Alice Through the Looking Glass

Courageous independent daring precociously proving itself under pirated extremes, sees its accomplishments rewarded with gender biased disdain as a scorned suitor attempts to neutralize it permanently, thereby aggrandizing his mediocrity, in terms of the status quo.

But in this petty and perilous predicament an alternative reality presents itself, more literary than commercial, but one within which Alice's (Mia Wasikowska) strength is regarded with respect and awe, the reflection becoming the recourse, as she instinctively exonerates Wonderland's sociocultural peculiarities.

Once more.

Agile assertions.

Temporal clemency.

The foundations are in place to enchant an everlasting imbroglio, feminine resiliency challenging unimaginative entitlement, multicultural magnanimity dousing insensitive cinders, but Alice Through the Looking Glass doesn't narratively impress, as it struggles to diversify both structurally and linguistically.

The script, while written for children, doesn't invest in creative unrestrictive dialogue, continuously employing stale predictable expressions, like Andrew Adamson's Prince Caspian, consequently subverting its versatile progressive message.

In an Alice in Wonderland film, it's fun to watch as all the strange characters have their defining moments as well, but in Through the Looking Glass many of them (Tweedledee [Matt Lucas], the Cheshire Cat [Stephen Fry], etc.) turn into background fluff, and offer sycophantic praise as opposed to startling interrogations.

Individuality sacrificed to establish unconscious group consensus.

Time (Sacha Baron Cohen) is also limited by stifling encumbrances, and the Mad Hatter (Hatter Tarrant Hightopp [Johnny Depp]) functions like a lamentable puppy instead of ingenious rarefied iridescence.

If he was destined to be a Hatter like his father before him, why wasn't Alice destined to end up like her mother before her?

Much too covertly traditional for a film advocating for gender equality, Through the Looking Glass has some fun moments, but doesn't inspire long lasting critical propensity.

Perhaps it's suggesting that if the powerful are indeed bland, powerful women must also be bland when occupying leading roles to avoid mass displacements, while structuring the order of things.

The familiarity in TTLG dulls its fantastic edge.

By dulling the fantasy, it counterproductively thinks outside the box, Alice excelling at out of the box thinking, but it's more compelling when she faces multiple encompassed challenges rather than one realistic and one fantastic, challenges which she duels with head on without encountering any serious setbacks.

The film does point out the ridiculous burdens independent women sometimes confront when expressing themselves, however, diagnoses of hysteria for instance, grossly unjust reductions.