It’s true that classical ballet doesn’t always translate into movies. They were once called “the talkies” after all, and ballet isn’t known for its dialogue. Typically, when we think of ballet and film, two plots come to mind: either the romantic hip hop/ballet mashup, or soloists stabbing each other backstage. We don’t often see classical ballet stories like Giselle or Paquita transformed into Hollywood movies. Even as a narrative device, live action movies will use animation for exposition (think Harry Potter and the Deathly Hallows 1) but ballet is either too “artsy” or too abstract. The Nutcracker and the Four Realms transforms a well-known ballet into a true Disney spectacle, bringing the Christmas-saturated experience to the cinema for everyone to enjoy. It has no problem mixing action and movie stars with pointe shoes and Tchaikovsky. If you love ballet, have a soft spot for children’s adventure stories, and an honest appreciation for set design then you will probably love The Nutcracker and the Four Realms.
Every summer, when it gets ridiculously hot outside, I like to cool off with a movie about snow. Usually it’s The Day After Tomorrow. This year I went with something a little more festive with a lot less realistic accuracy. The Nutcracker and the Four Realms is based on the Nutcracker ballet which every dance company is contractually obligated to 
perform annually until the end of time. It’s tradition. The movie borrows the ballet characters’ names but takes some serious liberties with everything else. Clara (Mackenzie Foy) and her two siblings have just lost their mother. Given that it’s Christmas Eve and they are 100% Victorian, their father (Matthew Macfadyen) forces them to save face and keep up appearances by going to a lavish party. To kick off the evening, he gives them each one gift from their deceased mother: toy soldiers, a dress, and a mysteriously locked silver egg for Clara. A scientist and engineer in training, Clara is intrigued by the egg and takes it to her godfather, Uncle Drosselmeyer (Morgan Freeman), for answers. Drosselmeyer gives some very Morgan Freeman advice about the egg’s key and sends Clara on a fantastical adventure into a secret kingdom of four realms populated by formerly sentient objects that Clara’s mother brought to life. I mean, sure. When Clara announces that her full name is (Starburn? Storebaln? Strombald?) Clara Stahlbaum, the whole kingdom bows to her 
leadership – except for one. The Fourth Realm and its regent, Mother Ginger (Helen Mirren), is at war with the other three. Sugar Plum (Keira Knightley) insists that if Clara can find the key to the mysterious egg then it will unlock the defenses needed to protect what’s left of her mother’s kingdom from Mother Ginger.
So, it’s not exactly like the ballet. I’ve even seen a barnyard version of The Nutcracker and it was still closer to the authentic story than this movie. But there’s something to be said for modernization and replacing a few dance solos with plot. Clara is more than just a girl who gets a nutcracker for Christmas – thank you, Uncle Drosselmeyer, for the super weird gift – she’s a mechanic and an 
engineer. Instead of being true to the ballet and shrinking Clara down so that the Nutcracker can bring her back to his kingdom via sled for one special night of sweets and snowflakes, Clara tumbles into a political conflict that requires strong leadership and at least four dress changes. The Nutcracker is actually a Captain (Jayden Fowora-Knight) whose life’s purpose is to guard a bridge, until Clara comes along and offers a more lively alternative. The terrible rat king is really a mouse prince who can psychologically morph his colony into a giant, shape-shifting monster. This all falls under the “Four Realms” part of The Nutcracker storyline.
If you’re a die-hard groupie of the ballet then there are a few accurate moments to savour. The ballerina is one. Misty Copeland, principal dancer with the American Ballet Theatre, makes two cameos: first as entertainment at 
Drosselmeyer’s Christmas Eve party and then as the Ballerina Princess. She dances us through the story of how Clara’s mother populated the Four (now Three) Realms. The dance replaces typical exposition and is a welcome break from CGI mice and excessive character acting. Tchaikovsky’s music is present throughout and carries us away to a theatre-like experience.
Otherwise, the movie is very Disney. It’s like Narnia ran into the Wizard of Oz at summer camp and they fell down the rabbit hole into a copywrite negotiation. It all feels so familiar. Visually, the set design cloaking this questionably trademarked story is spectacular. It changes with every scene into another creative collage with so many details that it’s hard to focus. Each Realm has their own colour tone and streetscape, although I will take this moment to mention that just because someone’s town is foggy does not make that place evil. It’s just weather. Clara should know this; she’s English. The Nutcracker and the Four Realms gets extra creativity points for matching the Realms’ décor with the costumes. Plus, every swishing and swooping gown comes with pockets so there’s an automatic win.
The story is still very childish. A girl enters a land where everyone worships her and gives her a meaningful yet relatively straight-forward task that will cement that worship for all eternity. The twist half way through (spoiler alert) sees our sweet Sugar Plum turn from cotton candy regent into instant whip cream dictator. With one life-giving zap to a few obedient tin soldiers, Sugar Plum’s dress straps fall into harlot position and she yells commands like a sleepy Jessica Rabbit. I saw it coming, but it was still a weird transition. Meanwhile, Clara learns that everything she needs to be smart and brave has been insider her all along.
No one explicitly says that Clara is her mother’s favourite child, but we all know. The Realms know, the nutcracker/captain knows, even her father knows. No one tries to hide the favouritism, but Clara’s brother and sister don’t seem to mind so it’s all good fun. The Nutcracker and the Four Realms is a winter movie, unless you’re sweltering in a heat wave and will happily live vicariously through characters jumping into snowbanks. The Nutcracker and the Four Realms is a childhood adventure movie like Narnia or Alice and Wonderland; it doesn’t make gripping sense but is close enough to reasonable that it can carry us along. The dancing, the costumes, and the sets are the best part. The Nutcracker and the Four Realms is a steady, Christmasy 5/10.
Plenty of Popcorn 