fascist Italy, a move that adds dramatic and thematic heft. It gives chapters in Pinocchio’s story a more somber edge and turns his penchant for disobedience into a triumphant asset. The ominous emphasis on Fascism brings balance, grounding the whimsy when necessary and lending an almost magical realism quality to the affecting tale.

Even when faithfully interpreting Collodi’s work, including the return to the Terrible Dogfish sea monster over the Disneyfied whale, del Toro’s imprint permeates every facet of this retelling. Explorations of Catholicism and interpretations of Death (also voiced by Tilda Swinton) make their way into Pinocchio’s adventures in ways that feel distinctly del Toro. It enriches the lush worldbuilding already made transcendent by the breathtaking artistry of stop-motion animation.

Gris Grimly’s character design for Pinocchio, the impressive puppeteer work by the Mackinnon & Saunders (Corpse Bride) team, the animation, and the score brings the Jim Henson Company production to life in a bold, breathtaking new way. Gregory Mann impresses most as the mischievous puppet with a heart of gold and the singing voice of an angel. The young actor holds his own against A-list voice acting talent, including the scene-stealing Cate Blanchett, who does remarkable and unrecognizable voice work as abused monkey Spazzatura.

There’s a darker edge to Guillermo del Toro’s Pinocchio, and Death’s presence looms large in an Italy gripped by war and Fascism. But it’s a film that never loses its sense of wonder or zest for life. When the world seems bleak and threatens to swallow its characters whole, Pinocchio’s ability to find amusement in the tiny moments, the lighthearted revelry and jokes, and the earworm songs offset the darkness. It’s a celebratory and infectious reminder of what it means to live and, perhaps more importantly, why doing the right thing can sometimes entail going against the grain. In trying to gain his father’s love and acceptance, del Toro’s impish little wooden puppet learns about life while imparting the wisdom of defiance in the process.

It’s as emotionally disarming as it is visually resplendent.

Guillermo del Toro’s Pinocchio is playing in limited theaters now and will release on Netflix on December 9, 2022.

The post ‘Guillermo del Toro’s Pinocchio’ Review – A Deeply Enchanting and Darker Retelling With Thematic Heft appeared first on Bloody Disgusting!.

As you’d probably expect, del Toro’s Pinocchio will be quite unlike past tellings of the tale – including Carlo Collodi’s original children’s novel and Disney’s animated classic.

Watch the official trailer for Guillermo del Toro’s Pinocchio below, which fully embraces the fairytale magic of the source material and may very well bring a tear to your eye.

Here’s the official synopsis from Netflix: “Academy Award®-winning filmmaker Guillermo del Toro reinvents Carlo Collodi’s classic tale of the wooden marionette who is magically brought to life in order to mend the heart of a grieving woodcarver named Geppetto. This whimsical, stop-motion film directed by Guillermo del Toro and Mark Gustafson follows the mischievous and disobedient adventures of Pinocchio in his pursuit of a place in the world.”

Directed by Guillermo del Toro and Mark Gustafson, the film features an all-star voice cast with Ewan McGregor as Cricket, David Bradley as Geppetto, and introducing Gregory Mann as Pinocchio. Other cast includes Finn Wolfhard, Academy Award® winner Cate Blanchett, John Turturro, Ron Perlman, Tim Blake Nelson, Burn Gorman, with Academy Award® winner Christoph Waltz and Academy Award® winner Tilda Swinton.

Pinocchio was written by Guillermo del Toro and Patrick McHale.

The post Guillermo del Toro’s ‘Pinocchio’ Official Trailer Reinvents the Classic Tale With Stop Motion Magic appeared first on Bloody Disgusting!.

Check out Netflix’s brand new official poster below, which proudly proclaims that the film is “from the visionary director of Pan’s Labyrinth and The Shape of Water.”

As you’d probably expect, del Toro’s Pinocchio will be quite unlike past tellings of the tale – including Carlo Collodi’s original children’s novel and Disney’s animated classic.

Here’s the official synopsis from Netflix: “Academy Award®-winning filmmaker Guillermo del Toro reinvents Carlo Collodi’s classic tale of the wooden marionette who is magically brought to life in order to mend the heart of a grieving woodcarver named Geppetto. This whimsical, stop-motion film directed by Guillermo del Toro and Mark Gustafson follows the mischievous and disobedient adventures of Pinocchio in his pursuit of a place in the world.”

