Where the Wild Things Are takes a classic nine-sentence children’s story and translates it into a fantastic muppet soap opera. When the original was written by Maurice Sendak, it was among the first children’s book that dealt with the “unhappy” emotions of childhood.
It opens with Max racing around causing “mischief of one kind or another” while wearing his iconic wolf costume. His mother eventually sends him to his room without dinner. Trapped there, Max imagines a jungle and ocean engulfing his room, eventually taking him to an island where “the wild things are.” They declare him their king after he tames them and starts the rumpus. Afterwards a vindictive Max sends them to bed without supper. Being lonely, the boy returns home where he finds a meal waiting for him…”and it was still hot.”
Aside from some comical exaggerations and fantastic sets, there isn’t really much here for children despite the material being drawn from a children’s book.Instead of a light story about a child’s imagination, the movie has the feel of an adult trying to apply depth and importance to a child’s game of make believe.
Each monster is a clear allusion to some of the conflicting emotions of Max’s personality until he is no longer his own unique character, but rather just another facet of his own personality; his own conscience trying to keep his emotions in check.
Carol, a horned, scaly bear monster, has high hopes and a short temper. His tantrums echo scenes where a frustrated Max trashes his teen sister’s room after she leaves him to hangout with her friends.
That relationship is echoed between Carol and KW, the shaggy monster with long duck feet. Carol spends most of the movie upset that KW is growing distant from the main group, while KW tries to reconcile her old group of friends with her new friends.
Judith, a shaggy creature cross between a rhino and a lion, is extremely self-centered and critical; traits complement Ira, a big-nosed beast who craves any attention, good or bad.
Alexander, a bipedal goat, is the smallest of the monsters and constantly left behind by the others, yet always trying to match them in any and all activities.
The monsters have complex relationships and “deep” emotions, leaving the viewer with the feeling that there’s always a more relevant story here that is briefly explained.
Tensions run high amongst the volatile monsters, with plenty of threats to eat each other and a comment by KW that Max “is the first king we didn’t eat.”
12-year-old actor Max Record’s portrayal of the nine year old main character Max is believable, from his childish seriousness when it comes to building a snow fort stocked with snowballs to the innocent way he defends a friend who just moments ago was trying to eat him.
For being 10-foot tall puppets stuffed with actors and CGI limited to enhancing facial expressions and Olympic worthy jumps, the monsters have well done performances, bridge the gap between grown-up emotions and childish reactions.
A whimsical indie soundtrack works consistently in the background to reinforce the fact that you are not in an absurd adult world, you are in a serious kids’ kingdom.
Unfortunately the whole is greater than the sum of its parts, and these great parts did not mesh well to create an excellent whole.
The story didn’t really seem to say anything or do anything. Things happen and subplots advance but there is no actual story told. It’s almost like a vignette of the monsters’ lives told from the perspective of the child king that got away.