Wonka (2023)
Director: Paul King
Screenwriters: Simon Farnaby, Paul King
Starring: Timothee Chalamet, Calah Lane, Keegan-Michael Key, Paterson Joseph, Olivia Colman, Matt Lucas, Matthew Baynton, Tom Davis, Hugh Grant

Willy Wonka is an enigma. In Willy Wonka and the Chocolate Factory (1971), the original adaptation of Roald Dahl’s 1964 novel “Charlie and the Chocolate Factory,” we don’t learn much about him, other than his desire to find an heir to his candy empire, as well as the cruel delight he takes in teaching naughty children a lesson. Wonka is charming and a little unhinged, paranoid from all of the years he has spent locked away in his factory, making sure no one gets their hands on the secret to his out-of-this-world sweets. With a devilish smile and a playful yet devious twinkle in his eye, actor Gene Wilder infuses Wonka with dimension, but we never dig too deep. He’s a nut that we never quite crack, and he works as a character because of that. There’s a reason why the original novel is called “Charlie and the Chocolate Factory” after all – at the end of the day, it’s Charlie’s journey. Wilder’s performance hints at the layers inside of Wonka that we don’t need to unpeel, but nevertheless know are there. Wonka, the spiritual prequel to the 1971 musical classic, helmed by Paddington director Paul King, does unpeel those layers, but what’s found underneath is a deeply disappointing origin story that lacks the magic and edge that the original (and even Tim Burton’s 2005 remake) has in spades. Touted as a fun-for-the-whole family Christmas classic in the making, Wonka simply doesn’t have enough sparkle to ever hope to achieve that distinction.

Despite its tagline, which insists we will find out how “Willy became Wonka,” Timothée Chalamet’s version of the famous candy maker and magician doesn’t actually become anything. He just kind of already is.

The film begins with Willy, bright-eyed and bursting with optimism, atop a ship mast, where he begins his “I Want” song, “Hatful of Dreams”. Willy arrives in an unnamed city, fresh off the boat, ready to share his chocolate with the world, as his mother (Sally Hawkins) always hoped he would. Willy is earnest and determined, living on nothing but a dream. But the Galeries Gourmet is not what Willy initially imagined it would be. Instead of spreading his creations, he faces opposition and sabotage from three greedy chocolate makers, including Arthur Slugworth (Paterson Joseph), who will soon become his arch-nemesis. Willy then gets tricked into indentured servitude because he cannot read and fails to read the small print on his contract with Mrs. Scrubitt, played by Olivia Colman doing her best over the top Madame Thénardier impression. Aided by Noodle (Calah Lane), a fellow indentured servant and orphan who becomes Willy’s assistant, as well as the rest of the workers, Wonka bids to outsmart the trio and earn the freedom of himself and his friends.

Timothée Chalamet might be the only saving grace in the film, contrary to early assumptions that he may have been miscast. At times he’s charming, funny and endearing, but his performance is constantly in flux and dependent on the material and direction he’s given. When his jokes don’t land, his performance falls flat, even though he is clearly committed to the bit. Thankfully, he doesn’t try to do an impression of Gene Wilder, but he also doesn’t make the character enough of his own to really stand out. This isn’t his fault; he isn’t given much to work with.

All of the obstacles Willy encounters are external. Whether it’s Mrs. Scrubitt’s dishonest business practices, the antics of the greedy chocolatiers, or Hugh Grant’s Oompa-Loompa hijinks, the plot is always happening to Willy. He is almost entirely a reactionary character, and this is a problem in a movie that is supposed to be an origin story, the story of how he became who he is. It would have been nice if he actively participated in the narrative…

Willy’s desire to share his inventions with the world just as his mother hoped is sweet and admirable, but it simply isn’t enough to drive what we see. The writers, King and Paddington 2 co-writer Simon Farnaby (who also appears in Wonka as Basil), were backed into a corner considering Willy Wonka is a recluse by the time we meet him in the original movie. Telling that story would certainly be more interesting, but not very uplifting, so the filmmakers sidestep it entirely. As a result, there doesn’t seem to be any connection between Chalamet’s Wonka and Wilder’s.

