Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

It is not deep, but it is fun to watch. It does have a bit more of an edge to it than other similar films.

In truth, there is barely enough story here to make a film.

This story has more twists and turns than a second-rate soap opera.

Wouldn't have been this specific way, I think Zemeckis would have felt betraying the message itself... It is righfully on the(my) list: to remind me on a yearly basis who we are and how we are (cruel and egocentric race), to constantly remind me, no matter the circumstances, that redemtion is posible, achievable and soul-filling with joy.If you can treat cruely with patience and good deeds with tears, I can guarantee a repeatable, enjoyable and emotional session. Well, not me... Zemeckis can!

"A Christmas Carol", by Charles Dickens, has been regularly adapted to film or television, so even those who haven't read the book know the whole story, and its difficult to bring something substantially different from what already exists. This is bad? I don't think so. Literature classics have always been (and will continue to be) available to be adapted for the movies. We can change perspective, tell things differently or simply be faithful to the book. It's all a matter of taste. Personally, I really like a story that is faithful to the book that gives rise to it, I think its meritorious when adaptation manages to put on screen the magic of words. And, to my delight, I can say that this film has captured the magic of Dickens. So I will not waste time telling the script or commenting on it because its famous enough.Being a film with Disney seal, we're expecting some quality standard, especially concerning to the animations and the whole visual and sound part of the film. I think it's technically perfect or very close to it. My only negative criticism is the somewhat gloomy and Gothic atmosphere that I notice sometimes. Some scenes are, in fact, scary, and this will surely scare some children, to whom parents are going to show this movie for being a Disney movie. I believe, therefore, that some scenes may not be advisable to very young or impressionable children. A very nice point of the film is the cast of voice actors. The most noteworthy name is, of course, Jim Carrey, an actor who has always stood out for his extraordinary use of voice. Soundtrack is good and discreet but does not have the usual songs, which Disney movies have used us to.

OK this is an absolute terrible film what's so great about an old man who doesn't like Christmas and bullies everyone who likes Christmas its so dark my children were scared of scrooge and it only gets worse So he sees a ghost of his dead partner Marley and started screaming at scrooge and its dark Scrooge sees three ghosts the first one was absolutely disturbing with a flame dancing what an utter crap He sees a Viking gigantic looking guy who starts showing him disturbing stuff and says that his partners son tiny tim is gonna dislike what kind of disgusting person could show that in a kids film Ghost three was just sad scary disturbing dark for my kids and the ghost showed scrogges grave and scrooge just turned into a psychotic old man crying and going noooooo And the end is crap as well this film is really not child friendly

Robert Zemeckis has adapted and directed this version of Dickens's much- loved classic and presented it in motion-capture animation, available in 2D and 3D, lovingly intent on preserving the Christmassy brand in every rich and rosy detail. He creates digital imagery derived from live- action performers – just as in his 2004 Christmas fairytale The Polar Express and the 2007 version of Beowulf, which Zemeckis produced. The advantage is that the actors' recreated physical existences are now seamlessly part of an imagined universe and so quite as malleable. Jim Carrey plays Scrooge not merely as an old man, but as the happy young apprentice shown to him by the Ghost of Christmas Past, as the more careworn coming man of business who chooses money over love, and even as the lonely seven-year-old boy. They all look plausibly like the various ages of Jim Carrey – although, for me, the motion-capture technique always makes children's faces slightly creepy and robotic. Carrey plays all the ghosts, too, interestingly suggesting that they are projections of his own conscience. Gary Old man provides the real-world template for both Bob Cratchit and Marley. Zemeckis places the characters in a London that twists and stretches its setting to reflect the macabre mood. Consider Scrooge's living room, as narrow and tall just as he is. The home of his nephew Fred, by contrast, is as wide and warm as Fred's personality. Animation provides the freedom to show just about anything, and Zemeckis uses it. Occasionally, he even seems to be evoking the ghost of Salvador Dali, as in a striking sequence where all the furniture disappears and a towering grandfather clock looms over Scrooge and a floor slanting into a distant perspective. The three starring ghosts are also spectacular grotesques. I like the first, an elfin figure with a head constantly afire and a hat shaped like a candle-snuffer. Sometimes he playfully shakes his flames like a kid tossing the hair out of his eyes. After another (ahem) ghost flies out the window, Scrooge runs over to see the whole street filled with floating spectral figures, each one chained to a heavy block, like so many Chicago mobsters sleeping with the fishes. I like the way that Zemeckis does it. He seems to have a more sure touch than many other directors, using 3-D instead of being used by it. If the foreground is occupied by close objects, they're usually looming inward, not out over our heads. Note the foreground wall-mounted bells that we look past when Scrooge, far below, enters his home; as one and then another slowly starts to move, it's a nice little touch. It's a faithful adaptation, and if you're taking little kids to see it, well, watches out – there are some scary moments, especially the time- honored shocker when ghostly Marley's lower jaw falls away. But there is a weird lack of passion here, almost condescension, and a sense that Scrooge's agonized moral journey into his past is potentially pretty dull, and so Zemeckis is always livening things up by whooshing the old miser excitingly through the night sky between visions – a London thrill-ride perhaps influenced by the Harry Potter movies. The hi-tech sheen is impressive, but in an unexciting way. I wanted to see real human faces convey real human emotions.