Producer: Tim Burton, Katterli Frauenfelder, Derek Frey
Writer: Ehren Kruger, Helen Aberson, Harold Pearl
Release Date: Mar 29, 2019
Runtime: 1hr 52m
Tim Burton imagines a fantastic new stage in the life of Disney’s famously big-eared elephant. Dumbo is, first and foremost, a live-action version of the original animated classic. When young Dumbo begins to fly, he brings success to the small family-run circus he calls home. That is only the beginning of Disney’s new adventure, however.
Dumbo’s antics lead to fame. The plucky elephant attracts the attentions of a cunning businessman (Michael Keaton) who wants Dumbo to be part of his newfangled amusement park. What seems like the opportunity of a lifetime quickly turns dangerous as Dumbo’s human friends (played by Colin Farrell, Eva Green, and Danny DeVito) realize there are dark secrets hidden beneath the big top of their new home.
Did You Know?
Based off Tim Burton's other previous interpretations of past existing, remake material, this is expected to be a darker, more serious tone and take on the Disney original classic.
When Dumbo escapes from the circus with Milly's help, he flies over the Brooklyn Bridge and in the background the Empire State and Chrysler Buildings are shown. The Empire State started construction in 1930 and the Chrysler Building started construction in 1928 yet the movie is set in 1919 and early 1920s.
Disney’s new Dumbo is one ponderous pachyderm, a live-action remake of the 1941 animated classic with a grim tone and a dead soul. It’s astounding that Tim Burton and his colleagues could have created such a downer from a long-beloved source of delight.
When that visual leaves a more captivating impression than a baby elephant spreading its ears and getting airborne like a glider, something is definitely off in the balance. The new Dumbo holds the attention but too seldom tugs at the heartstrings.
This live-action remake of the 1941 Disney animated classic finds the eccentric, inconsistent filmmaker tapping into his career’s core emotional themes and, on occasion, Dumbo has the magic and wonder of his best work. (And that blue-eyed baby elephant is awfully cute.) But there remains a frustrating impersonality — not to mention an audience familiarity with his well-worn aesthetic — that keeps the film from soaring all that high.