Directed by Guillermo del Toro and Mark Gustafson, the film features an all-star voice cast with Ewan McGregor as Cricket, David Bradley as Geppetto, and introducing Gregory Mann as Pinocchio. Other cast includes Finn Wolfhard, Academy Award® winner Cate Blanchett, John Turturro, Ron Perlman, Tim Blake Nelson, Burn Gorman, with Academy Award® winner Christoph Waltz and Academy Award® winner Tilda Swinton.

Pinocchio was written by Guillermo del Toro and Patrick McHale.

The post Guillermo del Toro’s ‘Pinocchio’ – New Poster from Netflix Calls ‘Pan’s Labyrinth’ to Mind appeared first on Bloody Disgusting!.

A theatrical release date for Guillermo del Toro’s Pinocchio will be announced soon.

As you’d probably expect, del Toro’s Pinocchio will be quite unlike past tellings of the tale – including Carlo Collodi’s original children’s novel and Disney’s animated classic.

Here’s the official synopsis from Netflix: “Academy Award®-winning filmmaker Guillermo del Toro reinvents Carlo Collodi’s classic tale of the wooden marionette who is magically brought to life in order to mend the heart of a grieving woodcarver named Geppetto. This whimsical, stop-motion film directed by Guillermo del Toro and Mark Gustafson follows the mischievous and disobedient adventures of Pinocchio in his pursuit of a place in the world.”

Directed by Guillermo del Toro and Mark Gustafson, the film features an all-star voice cast with Ewan McGregor as Cricket, David Bradley as Geppetto, and introducing Gregory Mann as Pinocchio. Other cast includes Finn Wolfhard, Academy Award® winner Cate Blanchett, John Turturro, Ron Perlman, Tim Blake Nelson, Burn Gorman, with Academy Award® winner Christoph Waltz and Academy Award® winner Tilda Swinton.

Pinocchio was written by Guillermo del Toro and Patrick McHale.

The post Guillermo del Toro’s ‘Pinocchio’ Dated for Netflix Premiere in December appeared first on Bloody Disgusting!.

Watch the teaser trailer for Guillermo del Toro’s Pinocchio below!

As you’d probably expect, del Toro’s Pinocchio will be quite unlike past tellings of the tale – including Carlo Collodi’s original children’s novel and Disney’s animated classic.

Here’s the official synopsis from Netflix: “Academy Award®-winning filmmaker Guillermo del Toro reinvents Carlo Collodi’s classic tale of the wooden marionette who is magically brought to life in order to mend the heart of a grieving woodcarver named Geppetto. This whimsical, stop-motion film directed by Guillermo del Toro and Mark Gustafson follows the mischievous and disobedient adventures of Pinocchio in his pursuit of a place in the world.”

Directed by Guillermo del Toro and Mark Gustafson, the film features an all-star voice cast with Ewan McGregor as Cricket, David Bradley as Geppetto, and introducing Gregory Mann as Pinocchio. Other cast includes Finn Wolfhard, Academy Award® winner Cate Blanchett, John Turturro, Ron Perlman, Tim Blake Nelson, Burn Gorman, with Academy Award® winner Christoph Waltz and Academy Award® winner Tilda Swinton.

Pinocchio was written by Guillermo del Toro and Patrick McHale.

The post Guillermo del Toro’s ‘Pinocchio’ Teaser Trailer – A Classic Tale Gets a Visionary New Adaptation appeared first on Bloody Disgusting!.

Vanity Fair just ran a lengthy article that previews Guillermo del Toro’s Pinocchio with fresh images and insights, and we encourage you to head over there and give that a read.

Del Toro tells the outlet, “I’ve always been very intrigued by the links between Pinocchio and Frankenstein. They are both about a child that is thrown into the world. They are both created by a father who then expects them to figure out what’s good, what’s bad, the ethics, the morals, love, life, and essentials, on their own.

“I think that was, for me, childhood. You had to figure it out with your very limited experience.”

Check out a handful of new images below and hit up Vanity Fair for more.

As you’d probably expect, del Toro’s Pinocchio will be quite unlike past tellings of the tale – including Carlo Collodi’s original children’s novel and Disney’s animated classic.

Academy Award®-winning filmmaker Guillermo del Toro reimagines the classic Italian tale of Pinocchio in a stop-motion musical adventure. Follow the mischievous adventures of Pinocchio in his pursuit of a place in the world.

