This version of Pinocchio is, rather disarmingly, about death. Read rilaws' review:
For those of you who, like me, have watched the glut of wistful-sweet Pixar movies and rousing princess musicals released in recent years and wondered where all the genuinely strange, dark children’s movies—like there used to be, we swear!—have gone, is pointy and sad and grim, befitting of his past oeuvre and, one hopes, reminding parents that their kids can handle—and may even need—the creepier, more complicated stuff to balance out the sugar.
How fortunate, then, that a Wood Sprite should arrive and turn Geppetto’s mad creation, a wooden boy carved out of a tree that stands over his son’s grave, into a happy, heedless little boy. Or, almost-little-boy. He’s something in between, of course, a herky-jerk creature of unnatural origin whom Geppetto first greets with appropriate horror. Pinocchio, voiced with pluck by, is certainly frightening in his initial lurch into being, but he quickly proves endearing.
Maybe that’s a blinkered way of looking at reality—an exploitation of its tangible, practical fears in a maudlin effort to broadly assert life’s beauty. But del Toro manages the sentimental scale of his film carefully. Nothing is too saccharine nor, I don’t think, too horrifying.
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