Demystifying a character that works the best when we don’t know everything about him is a non-starter (as proven in Star Wars spin-off Solo), but the filmmakers didn’t give much thought to the supporting characters either. Lane and Chalamet work well together, and their friendship is a bright spot in the movie, but most of the supporting characters are so thinly drawn they barely register as real people. As for Hugh Grant’s Lofty, an Oompa Loompa who has been stealing Willy’s candy because he was excommunicated from Oompa Land until he can get back all of the chocolate that Willy stole, he’s surprisingly in very little of the film. The motion capture is jarring and unconvincing, but at least Grant’s contempt for the role, which he has expressed in several recent interviews, doesn’t show on screen.

Wonka, like the original film adaptation, is a musical, but not a very good one. The songs, written by Neil Hannon, King, Farnaby, and Joby Talbot, are unremarkable and lack passion, which is a shame considering Hannon’s exceptional work with The Divine Comedy. The songs in Wonka, especially Willy’s “Hatful of Dreams,” pale in comparison to those written by Howard Ashman, the songwriting genius behind the iconic tunes of The Little Mermaid (1989) and Beauty and the Beast (1991). By comparison, “Hatful of Dreams” lacks interiority or reflection. Perhaps the biggest faux pas in this regard is how Willy’s desire to sell chocolates in the hopes of reconnecting with the spirit of his late mother is barely mentioned. Songs in musicals should, in theory, take place when characters are so full of emotion that words no longer feel enough. And then, they must dance when singing doesn’t feel enough. But nothing drives the songs in this movie and they don’t feel needed. They are boring and directionless. Chalamet’s voice is fine, if a little weak and thin in places, but it’s worth noting that his best performance is when he sings “Pure Imagination”, a song not originally written for this film.

Wonka also strips away any of the melancholy or dark comedy found both in the 1971 movie and Roald Dahl’s overall work. The 1971 film feels a lot like “Alice in Wonderland” in that it is a dreamlike and slightly menacing descent into a magical world, but Wonka smooths all those edges out. As a result, the movie is sickly sweet and above all, nice. Which is ironic, because while the filmmakers were busy adding uplifting lyrics to “Pure Imagination” and simplifying the orchestrations, themes, and social commentaries of the 1971 film, they also made time to make several offensive and outdated fat jokes, aimed at Keegan Michael Key’s Chief of Police, who is dressed in a ridiculous fat suit and gets fatter and fatter the more he indulges in the sweets the greedy chocolate makers use to bribe him with. Using fatness as a shorthand for gluttony and greed, and having an actor who is not fat perform fatness, is hurtful and mean-spirited. It’s hard to believe such an antiquated trope is included in a film made in 2023 – especially one made about the wonderful taste of sweet treats – and it sours the viewing experience. For all of the niceness this movie tries desperately to exude, it makes sure to keep one of the only things from the original film that actually needed updating.

If Wonka is trying to say something, it’s hard to know what that something is. The film plays with themes of oppression, poverty, and greed, but doesn’t do much with them. It would be a losing battle to assume that Western filmmaking would trust its young audience enough to sprinkle in some adult themes, but it is equally weird to mention them in passing and not engage with them. Believing in your dreams and sharing those dreams with others should feel like magic, but the film doesn’t allow us to know these characters enough to genuinely care about them or their dreams.

The sets also leave something to be desired. When Wonka first unveils his factory in the original film, it’s a technicolor dream, calling to mind the reveal of the land of Oz in 1939’s The Wizard of Oz. It is bright and colorful and a little surreal. Wonka feels like a step down in comparison, and the filmmakers’ decision to set a good chunk of the film in the Galeries Gourtmet makes the world of Wonka feel like it’s just floating in space surrounded by nothing. It is small and claustrophobic.

Prequels bait us with the promise that we will get to see some of our most beloved characters become the people we love and remember from our childhoods. In Wonka, Willy may be younger and brighter and less mad than he will soon become, but if you are counting on the film to show you how that happens, you will be very disappointed. Instead, Wonka is a barely passable movie musical that is so sugary it ends up choking on its own sweetness.

Score: 12/24

Recommended for you: ‘Willy Wonka and the Chocolate Factory’ (1971) Earned a Spot in Joseph Wade’s 10 Best Films of All Time

Movies discussed include The Godfather, Seven Samurai, Blade Runner, The Lord of the Rings, Spider-Man: Into the Spiderverse, Pan’s Labyrinth, and many, many more.

