Carrey surprises in classic holiday remake

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Many critics, including Roger Ebert, praised Robert Zemeckis’ “The Polar Express” as a “perennial classic.” Others, such as Rolling Stone’s Peter Travers, described the film as a train wreck, “lifeless” and “spooky in an ‘Invasion of the Body Snatchers’ kind of way.”

If children thought “The Polar Express” was too creepy, they’re in for a trick-or-treat hangover with Zemeckis’ latest holiday film, “A Christmas Carol.”

If you don’t know the plot of Charles Dickens’ “A Christmas Carol” by now, you probably have less Christmas spirit than Ebenezer Scrooge himself. This adaptation, in comparison to the countless other versions, accentuates the horror Scrooge experiences Christmas Eve; the creaks and cracks of Scrooge’s abandoned mansion, the wide-eyed Jacob Marley floating in through the hallways, and the hundreds of ghosts suspended over the streets of London.

I didn’t find “The Polar Express” to be all that eerie. Magical and dreamlike, yes, but such is the perspective of Santa Claus for a young boy. “A Christmas Carol,” on the other hand, is naturally darker because it involves the locating and cleansing of a man’s hatred and evil thoughts.

My biggest concern going in was that Jim Carrey, the same man who took the “Grinch” to an annoying level of absurdity, had to be completely refined and dramatic in so many different roles. Although I knew he was capable, judging from his brilliance in “Eternal Sunshine of the Spotless Mind,” here Carrey had to cover a broader range — at times playing three characters onscreen at once.

It’s a wonderful performance from a man whose depth as an actor is ever-expanding. Despite his trademark facial expressions and heavy workload, Carrey is able to veil himself beneath Dickens’ story — and that is worth applauding.

As for Zemeckis’ retelling of the story, it would’ve been nice to see one fewer chase scenes and one more dramatic vision from Scrooge’s past, but at least he doesn’t sacrifice any of the signature flashbacks for a 3-D showcase. There is a strength in Dickens’ narrative that can’t be overpowered, not even by the modern animation technology Zemeckis uses. Excessive spectacle threatens at times, including a scene in which Scrooge is being chased by a stagecoach through the nooks and crannies of London, but it never succeeds in consuming the story.

Although Zemeckis takes a darker approach, and frightening images are peppered throughout the film, it’s not to say his movie is deficient in holiday spirit; through the popping reds and greens of 3-D and a festive score from Alan Silvestri, “A Christmas Carol” is a sizeable cup of yuletide cheer.

The film’s ending resonates like the charming tone of sleigh bells and is when Carrey shines brightest. It’s as if he, along with Scrooge, have been so anchored by the gloom and self-discovery of a nightmarish night that when Christmas morning finally arrives, Carrey (and Scrooge) are freed and able to celebrate all the more. Carrey dances and jokes after Scrooge is transformed, unleashing his stored humor in the most welcomed of ways.

As Bob Cratchit (played superbly by Gary Oldman) turns to the camera and narrates the ending, we see carolers caroling, townspeople playing in the snow and Scrooge hoisting Tiny Tim on his shoulder. It was at this moment that I realized, for the first time, I really wanted to pick up an old copy of Dickens’ novel — and in that respect, “A Christmas Carol” does Dickens’ tale ample justice.

Check out the official trailer on YouTube

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