PLOT: When his job at the Institute for the Institution of Imagination and Inspiration, LLC is threatened, the Cat in the Hat makes one last-ditch effort to prove his worth as the ultimate companion for sad kids everywhere.
REVIEW: Every handful of years, when ideas are few and far between, studios resurrect the timeless works of Dr. Seuss to reinvigorate the animation scene. Be it the Grinch or the Lorax, or social commentary about Sneetches, few come at the material with new ideas, though WB‘s latest attempt at The Cat in the Hat is worth a few hollers and screeches.
Having grown up on a steady diet of Dr. Seuss books, it’s impossible not to sound the nostalgia alarm while watching the latest reimagining of The Cat in the Hat. While I’ve seen some critics bemoan the film’s divergence from the source material, I celebrate it. I’ve read the original story countless times. As long as the bones and spirit remain intact, I think a fresh approach to the story is long overdue. After all, stories evolve depending on the teller, and The Cat in the Hat is as ripe for iteration and imagination as any other tale of kid-friendly mischief and mayhem.
Directed by Alessandro Carloni and Erica Rivinoja, The Cat in the Hat takes wild swings with the source material, though not all of them connect. The core elements of Seuss’s original story are there, but by expanding the scope and scale of Cat’s adventure, the film’s title character becomes somewhat lost in the chaos.
In this version of The Cat in the Hat, we learn more about Cat’s world and how it functions. While working at the Institution of Imagination and Inspiration, LLC, Cat is a model employee to some, and a thorn to be plucked out and cast aside to others. It’s Cat’s responsibility to bring cheer and smiles to children in crisis and to make as little mess as possible in the process. After all, his meddling must remain a secret, and that’s impossible to achieve when every house he visits ends up looking like a crime scene by the end. If Cat doesn’t shape up, he must ship out, stripping him of purpose, dignity, and self-worth.
Unsurprisingly, Bill Hader is magnificent as the Cat in the Hat. He plays the character like a feline version of Gene Wilder’s Willy Wonka. He’s unpredictable, unhinged, and slightly sinister. He comes across as an agent of chaos, but there’s a method to his madness, often using reverse psychology to guide kids toward a valuable lesson. He’s the film’s best character, which is why I find it confusing that he eventually takes a backseat in his own film.
I’m getting ahead of myself. Strike that. Reverse it. We’ll double back to that critique in due time. When Cat visits Gabby (Xochitl Gomez) and Sebastian (Tiago Martinez), the brother-sister duo take center stage. Having recently moved to a new city, Gabby and Seb feel distraught, lost, and reluctant to start their new lives alongside their hardworking mother, Carmen (America Ferrera). When Cat shows up with his Go-Backer, a magical watch that can rewind time, Gabby intends to use it to go back to before the big move. Shenanigans ensue, and the Go-Backer becomes lost in one of three moving boxes, which, because of the Cat’s magic, act as portals into their lives and memories.
The journey into each box serves as a window into Gabby and Sebastian’s minds; their thoughts, interests, and recollections come to life in dream-like fashion. Admittedly, this second act is where The Cat in the Hat lost me for a spell. As I’d said, the Cat takes a backseat during this portion of the film, and when compared to the rest of the adventure, it feels as if someone pumped the brakes on fun. Exploring Gabby and Sebastian’s mindscapes paled in comparison to the rest of the film’s sense of urgency, outlandishness, and imaginative look at Seuss’s world. When an encounter with a psychic Narwhal, voiced with bravado and song by Tituss Burgess, can’t hold my attention, I know something is amiss.
Still, there are three boxes to explore, and The Cat in the Hat saves the best for last. The third act picks up tremendous steam as it investigates Carmen’s belongings. It’s during this portion of the film that the kids learn that their “normal,” “boring” mother is more than she seems. It’s a heartening revelation that leads to enlightenment and to the film’s best action sequences. In his way, the Cat shows Gabby and Sebastian that their mother is a person with her own interests and passions, and that she’s sacrificed much to give them a chance to excel in their respective interests. The execution is clever, adding an emotional layer to a movie that thrives on slapstick and shenanigans.
Visually, The Cat in the Hat is a vibrant spectacle of colors, creatures, and forever-changing dreamscapes. The core cast look cel-shaded, like something out of the Nintendo GameCube era: distinct linework, shocks of color, and lighting that’s simultaneously harsh and nowhere at all. I genuinely dig it, especially when the camera pulls back, revealing Seussian landscapes and strange yet familiar characters.
Regarding standout voice performances, Hader’s Cat is pure joy and introspection. At the same time, Matt Berry’s Waffles, the family goldfish able to talk after becoming enchanted by Cat’s magic, is a riot of regality and dry observational humor. Quinta Brunson adds warmth to the film as Sherrie from HR, Cat’s kindhearted friend and co-worker.
Where the film stumbles a bit is in its crowded rogues’ gallery. Giancarlo Esposito and Paula Pell bring delightful, cartoonish noise to the corporate boss Mr. Hoogeboom and the nosy landlord Patty, respectively, though neither ever feels like a legitimate threat. The actual danger arrives in the form of ‘Something’—an imposing, anglerfish-like monstrosity that stalks the group across dreamscapes. It adds genuine energy to the chase scenes, even if it doesn’t quite reach the terrifying heights of creature designs seen in recent films like Forgotten Island and Wildwood.
The Cat in the Hat is a good movie that often feels as if it’s leaving its best character in literal shadow. I liked Gabby and Sebastian, but sorting through their boxes of memories slows down what is otherwise a roller-coaster journey. I also question what kids will take away from the film’s emotional finale. Without spoiling anything, the movie concludes with the message, “Hey, your parents are people, too. Maybe cut them some slack.” Is that going to play with kids in the audience? I’m curious to find out, as I’ll be watching this movie with my niece and nephew soon.
The Cat in the Hat has plenty of tricks up its sleeve, and it uses creative license with ease. Though the journey feels uneven and the pace a bit strange, there’s still lots to enjoy about this entertaining reimagining of Seuss’s classic tale of growing up and significant change.
I’m giving the movie a 7 for being better than good, but not amazing. Perhaps upon further reflection, and a rewatch or two, I’ll find more reasons for gushing and praising.
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