The goal of our top 10 lists here at The Film Magazine was to help showcase our team’s personalities and spotlight movies that are important to film history and ourselves. Everyone’s lists are worth a read, as the different approaches, perspectives, and personal histories brought something unique that other writers had not seen before.

As Kieran noted in his list, these are not necessarily favorite films, though there is some crossover. Jacob’s list aims to cover Western film history from the silent era through 2016, the latest entry on his list. Kieran’s approach was to showcase “the peak of cinematic mastery,” and controversially includes a film trilogy as one entry (a fun topic of debate amongst the hosts). Sam’s list spans genre and history to find the films that impacted him the most throughout his life. Since there are 30 different films discussed, this episode is a bit longer than usual, and is the first of the new livestream episode format. Each approach yielded a list unique to the podcast, and we are proud to present the Second Cut episode on the Top 10 Best Films of All Time.

The Film Magazine’s Team page, with links to everyone’s Top 10 lists in their bio!

Jacob Davis: Jacob’s Top 10 Best Films of All Time

Kieran Judge: Kieran’s Top 10 Best Films of All Time

Sam Sewell-Peterson: Sam’s Top 10 Best Films of All Time

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Join us for our next episode, where we go back to our roots and discuss famous film flops! Because who doesn’t love a box office bomb with a fun story? Elizabeth Taylor’s old Hollywood epic Cleopatra, the Robert De Niro and Liza Minnelli musical New York, New York, and the Michael Cimino western Heaven’s Gate will all make an appearance.

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For requests, suggestions, and feedback, email the hosts at secondcutpod@gmail.com.

Film gets me where I live like little else and has done ever since I was a teenager. It’s almost impossible to pick just 10 films to stand in for over a century of my favourite form of artistic expression, so what follows are a combination of groundbreaking, ageless films and the most personally impactful cinematic works for me, today. 

Follow me on X (Twitter) – @SSPThinksFilm

10. Spider-Man: Into the Spider-Verse (2018)

Spider-Man: Into the Spider-Verse Review

This one’s a twofer. I love animation and I love superhero movies, and Spider-Verse is one of the finest examples of both to release in the last decade.

After being bitten by a radioactive spider, awkward teen Miles Morales (Shameik Moore) is thrust into inter-dimensional superherodom when his universe’s Spider-Man is killed in action. Miles must overcome self-doubt and team up with the many very different spider-people from other realities to stop his, and all other worlds, from being destroyed. 

Animation is cinema, it has the potential to visualise anything you can imagine, and while I could have picked any number of films from Studio Ghibli, Laika, Disney or Pixar, nothing else was as revolutionary and influential to the medium’s aesthetic than Sony Picture Animation’s Spider-Verse in recent years. This didn’t look or feel quite like anything else, a living comic book packed with pleasing details and gags referring back to print mediums and constant movement and dynamism. 

Few adaptations of popular characters manage to sum up their very essence with a single perfect phrase, but this film distils it all with “anybody can wear the mask”. So many superhero movies get the basics fundamentally wrong, but this gets it just so right – Spider-Man has always had incredible powers but struggled to balance his superhero responsibilities with everyday ones, and the same goes if you’re a dual heritage teenager, a cartoon pig or a black-and-white detective voiced by Nicolas Cage.

Recommended for you: Spider-Man Movies Ranked

9. The Wizard of Oz (1939)

The titanic cultural influence of the MGM fantasy musical The Wizard of Oz is often criminally overlooked. Musicals speak to me as a form of extroverted expression I could never hope to take part in myself, but Oz also stands for the whole fantasy genre.

This rough adaptation of L. Frank Baum’s children’s fantasy novel follows young Dorothy Gale (instant star Judy Garland), a Kansas dreamer who is swept away to the magical land of Oz by a tornado where she is persecuted by the Wicked Witch of the West (Margaret Hamilton, still terrifying) as she quests to find her way home.

It wasn’t just the way film musicals were staged for decades it inspired, either. Next time you watch Peter Jackson’s Lord of the Rings Trilogy and see the orc armies marching past the gates of Mordor, think about how similar the blocking and the aesthetic is to the patrols outside the Wicked Witch’s castle.  Speaking of the Wicked Witch, you know the classic green-skinned, warty-nosed, pointy-chinned default look for such characters at Halloween? That comes from this film as well. And Margaret Hamilton’s all-timer of a baddie performance in contrast to the uncomplicated good of Dorothy and her companions is still one to behold. 

