It's ok. It's way more invested in the parental story (both in the time allotted to it and where the real arcs happen), with the teens mostly serving as out-of-control variables, despite needed moments of realization in the last twenty minutes. There's something nice about the way it treats all its characters, though, as even the easy-to-vilify fedora dude is just a goofy kid everyone is cool with.
This is the only time I have ever felt the need to do such a thing, but I confess that I no longer agree with my initial review of a movie. When THE ROYAL TENENBAUMS opened twelve years ago, I found it excruciatingly "precious" and "delightful." In a sense, I was reacting against a self-obsessed movement in indie rock and cinema that seemed to value personal neuroses as the grand height of expression. And Anderson (even though I loved RUSHMORE…
There are isolated fantastic stretches in this. A sequence inside a virtual dance club points at the movie this might have been--an exploration of a hero realizing the things that frighten him in real life within a digital world that has its own dangers and responsibilities.
The problem becomes that Spielberg, and novelist Ernest Cline, don't go far enough. They give lip service to the threat of surrendering one's life to a false reality (the lure and oblivion of fairy…