Directed by Guillermo del Toro and Mark Gustafson, the film features an all-star voice cast with Ewan McGregor as Cricket, David Bradley as Geppetto, and introducing Gregory Mann as Pinocchio. Other cast includes Finn Wolfhard, Academy Award® winner Cate Blanchett, John Turturro, Ron Perlman, Tim Blake Nelson, Burn Gorman, with Academy Award® winner Christoph Waltz and Academy Award® winner Tilda Swinton.

The post Guillermo del Toro’s ‘Pinocchio’ – New Images Preview the Stop Motion Netflix Movie appeared first on Bloody Disgusting!.

Guillermo del Toro’s Pinocchio is headed to Netflix December 2022!

As you’d probably expect, del Toro’s Pinocchio will be quite unlike past tellings of the tale – including Carlo Collodi’s original children’s novel and Disney’s animated classic.

Academy Award®-winning filmmaker Guillermo del Toro reimagines the classic Italian tale of Pinocchio in a stop-motion musical adventure. Follow the mischievous adventures of Pinocchio in his pursuit of a place in the world.

Directed by Guillermo del Toro and Mark Gustafson, the film features an all-star voice cast with Ewan McGregor as Cricket, David Bradley as Geppetto, and introducing Gregory Mann as Pinocchio. Other cast includes Finn Wolfhard, Academy Award® winner Cate Blanchett, John Turturro, Ron Perlman, Tim Blake Nelson, Burn Gorman, with Academy Award® winner Christoph Waltz and Academy Award® winner Tilda Swinton.

Check out your first look below.

The post Guillermo del Toro’s Stop Motion ‘Pinocchio’ Movie Comes to Netflix This Holiday Season! [Teaser] appeared first on Bloody Disgusting!.

Admittedly, there’s not much to the new website at the moment. It does give you the excuse to watch the Story Trailer again, which is appropriately creepy, and turns the whole Pinocchio story on its wooden head.

Lies of P takes place in an alternate Europe, where the city of Krat is overwhelmed by madness and bloodlust. You are Pinocchio, a puppet mechanoid, and must fight through everything in your path to find Mr. Geppetto. Don’t expect any help along the way from people, nor should you trust anyone. You must always lie to others if you hope to become human.

While no release date has been announced, Lies of P is currently in development for PlayStation 5, Xbox Series, and PC via Steam.

The post Dark Take on “Pinocchio” in Soulslike ‘Lies of P’ Launches Teaser Website appeared first on Bloody Disgusting!.

Pinocchio, which has been shooting since fall 2019 at ShadowMachine’s Portland, Oregon-based studio, stars Ewan McGregor (Doctor Sleep) as Cricket and David Bradley as Gepetto, the woodcarver who creates the puppet that comes to life.

Newcomer Gregory Mann will star as Pinocchio with John Turturro, Ron Perlman, Christoph Waltz and Burn Gorman also on the call sheet, along with Tilda Swinton, who is revealed to play the Turquoise Fairy.

“Del Toro is taking a multi-shaded look at the Carlo Collodi tale, originally published in the 1880s. This version of the story is set during the rise of fascism in Mussolini’s Italy and is described as a story of love and disobedience as Pinocchio struggles to live up to his father’s expectations.”

Notes the site: Production has continued uninterrupted during the pandemic, with the producers coming up with creative ways to take safety precautions on a stop-motion set.

The plan is for the movie to be released not only on Netflix but in theatres, too.

Mark Gustafson (Fantastic Mr. Fox) co-directs with del Toro.

Del Toro and Patrick McHale wrote the script. The song lyrics are by del Toro and Katz, with music by Alexandre Desplat, who is also writing the score. Illustrator Gris Grimly created the original design for the Pinocchio character. The film’s puppets are being built by Mackinnon and Saunders (Corpse Bride).

Pinocchio is being produced by del Toro, The Jim Henson Company’s Lisa Henson, ShadowMachine’s Alex Bulkley and Corey Campodonico, as well as Exile Entertainment’s Gary Ungar. It is co-produced by Blanca Lista of The Jim Henson Company and Grimly.

The post Guillermo del Toro’s ‘Pinocchio’ Adds Cate Blanchett, Tim Blake Nelson and Finn Wolfhard appeared first on Bloody Disgusting!.

Del Toro will write, produce and direct a brand new version of the classic children’s tale about a puppet who wants to be a real live boy, based on Gris Grimly‘s designs.