The “it was all a dream, or was it?” story structure is clichéd now, but this helped start it all. Startling Technicolor fantasy is kept entirely separate from sepia reality (the moment one world becomes the other still takes your breath away), but there is always that playful, winking final scene for you to hope that Dorothy perhaps has further adventures on her horizon. 

Golden era classic The Wizard of Oz (1939) is to be remade at Warner Bros, with ‘Black-ish’ creator Kenya Barris already contracted to write and direct. 

The project is, according to Deadline, set to be a modern reimagining of the timeless technicolour masterpiece that starred Judy Garland as a young girl transported to a magical land of witches and wizards.

Though little is known about the project at such an early stage in its development, it is confirmed that Kenya Barris will write, direct and produce the film through his label Khalabo Ink Society. Sheila Walcott will act as executive producer on behalf of Warner Bros.

Barris, known primarily for his work on ‘Black-ish’, has acquired a number of writing credits over the past half decade, including: Girls Trip, Shaft, The Witches, Coming 2 America and Cheaper by the Dozen. Fans of the original Wizard of Oz will be hoping that this next project can prove less divisive than these films, the majority of which have come under criticism for poorly reimagining/rebooting popular films/franchises.

As a director, Barris is yet to make his feature debut. That will come in the 2022 release of his original comedy You People. The film, co-written by Jonah Hill, will follow a new couple tackling cultural clashes, societal expectations and generational differences. You People will star the likes of Eddie Murphy, David Duchovny and Julia Louis-Dreyfuss.

Other upcoming Kenya Barris projects include a writing credit on the remake of White Men Can’t Jump.

Follow @thefilmagazine on Twitter to keep up with the latest developments on this story.

If you’re an avid follower of The Film Magazine, you will probably be aware that most of the team are nostalgic types. By that, I mean we’re each desperately clinging on to the shreds of our childhoods that we can still remember. Our very own Katie Doyle recently explored ‘The Dark Crystal: Age of Resistance’; the new evocative series from Netflix and The Jim Henson Company. In her article, she wrote of how The Dark Crystal and other incredible nostalgia movies “encapsulate the iconic fantasy of the eighties”. In this piece, I’m going to take this nostalgia even further. Let me take you back eighty years to 1939. Social tensions were high, the internet was non-existent, and The Wizard of Oz had just been released. That’s right; 2019 marks the 80^th anniversary of The Wizard of Oz. Oh my!

Victor Fleming’s ‘technicolour triumph’ soared in popularity through one of the most turbulent times in modern history. At the very beginning of the Second World War, The Wizard of Oz was one of the first Hollywood movies to be filmed in three-strip technicolour; a complex, timely and expensive process. However, the end product triggered a revolution for its studio MGM and the film industry at large. This new technology allowed movies to contain sound and colour, which of course we now realise the dynamic influence of. Looking at the film eighty years on, it is clear to see that colour was used as a medium of message, and that The Wizard of Oz is a prime example of the first hints of coloured symbolism (as we know it today) in cinema.

After surviving her twister ordeal, Dorothy opens her door to Munchkin Land, an incredibly vibrant world of colour and imagination. Her grey and sepia-toned life becomes rich and bright, her dress turns blue; her skin is white. Colour contrasts and differences are quickly established, with the “baddies” presented as green-skinned and dressed in black. These dissimilarities reflect the racial stereotypes and disputes that occurred in America in the early 1900s after the Civil War. Furthermore, the start of German conflicts in 1939 sustained this difference and extended it to more than just the colour of someone’s skin. In thought, could the whole Munchkin Land scene have in fact been a total mockery? Was it added purely to jest at height, facial features and tone of voice?

