![]() ![]() Eventually additional characters show up just to enlarge the body count. One doesn’t even make it as far as the cottage others never develop identities beyond Bitchy Blonde, One With Glasses, Lesbian Couple, etc. On a therapist’s recommendation, she seeks tranquility via a country rental-property weekend with five young women friends. We next meet Maria (Maria Taylor), who’s suffering PTSD from being stalked by a creepy admirer. Then we’ve got grown-up, live-action Christopher Robin (Nikolai Leon) returning to the forest to introduce his old pals to his wife (Paula Coiz). This backstory is accompanied by some very simple line-drawing animation, which is underwhelming but turns out to be the best thing “Blood and Honey” has to offer. They then swore vengeance at their abandoning patron, as well as all humankind. Once he packed off to college, however, they went feral, consuming poor Eeyore whole during one long cruel winter. Indeed, a narrator starts off explaining that young Christopher Robin befriended a group of “crossbreeds, abominations” (as opposed to nursery toys) as a wee lad, keeping them tame and well-fed from the family larder. This movie could just as well be called “Michael Myers-Type Unstoppable Killing Machine And His More Texas Chainsaw-ish Pal Run Amok.” The only reason we associate it with Milne’s universe is because the film keeps verbally telling us to do so. All we get is a guy in a cartoonish Halloween “bear” mask (Craig David Dowsett) and another in a “pig” mask (Chris Cordell) -it’s hard at first to figure which is which - running around killing people. There is an undeniable subversive appeal in the notion of that sweetly self-contained world being warped to pulpy adult genre purposes.īut the primary (though by no means only) disappointment of “Blood and Honey” is that it does almost nothing to send up or even riff on the conventions of the Pooh universe. Through all incarnations, there’s been a relative faithfulness to the spirit if not the letter of the original stories, reflecting their problem-solving yet reassuring tenor as what preschooler Christopher Robin imagines his stuffed animals’ inner lives to be. ![]() Shepard’s drawings) were greatly expanded in popularity by other media, particularly once Disney attained the rights in the early 1960s. Of course they (and the visual template provided by illustrator E.H. The characters and gentle whimsy of Milne’s Hundred Acre Wood are so familiar to multiple generations that one might forget it all springs from just two books, “Winnie-the-Pooh” (1926) and “The House at Pooh Corner” (1928), plus some poems. But while it would be nice if this film’s windfall improves the quality of its producers’ future projects, that fluke pop-culture awareness is unlikely to occur again - certainly not among viewers who’ll still be chagrined at having paid actual money to see a movie this amateurish. distribution, with other territories concurrent or imminent (it’s already opened in Mexico), and home formats on hold until that limited run has played out. A sequel is already in the works. Nonetheless, that gimmick, combined with some early images and clips, propelled prolific micro-budget shingle ITN Studios’ latest project to viral notoriety, resulting in its first theatrical release after a purported 700+ titles in 32 years. The first (and, let’s hope, worst) consequence of that development is “Winnie-the-Pooh: Blood and Honey,” a rock-bottom joint that fails to meet even the most basic expectations set up by its conceptual gimmick. ![]() Milne’s most famous creations ran out, releasing - or perhaps condemning - them to the public domain. Last year the copyright protection on British author A.A. ![]()
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