Doctor Sleep‘s Ewan McGregor, in an interview with ACE Universe (via Fandom), revealed that he’ll be voicing Jiminy Cricket, Pinocchio conscience that’s projected as a talking cricket.

“I’m playing Jiminy Cricket in Guillermo del Toro’s version of Pinocchio,” he exclaimed. “That I had started working on before I left for New York, so some of that is recorded. And of course, it’s stop-motion animated so it’s going to take them a great long time to make that film. But my first part, which is recording his dialogue, is sort of done. There may or may not be a song that has to be recorded. I’m not sure I’m at liberty to discuss that.”

The film will be set in Italy during the ’30s, a particularly fraught historical moment and a time when Fascism was on the rise and Benito Mussolini was consolidating control of the country. Del Toro compared it to “Frankenstein” in previous interviews.

The post Ewan McGregor to Voice Jiminy Cricket in Guillermo del Toro’s ‘Pinocchio’ appeared first on Bloody Disgusting!.

As you’d probably expect, del Toro’s Pinocchio will be quite unlike past tellings of the tale – including Carlo Collodi’s original children’s novel and Disney’s animated classic.

“The film will be set in Italy during the ’30s, a particularly fraught historical moment and a time when Fascism was on the rise and Benito Mussolini was consolidating control of the country.”

Speaking with Variety this week, del Toro touched on one of the key differences he’s bringing to the table. He explained, “To me, Pinocchio, very much like Frankenstein, is a blank canvas in which learning the curve of what the world is and what being human is are very attractive to do as a story. I’m very attracted to it because, thematically — and I don’t want to spoil what the movie’s about — it’s about something that is in all of my movies, which is choice. That’s a theme that is very dear to my heart.”

Del Toro continued, “I think [earlier versions of] the story, and Collodi’s in particular, are very repressive. It’s essentially a very brutalist fable about what a sin disobedience is. And I think disobedience is the beginning of the will, and the beginning of choice. … I think there’s something that’s very attractive about seeing disobedience as a virtue, or as the beginning of a virtue.”

The post Guillermo del Toro Explains One of the Things That’ll Make His ‘Pinocchio’ Film So Different appeared first on Bloody Disgusting!.

“It’s not a Pinocchio for all the family,” del Toro told the site. “Of course [it’s a political film]. Pinocchio during the rise of Mussolini, do the math. A puppet during the rise of fascism.”

He said of Pinocchio, who he perfectly compared in the interview to Frankenstein’s monster, “He’s a creature that is created through unnatural means from a father that he then distances [himself] from, and has to learn about failure and pain and loneliness.”

Del Toro will write, produce and direct the stop motion musical version of the classic children’s tale about a puppet who wants to be a real live boy, based on Gris Grimly‘s designs.

“The film will be set in Italy during the 1930s, a particularly fraught historical moment and a time when Fascism was on the rise and Benito Mussolini was consolidating control of the country.”

Del Toro will collaborate with the Jim Henson Company, the company behind “The Dark Crystal” and ShadowMachine, the creator of “Bojack Horseman.” Lisa Henson, ShadowMachine’s Alex Bulkley, Corey Campodonico, and Gary Ungar of Exile Entertainment will produce the film. Blanca Lista will co-produce.

Patrick McHale (“Over The Garden Wall”) will co-write the script, and Mark Gustafson (“Fantastic Mr. Fox”) will co-direct the movie. Guy Davis will serve as co-production designer and the film’s puppets will be built by Mackinnon and Saunders, the team behind “Corpse Bride.”

The post Guillermo del Toro Teases His Animated ‘Pinocchio’ Film for Netflix; “It’s Not for All The Family” appeared first on Bloody Disgusting!.

Del Toro will write, produce and direct the stop motion musical version of the classic children’s tale about a puppet who wants to be a real live boy, based on Gris Grimly‘s designs.

“The film will be set in Italy during the 1930s, a particularly fraught historical moment and a time when Fascism was on the rise and Benito Mussolini was consolidating control of the country. Production on Pinocchio will begin this fall.”

“No art form has influenced my life and my work more than animation and no single character in history has had as deep of a personal connection to me as Pinocchio,” said del Toro in a statement. “In our story, Pinocchio is an innocent soul with an uncaring father who gets lost in a world he cannot comprehend. He embarks on an extraordinary journey that leaves him with a deep understanding of his father and the real world. I’ve wanted to make this movie for as long as I can remember.”