The seemingly magnificent Emerald City is another object of grandeur elicited by L. Frank Baum in his original novel, “The Wonderful Wizard of Oz”, which suggests tensions and difference in social class at the time. Baum believes the citizens of the Emerald City to be “selfish, stingy and false”, associating them with the colour “wealthy green”.  When Dorothy and her friends arrive at the Emerald City, a distinct difference is presented in character behaviour as well as colour. Our four protagonists are stared and pointed at by extravagant individuals all wearing green. We’ve already understood that green is a no-go in this movie, but surely these people can’t be baddies too? They’re all singing a lovely, happy song – so they must be friendly! Well, yes, nothing bad happens… but it is made clear that Dorothy and her friends do not belong. They are groomed and cleaned up to look ‘perfect’ in the eyes of the Emerald City. Buffed, polished and decorated in green ribbons, our characters look ready to sit under the Christmas tree. Underneath all this frivolity is a hidden segregation of rich and poor, and the desire to be of a higher social class. Even the lyrics to Harold Arlen’s “Merry Old Land of Oz” hint at a subtle affluent undertone with, “that’s how we keep you young and fair” and “that certain air of savoir faire”. The colour orientation within this scene and in Munchkin Land allows the audience to understand key relationships among the characters but, more importantly, it crucially influences the audience’s views of the world and society.

One important message I’m sure we can all take from The Wizard of Oz is that “there’s no place like home”. While Dorothy’s journey was life-changing and wondrous, and she made new friends, her family came first above all, and home is the only place she wanted to be. It’s an admirable thing to want after a lousy day on the farm before the twister came along. But, reading into the movie’s iconic tagline, it’s not surprising that this gained so much recognition.

1939 was a desperate year. The conflicts between the Axis and Allies in the Second World War sent their citizens into turmoil. Tensions were high; fingers were being pointed left, right and centre. Society was falling apart. The war began in September 1939, one week after the US release of The Wizard of Oz on August 25^th. When it was thought that all hope was lost, this magical story soared in and helped to spread a tiny bit of peace, bringing four vital qualities required to get through the war; courage, logic, love and hope. Dorothy’s adventures through Oz were not coincidental – she was the symbol of America. A young farm girl who is desperate to seek new worlds ‘over the rainbow’, finds herself lost and alone in a distant land, but becomes the epitome of true American patriotism. Journeying through the unknown, she becomes the saviour of her three new acquaintances, each of whom are searching for their missing piece; pieces which to her they already have. Upon meeting the real Wizard of Oz, the group find that they already possessed the qualities they believed they lacked. Scarecrow has just as much of a brain as a University scholar, Lion is deemed to be heroically wise and is awarded a medal, Dorothy discovers that her ruby slippers can transport her home, and Tin Man’s heart is proven to exist with The Wizard’s beautiful quote; “a heart is not judged by how much you love, but by how much you are loved by others”. In a time of doom and gloom, Victor Fleming’s masterpiece was like a war cry; a heartfelt message to those suffering during wartime, and an encouraging push to keep calm and carry on.

In amongst all the chaos between 1939 to 1945, Dorothy and her companions became a small beacon of light in a world of darkness. “Gaiety! Glory! Glamour!” was a slogan that advertised this unforgettable spectacle – three words that took the world away from the hatred and disorder of war, at least for a few moments. Despite its underlying philosophies and meanings, the incredible story from L. Frank Baum was brought to life at a time when society needed it most; when we needed the courage of a cowardly lion, the brains of a stuffed scarecrow, the heart of a rusty tin man, and the hope of a young girl.

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The colder and darker evenings are perfect for getting cosy on the sofa in front of a film with a cup of hot cocoa or mulled wine. For those of you who are stuck for something new to watch, we have compiled a list of some of the best vintage and classic films that are sure to warm you up in the Winter months.

All That Heaven Allows (1955)

This 1955 drama starring Rock Hudson and Jane Wyman will have you dreaming of being in a quaint little log cabin in the woods with that special someone. The thought of a warm fireplace on a snowy night, love overcoming all obstacles, and the beautiful final image of a deer walking through the snow. Could you ask for anything more?

The Wizard of Oz (1939)

This classic musical starring Judy Garland has taught generations that ‘there’s no place like home’. A wonderful family film that brings everybody together, The Wizard of Oz is timeless.

Modern Times (1936)

Directed, written by and starring the iconic Charlie Chaplin, Modern Times is relevant to its pre-WWII era but remains identifiable to this day. The highly-rated silent movie presents a strong lead character getting through rough times in life and pulling through all of his struggles with love. The setting of the industrial revolution gives a ‘stick it to the man’ attitude that radiates a feel-good tone.

