Director Spike Jonze is a master weaver of alternate realities, thanks to his successful collaboration with writer Charlie Kaufman in Adaptation and Being John Malkovich.  This time out, Jonze takes a classic children’s novel (with the approval of iconic author Maurice Sendak) partners up with an acclaimed writer (A Heartbreaking Work of Staggering Genius’ Dave Eggers) and tries his best to bring Where the Wild Things Are to life.  One can tell Jonze’s heart is in the right place; he spent years working on this film, a passion project which was rejected by Universal Studios and although it’s found a home at Warner Bros, Jonze has had his share of creative differences with the studio.  So the filmmaker gets credit for intent and ambition, yet the proof is in the execution, and on that note, Where the Wild Things Are misses the mark.  

Actor Max Records is perfect as the young Max, a rambunctious, imaginative child who’s lashing out at his single mom (Catherine Keener) and his neglectful sister.  Unfortunately, Max comes off as an unlikeable brat – in a fit of rage he bites his mother, runs out of his house and escapes into a world of Wild Things.   In his new land, the tyke is a Viking king who playfully lords over the creatures, voiced by James Gandolfini (the childish yet affectionate Carol), Catherine O’Hara (Judith, a creature who initially wants to eat Max), Forest Whitaker (Ira, an easygoing, loyal companion to Judith), Lauren Ambrose (the seemingly distant KW, who warms up to Max), and Chris Cooper (Douglas, a kind soul who’s Carol’s best friend).   

Seeing the creations of Jim Henson Co.’s Creature Shop coupled with the solid voice acting work is the film’s biggest strength, unfortunately there really isn’t much of a story here.  The picture’s middle section is listless and, dare I say it, boring; watching the Wild Things build a fort or smash into things or just play around with Max is far from compelling filmmaking.  At 102 minutes, Where the Wild Things Are could have been trimmed by at least 15 minutes. And though the picture’s final moments attempt at an emotional crescendo almost resonates, it can’t support the narrative driftwood that saddles much of the picture. 

In a world where most studio films are made simply to generate money, it’s great to see a film like Where The Wild Things Are hit the ground running.  Unfortunately, the flick never takes flight, and one is left with a rather disappointing journey.  Jonze enthusiasts or people who refer to films as “cinema” should catch this film on the big screen just to give it a shot.  But for repeated viewing, check out Adaptation, Being John Malkovich, or even Jackass on DVD.