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Labyrinth Reviews
In spite of the nifty mazes, cuddly critters and the singin' struttin' Bowie, the buzz word here is boring.
What ultimately makes Labyrinth a memorable, favorite piece of cinema after 40 years is its trust in its audience, young and old, to grapple with ambiguity, to laugh at its oddities, and to feel the pull of its emotional truths.
What Labyrinth lacks in original plotting—which is a lot indeed—it tries to make up in imaginative creatures and sight gags.
Labyrinth is a meticulously planned, modern-day fairy tale. It's the stuff that dreams are made of, even if it's occasionally violent and quite often sluggish.
While it falls short of its target, it gets closer than most.
The effects, the sets, and the visual trickery are used to mask conventional stories and hollow characters, which underestimates the audience's ability to spot a fake.
One of the most charming and entertaining films for the preteen set that I've seen in a long time.
Nothing builds dramatically.
Labyrinth is a charming family film. Bowie fans will rally—as will Muppet aficionados and those enamored of the production skills and imaginative punch of a Lucas project.
If this picture is meant for preteens, it's successful. If the rest of us are to glean something from it, good luck.
Labyrinth is easily the most complex mix of styles fused into the fantasy genre yet.
Good Bowie songs help the proceedings, but don't look for Labyrinth to become one of the great fantasy epics of Western Civilization.
The world Henson and company have created is remarkable and often delightful. If the director could manage a plot as original as his characters and visual environments, he would have a classic.
Labyrinth is very much Henson's picture and will appeal primarily to those who found his other fairy tale, The Dark Crystal, evocative and entertaining.
Rooted in the polished vaudevillian traditions of television's The Muppet Show, Henson's current release is a big-screen treat from beginning to end.
[Sarah's] adventure plays out like a Bergman-esque trip down the Yellow Brick Road, only less joyful and exciting—and decidedly less colorful.
Still, Labyrinth is definitely worth a look if only fo its cinemagic tricks and lively puppeteering, courtesy of executive producer George Lucas, director Jim Henson, and their crew.
The world and creatures of Labyrinth do deserve special technical praise.
Its splendid creatures, state-of-the-art special effects, and imaginative sets should delight children.
It is in its own semiperverse way warm and loving and nice as pie.