City Lights (1931)

Charlie Chaplin movies will never feel outdated, yet while City Lights can be watched any time of year, the warmth that Chaplin’s character presents and the love in his heart is sure to make you feel fuzzy like we all wish to feel in the coldest of months. This silent slapstick movie will also have you belly-laughing throughout.

Bringing Up Baby (1938)

A rib-tickling comedy starring Katharine Hepburn, Cary Grant, a dinosaur and a leopard. I know what you’re thinking, but trust me, it works. Ridiculous and hilarious, if the laughs don’t warm you up, the endearing lead characters will.

As with any of our countdowns, we set some criteria when making our decisions and for this list there were a lot of rules. We therefore felt we needed to share them with you:

1. It is as it says in the title the musical numbers had to come from Films classed as Musicals.

2. The list was judged on the song itself and its overall performance, so if you don’t see some of your favourite dance numbers here don’t worry that is for a different list.

3. There are no entries from Disney on this list whether live action or animated that is also for another list.

4. We stuck to once entry per film in order to keep it a fair fight.

That’s it, all you need to know. We hope you enjoy our count down. Let us know what you think.

Number 30: Getting To Know You – The King and I (1956)

Director: Walter Lang

Number 29: And I Am Telling You, I’m Not Going – Dreamgirls (2006)

Director: Bill Condon 

Number 28: Anything Goes – Anything Goes (1956)

Director: Robert Lewis 

Number 27: Dentist! – Little Shop of Horrors (1986)

Director: Frank Oz

Number 26: The Man That Got Away – A Star Is Born (1954)

Director: George Cukor

Number 25: Keep It Gay – The Producers (2005)

Director: Susan Stroman

Number 24: Wouldn’t It Be Loverly? – My Fair lady (1964)

Director: George Cukor 

Number 23: Elephant Love Medley – Moulin Rouge (2001)

Director: Baz Luhrmann 

Number 22: Oh What A Beautiful Mornin’ – Oklahoma (1955)

Director: Fred Zinnemann

Number 21: Please Mr Jailer – Cry Baby (1990)

Director: John Waters 

Number 20: The Phantom of the Opera – The Phantom of the Opera (2004)

Director: Joel Schumacher 

Number 19: Falling Slowly – Once (2007)

Director: John Carney 

Number 18: A Little Priest – Sweeney Todd: The Demon Barber of Fleet Street (2007)

Director: Tim Burton

Number 17: Have Yourself A Merry Little Christmas – Meet Me In St. Louis (1944)

Director: Vincente Minnelli

Number 16: One Day More – Les Miserables (2012)

Director: Tom Hooper

Number 15: You Can’t Stop The Beat – Hairspray (2007)

Director: Adam Shankman

Number 14: I’d Do Anything – Oliver! (1968)

Director: Carol Reed 

Number 13: Mein Herr – Cabaret (1972)

Director: Bob Fosse

Number 12: Don’t Rain On My Parade – Funny Girl (1968)

Director: William Wyler 

Number 11: Jailhouse Rock – Jailhouse Rock (1957)

Director: Richard Thorpe 

Number 10: All That Jazz – Chicago (2002)

Director: Rob Marshall

Number 9: America – West Side Story (1961)

Directors: Jerome Robbins and Robert Wise 

Number 8: Chitty Chitty Bang Bang – Chitty Chitty Bang Bang (1968)

Director: Ken Hughes 

Number 7: Pure Imagination – Willy Wonka And The Chocolate Factory (1971)

Director: Mel Stuart 

Number 6: Don’t Cry For Me Argentina – Evita (1996)

Director: Alan Parker 

Number 5: Summer Nights – Grease (1978)

Director: Randal Kleiser

Number 4: Sweet Transvestite – The Rocky Horror Picture Show (1975)

Director: Jim Sharman 

Number 3: Do-Re-Mi – The Sound of Music (1965)

Director: Robert Wise 

Number 2: Somewhere Over The Rainbow – The Wizard Of Oz (1939)

Director: Victor Fleming 

Number 1: Singin’ In The Rain – Singin’ In The Rain (1952)

Directors: Gene Kelly and Stanley Donen