Del Toro will collaborate with the Jim Henson Company, the company behind “The Dark Crystal” and ShadowMachine, the creator of “Bojack Horseman.” Lisa Henson, ShadowMachine’s Alex Bulkley, Corey Campodonico, and Gary Ungar of Exile Entertainment will produce the film. Blanca Lista will co-produce.

Patrick McHale (“Over The Garden Wall”) will co-write the script, and Mark Gustafson (“Fantastic Mr. Fox”) will co-direct the movie. Guy Davis will serve as co-production designer and the film’s puppets will be built by Mackinnon and Saunders, the team behind “Corpse Bride.”

The post Guillermo del Toro is Finally Directing His ‘Pinocchio’ Animated Film… for Netflix! appeared first on Bloody Disgusting!.

Whatever happened to that movie and what was his vision for his own take on the classic tale? Del Toro opened up about the project in a new chat with IGN this week.

“It’s not happening,” Del Toro definitively told the site. “But the idea was to do Pinocchio during the ascension of fascism in Italy, with Mussolini. It was a good time to discuss the idea of being a puppet or being a human, but you know, it’s not in progress.”

Del Toro previously detailed the project to EW when it was in active development.

“In a strange way, two of the stories that fascinate me the most are kind of related, which is Frankenstein and Pinocchio. They are both about creatures that are created and then get lost in a world they don’t understand,” he said. “And they are both journeys of understanding, and journeys of evolution of the spirit. When we started working on Pinocchio we knew very clearly that we wanted to make it different in the sense that it is not just a fairy tale but a fairy tale that actually moves you and emotionally affects you. It deals with ideas that are relevant to everyone, to all mankind in a way.”

“I hesitate to say just darker, because it’s not *just* darker,” Del Toro continued. “It is a tale that is adapted to a more complex reality, more complex ethical questions. It’s more a tale for youth than a tale for just kids. Even the original book and the Disney version are pretty scary. I think the moments where they go to Pleasure Island, even in the original animated movie, it was pretty intense. When I was a kid I was absolutely horrified. It will be much more intense in our version.”

Check out early concept art from the aborted project below.

The post Guillermo del Toro Hammers Final Nail into ‘Pinocchio’ Coffin appeared first on Bloody Disgusting!.

Disney usually tames their stories from the often darker original source material to make their movies a bit more family-friendly. 1940’s Pinocchio, however, was left full of terrifying situations and dark, frightening visuals.

Hear me out.

Pinocchio is created by Geppetto, who wishes upon a star that his newly created puppet could become a real boy. While Geppetto sleeps, the Blue Fairy grants the wish by bringing Pinocchio to life, but explains that to become a real boy, he must prove himself brave, truthful, and unselfish. She then appoints Jiminy Cricket as Pinocchio’s conscience. AN INSECT! She gave an insect the sole responsibility of guiding a newly self-aware being through his first days of life! Anyway. Rather than taking the time to get to know him and teach him the ways of the world, Geppetto just sends Pinocchio off to figure it out on his own. And so Pinocchio is sent off to school. With an insect conscience as his guide.

Here’s where the horror really begins.

Pinocchio is abducted by two strangers: Honest John the Fox and his companion, Gideon the Cat. They trick Pinocchio into ditching school, and sell him to a giant, abusive, crazy, Italian Puppet Master called Stromboli. After a killer first performance for Stromboli, Jiminy figures Pinocchio doesn’t need him, and just leaves him in the night with the crazy slave master. Pinocchio is locked in a tiny bird cage, trapped in a life of servitude where he must perform lest he be chopped into firewood. We aren’t even halfway through the movie, and we already have child abduction, human trafficking, and a serious threat of dismemberment!

Jiminy comes back, but can’t do anything, so the Blue Fairy bails them out, helping Pinocchio to escape. Pinocchio lies to the Blue Fairy against Jiminy’s advice, and then the two set off only to fall back into the clutches of Pinocchio’s original abductors, Honest John and Gideon. Once again, Jiminy can’t do a damn thing to help. This time, Pinocchio is headed to Pleasure Island – a land of sin and debauchery! Jiminy, being a useless insect, has no effect as a conscience as Pinocchio gets drunk, smokes cigars, gambles, and breaks stuff along with all the other wild kids just running around causing havoc. But their fun, it turns out, comes at a price. You thought those naughty kids at Crystal Lake had it rough when Jason punished them? Well these kids got it much worse: they all turn into donkeys, and are sold to work in the salt mines!

