The film received negative reviews and became a box office bomb, grossing only $30.8 million on a $75 million budget. It received a Golden Trailer nomination for Best Romance Poster.
Plot
In 1895, a young immigrant couple is refused entry into Manhattan because they have consumption (Tuberculosis). When their infant son is not allowed entry into the country without them, the family is forced to return to their ship named City of Justice. The parents break the display case containing a model of the ship and place their baby inside it on the water, then watch him float to the New York City shoreline. In 1916, the baby boy has grown up to become Peter Lake, a thief raised by a supernatural demon posing as the gangster Pearly Soames. Peter is marked for death when he decides to leave Pearly's gang. In a confrontation, he is rescued by a mysterious (winged at times) white horse, his guardian angel.
Although Peter hopes to move to Florida and come back in the summer, the horse encourages him to steal from one last mansion. The mansion is the home where Beverly Penn lives, a young woman dying of consumption, whose fever is so high she sleeps outside in a tent in the winter cold. While her publisher father Isaac and younger sister Willa are not home, Beverly discovers Peter preparing to rob the house. When Peter assures her that he no longer wishes to commit robbery, Beverly offers to make him a cup of tea. They tell each other their stories and fall in love. Pearly orders his men to Beverly's home, believing that saving her is Peter's "miracle" and spiritual destiny and that he can destroy Peter by preventing it. Peter rescues Beverly from being knifed by Pearly, and they escape to the Lake of the Coheeries, where Pearly, who is supernaturally limited to the five boroughs of New York City, cannot follow. Peter meets Beverly's family at their summer home and wins their respect.
While on a walk, Beverly explains to Peter that everyone is born with a miracle inside and they are ultimately destined to become stars when they die. Pearly asks Lucifer for access to the lake home, but his request is denied. Instead, Pearly, who refers to himself as a Knight among Lucifer's angels, calls in a debt owed to him by another of Lucifer's angels. At a ball, the angel disguised as a waiter poisons Beverly's drink. When Peter and Beverly return home from the ball, Peter watches the shadows she casts upon the sides of her lighted tent, joins her, and the two make love. Her pulse races faster than ever due to the poison in her heart, and she dies. After the funeral, when Peter and his mysterious white horse return to the city, Pearly and his men surround them on the Brooklyn Bridge. To save its life, Peter orders his mysterious winged horse to fly away, and Pearly gives Peter five vicious head-butts, pushing him off the bridge.
Peter miraculously survives but wanders around the city with amnesia for a century, drawing chalk art of a red-headed girl on the pavements. In 2014, the 119 year-old, but physically undiminished Peter, bumps into a young girl named Abby and meets her mother, Virginia Gamely. He rediscovers the brass name plate of the "City of Justice", the model ship in which his parents placed him. Peter then discovers the Theatre of the Coheeries, founded by Isaac, who has dedicated it to Beverly. He visits the Isaac Penn Reading Room where Virginia works, and she helps him restore his memory using historical photographs archived at the library. While there, he meets Beverly's now elderly sister Willa, the owner of Virginia's newspaper, who recognizes him.
When Peter visits the Gamelys for dinner, he learns that Abby has cancer. Realizing that Abby, who is wearing a red scarf (like his sketches) and has red hair, is his "miracle" and spiritual destiny, instead of Beverly as he originally believed, Peter convinces Virginia that he can save Abby. Pearly learns that Peter is still alive and with Virginia, and he is surprised to learn from Lucifer that Peter was Beverly's miracle, making him love her so much that he couldn't die. Enraged, Pearly asks to fight Peter as a mortal so he can destroy him forever, and Lucifer grants his request while reminding him that if he loses then he himself will be destroyed forever. Pearly and his men arrive at Virginia's apartment, causing Peter and Virginia to flee to the rooftop with Abby. The mysterious winged horse flies them to the Lake of the Coheeries, but Pearly, now mortal, can pursue Peter beyond the Five Boroughs. After Horse dispatches Pearly's men by crashing the ice so that they all drown, Peter and Pearly engage in a fistfight. Peter is losing until a light shines from the heavens and allows Peter to stab Pearly in the neck with the name plate from the boat, "City of Justice." Pearly turns to snow and Peter is able to save Abby on the princess bed after he kisses her forehead. After visiting Beverly's grave one last time, Peter mounts the horse to be carried away to the stars, while the elderly Willa witnesses his ascension.
Winter's Tale premiered in London on February 13, 2014, and was theatrically released on February 14, 2014, in the United States by Warner Bros. Pictures. The film opened poorly at No. 7, grossing $7.3 million in its first weekend. Winter's Tale grossed just $12.6 million in the United States and $18.2 million abroad for a total of $30.8 million worldwide.[5]Warner Home Video released it on DVD and Blu-ray on June 24, 2014.[citation needed]
Critical response
On review aggregation site Rotten Tomatoes, the film has an approval rating of 13% based on 157 reviews and an average rating of 3.55/10. The site's critical consensus reads, "Winter's Tale tries to retain the grandiose sweep of its source novel, but fails to fill it in with characters worth rooting for or a sensible plot."[22] On another aggregation site, Metacritic, it has a score of 31 out of 100 based on 35 critics, indicating "generally unfavorable reviews".[23] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.[24]
In a negative review for RogertEbert.com, Sheila O'Malley awarded the film one-and-a-half stars, stating: "It lacks visual splendor... It lacks emotional depth. It lacks scope and magic."[25] O'Malley criticized Russell Crowe for "hoping that a facial tic will somehow translate as menacing", finding his first scene with Will Smith to be "incomprehensible".[25] She did, however, praise Colin Farrell's "urgent, heartfelt performance".[25]
In his one-star review for The Guardian, Peter Bradshaw was more critical of Farrell, questioning why he gives Peter an Irish accent when "[h]is character has never been to Ireland."[26] Bradshaw concluded his review by suggesting that the film could be made worse only by "releasing a giant, vicious, genetically engineered man-eating badger into the cinema while it's playing."[26]
Reviewing the film for Variety, Justin Chang claimed that writer-producer-director Akiva Goldsman was "out of his depth" but "fortunate in his choice of actors", finding Farrell to be "watchable", Jessica Brown-Findlay to be "luminous and intelligent", and Eva Marie-Saint's first film appearance since Superman Returns to be "welcome".[27] Chang also praised the production design of Naomi Shohan, and the "moody, muted tones" of Caleb Deschanel's cinematography.[27]
Slackerwood's Jordan Gass-Pooré also gave the movie a negative review: "This movie may have people believe that there is a miracle inside everyone, which is on one hand uplifting, and on the other, really disappointing because, in the end, the moral of the movie is that people are all the same. And Winter's Tale is no different."[28]
Kenneth Turan of the Los Angeles Times gave the movie a positive review: "Because it is fearlessly sincere and not totally successful, "Winter's Tale" is easy to mock. But it is also hard not to admire its willingness to go all out in its quest for the grandest of romantic gestures."[30]
In another positive review, Ben Sachs of the Chicago Reader said: "This live-action fairy tale aims to recapture the romantic splendor of MGM's golden era; the dialogue and metaphysical conceits are often risible, but even they convey an emotionalism rare in 21st-century Hollywood."[31]
A journal by author Neil Gaiman also defended the film, explaining why people should see it.[32]
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