“Generally, people either love Tonya or..not big fans.’ So says Julianne Nicholson’s Diane Rawlinson early in I, Tonya: ‘Just like people love America or are not big fans.’ A brilliantly pitched understatement, the line offers bitingly funny insight of the sort the film lacks as a whole.
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First, he was made an unwilling global megastar and now young Christopher Robin, son of Winnie-the-Pooh writer A. A. Milne, has become a metaphor. Better known in his early years as Billy Moon, C. R. Milne is an icon of humanity in Simon Curtis’ Goodbye Christopher Robin; a Heaney-esque symbol of the death of childhood and exploitative evils of the world. The true story of the creation of Milne’s beloved bear is surprisingly devastating and one possessing very little by way of a happy ending for its protagonists. Yet, with an ample spoonful of sugar (Saving Mr Banks is a spiritual sibling), Curtis’ film retelling of history is by equal measure twinkly and delightful. This hundred acre wood is thicketed with hugely winning adventure and yet tinged with saccharine sadness.
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