Not only that, but we actually get a pretty frightening transformation sequence on-screen, as one of Pinocchio’s Pleasure Island pals, Lampwick, turns into a donkey right before Pinocchio’s eyes. Yes, there’s a dark, painful, therianthropic transformation scene in a kids’ movie in 1940! That’s a year before The Wolf Man! We also see other donkey-children in crates being whipped and rounded-up by glowing-eyed, black shadow figures. Yeah. Creepy.

Pinocchio escapes yet again, but only after he had been half-transformed into a donkey-boy. He finally returns home, only to find that his father had been swallowed alive by a terrifying giant whale named Monstro. How is this NOT a horror movie?!

Pinocchio and Jiminy set out to rescue Geppetto. They deliberately get swallowed by Monstro, and escape by setting a fire inside the whale’s belly, causing him to sneeze them all out. This leads to our final chase scene: A hungry and pissed-off whale chases after our heroes and nearly slams them all into the jagged rocks that litter the shoreline. Luckily the gang squeezes through a tiny hole in the rocks, just barely threading the needle to safety… except Pinocchio. Pinocchio is dead! Yes, straight-up dead, face-down in a shallow pool of sea water on the beach. The main character died! Dead as a doornail!

Everyone is devastated. They take his lifeless body back to the shop and mourn him. Finally the Blue Fairy shows up (probably feeling guilty for appointing an insect as Pinocchio’s conscience and guide), and not only brings him back to life, but turns Pinocchio into a real boy.

In the end, we DO get a happy ending, but all that stuff in the middle…

• slavery, child abduction and human trafficking
• a concept reminiscent of Saw or Seven where one pays for sins with physical pain and suffering
• a painful transformation sequence followed by a partial transformation sequence
• shadow people
• a giant sea monster
• a super intense final chase scene where the main character dies

… that’s a horror movie if I’ve ever seen one!

The post Let’s Look at the Scary Side of Disney’s ‘Pinocchio’ appeared first on Bloody Disgusting!.

A studio that is known almost exclusively for their fairy tale stories is Disney, who have spent the better part of nearly a century creating movies that area adaptations of renowned fairy tales, such as Sleeping Beauty, Pinnochio, etc…

But what if the worlds of Tim Burton and Disney came together and the surreal director took on the responsibility of creating movies based on those tales? That’s where artist Andrew Tarusov comes in as he took 10 iconic Disney movies and created faux posters in the style and artwork of Tim Burton.

They’re not 100% on the spot but I actually really like that because it shows Tarusov’s own flair and embellishments while remaining nearly completely faithful to the concept.

You can see the gallery below and then find out more about Tarusov at his official website.

The post Artist Reimagines Disney Movies as Though They Were Created by Tim Burton appeared first on Bloody Disgusting!.

But these images below from artist Rachael Wise take the original fairy tales and give them modern, disturbing twists. Believe me, there’s no singing and dancing when it comes to these stories. They’re highly worth checking out as they bring a whole new dimension to these stories.

Got any thoughts/questions/concerns for Jonathan Barkan? Shoot him a message on Twitter or on Bloody-Disgusting!

The post [Halloween Treat] These Fairy Tale Images Go To Very, Very Dark Places appeared first on Bloody Disgusting!.

The report stemmed from a series of tweets from writer/artist Chris Grimly in which he said, “Short to the point update on Pinocchio for those inquiring: It appears that this is not the right time for such a superior-adventurous flick… There are people like us out there. But they look at numbers. Frankenweenie was a box office failure to them.”

Now Grimly clarifies his statements to Dread Central, and they seem a little less… grim, “I want to clear up the rumor that was started due to misconstrued information that I posted on my networks. Pinocchio is indeed kicking and has interest from the studios. Although, I thought it could be quiet for a little while, I never thought it could be canceled. It’s just too good.”

It sounds more hopeful I suppose, but the road ahead is long indeed.

The post ‘Pinocchio’ Not Fossilized Just Yet!! appeared first on Bloody Disgusting!.

Del Toro has been working on this project since 2008 with writer/artist Gris Grimly, and it’s Grimly who broke the bad news on Twitter last night. Per Bleeding Cool he said, “Short to the point update on Pinocchio for those inquiring: It appears that this is not the right time for such a superior-adventurous flick… There are people like us out there. But they look at numbers. Frankenweenie was a box office failure to them.” The tweets have since been deleted and it’s hard to know exactly what this means – if some kind of plug has been pulled or if momentum has just slowed.

