Dolittle’s inability to completely develop any of its characters reduces the film to all pomp and no circumstance.
Renée Zellweger can reach all the notes and hit all the marks, but Garland’s intense emoting eludes her.
Tom Harper’s film empathetically probes the growing pains of self-improvement.
The film comes to life in moments where it suggests the blurred distinctions between freedom and imprisonment.
The film is at once enabled and hindered by its utter strangeness, an intrinsic quality surely exacerbated in its English-language release.