Metacritic reviews

A fantastical romp that proves every bit as transporting as that movie about the blue people of Pandora, his "Alice" is more than just a gorgeous 3D sight to behold.

Tim Burton, plus Alice, plus 3D equals an unforgettable, one-of-a-kind movie experience. It will clean up.

If you can get past the craven concessions to formula, though, it’s rather underful--I mean, wonderful. Taking his cues from John Tenniel’s famous illustrations, Burton indulges his delight in disproportion.

Carroll purists and freshman English majors may be aghast at the change in story, but for those who watched "Avatar" and marveled at the images but were left wanting by the wooden acting and tired story, "Alice" is a treat.

Wonderland is equal parts Lewis Carroll and Grace Slick. It’s inspired by Carroll’s "Alice in Wonderland" and "Through the Looking Glass," but also, apparently, by Slick’s psychedelic ‘60s anthem, “White Rabbit.” It’s a trip, man.

For all its clever design, beguiling creatures and witty actors, the picture feels far more conventional than it should; it's a Disney film illustrated by Burton, rather than a Burton film that happens to be released by Disney.

In the film's rather humdrum 3-D, the place doesn't dazzle — it droops.

Like more than one recent movie, Alice seems a trailer for a Wonderland computer game--and it is. The final battle is clearly designed for gaming. So, it would seem, is the character of actualized as well as action Alice.

Unlike Carroll’s perversely idealized protagonist, Burton’s Alice is just another anachronistic feminist tearing down Victorian patriarchal norms. Even her—[shudder]—Avril Lavigne–blared theme song is a skin-deep grrrl-power accessory.

It might be time for Johnny Depp and Tim Burton to start thinking about seeing other people. Alice in Wonderland, their seventh film together, is so thoroughly soul-deadening and laborious that the prospect of an eighth collaboration feels like the sword of Damocles.