In the meantime, I wouldn’t call this project dead, just resting. It’s entirely possible it could get on its feet again. It’s likely that the financial underperformance of Frankenweenie (which is a bummer since I loved that movie) is a contributing factor here, but if Pacific Rim is a hit maybe Del Toro gets enough juice to push this through.

The post Guillermo Del Toro’s ‘Pinocchio’ Will Have To Wait To Become A Real Boy appeared first on Bloody Disgusting!.

I recently sat down with producer Allison Abbate (Fantastic Mr. Fox, The Iron Giant) to talk about how she got into animation and what it’s like to address the creative needs of visionaries like Tim Burton and Wes Anderson. Frankenweenie feels 100% like a Tim Burton film (a good one at that), so I was curious about the challenges of addressing his voice. We also spoke briefly about one of her upcoming projects, Guillermo Del Toro’s Pinocchio.

The voice cast includes four actors who worked with Burton on previous films: Winona Ryder (Beetlejuice, Edward Scissorhands), Catherine O’Hara (Beetlejuice, The Nightmare Before Christmas), Martin Short (Mars Attacks!) and Martin Landau (Ed Wood, Sleepy Hollow), while Charlie Tahan and Atticus Shaffer were later added. Over 200 puppets and sets were created for the film, and that several of the character names—Victor, Elsa Van Helsing, Edgar “E” Gore and Mr. Burgermeister — were inspired by classic horror films.

Frankenweenie hits theaters October 5th. Head inside for the interview!

First of all I loved the movie. I’m a huge dog person so maybe I’m predisposed. I teared up a little but.

I did too! It’s sad, but it’s a happy sad where there’s some dream fulfillment.

You’ve almost exclusively done animation throughout your career. What got you on that path?

Well, I didn’t set out to do animation. I just kind of came out to Hollywood and got kind of whipped up in that whole animation renaissance in the 80’s and 90’s. But when I did A Nightmare Before Christmas, it was really a life-changing experience. It had all of the thrilling, visceral stuff that live action had. But it also provided the ability to hone your movie one frame at a time, to make sure that all of the information was in the frame.

This 100% feels like a Tim Burton movie. And you also did Fantastic Mr. Fox which 100% felt like a Wes Anderson movie. How do you act as a conduit in terms of translating their vision into a different format?

Because their visions are so specific, and because with this medium you’re actually making real art that can sit on a table or something, it appeals to strong artistic visions. To me it’s a very satisfying place to go, into the minds of these visionaries.

What’s the biggest stumbling block in interpreting all of that?

It’s important to know what’s important to Tim. In the scenes where he said, “no. Do that again. It’s not right.” Some of those were surprising to us. Like the re-animation sequence, we basically did it like it was in the 1984 short. But there were things he wanted to re-do and shots he wanted to add. It was one of the first things we did and he had a specific way that he wanted it done. And, by addressing that, I think we earned his trust for the later sequences.

When you’re asked to do something again, how many weeks of work is that?

It depends on how long the shot is. Sometimes it takes two weeks to do a shot and if he wants one of those done again it’s a big hit to the production. At the same time, if it’s not done right it’s an even bigger hit to the production.

I have to ask about Guillermo Del Toro’s Pinocchio.

That seems to be moving forward. There was one version and now there’s a new version and I just got back to LA so we’re just now hashing that out. But Guillermo is an amazingly charismatic, fascinating and brilliant man. So I’d go on any journey he wanted to take us on. So we’ll see, but he has some very specific ideas.

There’s a new version? Can you clarify that?

Well he wasn’t going to be one of the main directors. He was producing, but now he’s directing it. And that’s an amazingly good turn. His passion and energy and imagery are so inspiring. It’s amazing to be in a room with all of that.

The post [Interview] ‘Frankenweenie’ Producer Allison Abbate On Bringing Tim Burton’s Vision To The Screen And Guillermo Del Toro’s ‘Pinocchio’! appeared first on Bloody Disgusting!.

“Once there was a lonely woodcutter named Geppetto-who dreamed of having a boy of his own. So one day he carved a boy out of wood and named him Pinocchio.When the puppet comes to life, it’s Geppetto’s dream come true. Except Pinocchio turns out to be not such a nice boy after all. Pinocchio enjoys nothing better than creating mischief and playing mean tricks. As he discovers, being bad is much more fun than being good. For a while, anyway. Happily for Pinocchio, he will learn that there is much more to being a real boy than having fun.”

Del Toro plans to begin shooting in the summer of 2013.

The post First Look At (Gris Grimly’s) Concept Art For Guillermo Del Toro’s ‘Pinocchio’ appeared first on Bloody Disgusting!.

Guillermo Del Toro might be the busiest man alive. But he isn’t going to let that distinction keep him from making his foray into stop motion animation with that is now called Guillermo Del Toro’s Pinocchio for the Jim Henson Company. Actually he’ll be co-directing it with with Mark Gustafson, who was the animation director on Wes Anderson’s The Fantastic Mr. Fox.

Per Variety, “Guillermo Del Toro will co-direct ‘Guillermo Del Toro’s Pinocchio’… he plans to begin shooting in the summer of 2013. It’s the first time he’s directed an animated feature. Story will be set in Italy between WWI and WWII. ‘It was when everyone was behaving like a puppet, except for puppets,’ Del Toro said. Del Toro said no casting decisions have been made but noted he’s considered Tom Waits for the role of Pinocchio’s father and Donald Sutherland for the role of the fox.”

Del Toro disclosed in 2008 that he had began working on a “Pinnochio” project with Henson and artist Gris Grimly, who illustrated a 2002 version of “Pinocchio.” At that point, Grimly and Adam Parrish King were attached to co-direct; last year, Del Toro and Henson Co. announced that Grimly would co-direct with Gustafson.

This is just speculation on my part, but this could actually work out with Del Toro’s schedule just fine. While he’s deep in post on Pacific Rim and has a gajillion other projects lined up, he doesn’t necessarily need to be onset the entire time for Pinocchio (similarly, Wes Anderson was able to direct much of Fox remotely). Stop-motion movies are so painstakingly detailed and take so long to film (up to a year), so much of the process is actually just photographing the movements of the characters. While directing the film will no doubt require a lot of effort on Del Toro’s behalf, it might be something he can multi-task.

Inferno Entertainment will represent the property to international buyers at Cannes Film Festival.

The post Now They’re Calling It ‘Guillermo Del Toro’s Pinocchio’! Guess Who’s Directing? appeared first on Bloody Disgusting!.

The truth of the matter is that Grimly has been working diligently for years on the project, alongside producer Guillermo del Toro, and believes that the hard work will come into fruition this coming summer.

The humble Grimly, who’s the founder of Mad Creator Productions, took to his official blog to respond to the announcement. He walks us through the day he met Del Toro, how he got connected to the Jim Henson Company, and why it has taken years to get off the ground.

“When Pinocchio gets greenlit, Mark and I will go to Europe to direct it and Guillermo will work on his own projects (Haunted Mansion, Mountains of Madness…etc). Pinocchio is not waiting for anything and will go into production immediately. We are thinking this could happen this summer.”

Click here for all of Grimly’s blog, or here for more details on the project.

The post Artist Gris Grimly Responds to Exciting ‘Pinocchio’ Announcement appeared first on Bloody Disgusting!.

As first reported exclusively here on Bloody Disgusting in 2008, Gris Grimly will co-direct with Mark Gustafson, and production will begin later this year. Grimly illustrated a 2002 book of Collodi’s tale that formed the basis for a project that is years in the making.

This version is aimed at an audience 10 years and up, and a bit scarier than the Disney film. Australian rock musician and film composer Nick Cave has signed on to be music consultant and the puppets and 3D elements will be developed with MacKinnon and Saunders, the UK-based facility that worked on The Fantastic Mr. Fox, Tim Burton’s Corpse Bride, and the upcoming Frankenweenie.

In Grimly’s version, once there was a lonely woodcutter named Geppetto-who dreamed of having a boy of his own. So one day he carved a boy out of wood and named him Pinocchio.When the puppet comes to life, it’s Geppetto’s dream come true.Except Pinocchio turns out to be not such a nice boy after all. Pinocchio enjoys nothing better than creating mischief and playing mean tricks. As he discovers, being bad is much more fun than being good. For a while, anyway. Happily for Pinocchio, he will learn that there is much more to being a real boy than having fun.

The post Gris Grimly’s Stop-Motion ‘Pinocchio’ Comes to Life! appeared first on Bloody Disgusting!.