The style and tone—though dark, creepy, and occasionally disturbing—actually reinforces the power of the narrative.  It’s not nightmarish simply because the creators have gothic tastes; it helps reveal the moral.  It’s also absolutely stunning, a real work of art.  The real-life stop-animation is, in itself, monumental.  We, as viewers, can only begin to appreciate the scope of its achievement—especially when you consider that everything you see is practical and physical, not animated or created through visual effects.

What’s unfortunate, however, is a brief scene that like so many Hollywood productions takes content too far, making a film that most parents may otherwise deem “worth the risk” essentially off-limits.  Two of Coraline’s neighbors are former burlesque dancers, a fact alluded to in fairly innocuous ways.  Their “other” counterparts, however, perform a circus stage show in which one barely has anything on.  Granted, she’s older and overweight so it’s not a sexually alluring image (it’s meant for comic effect), but the fact that she only wears large stylized nipple covers, a g-string and nothing else is likely showing too much skin for most parents—even if it’s just an animated model.

That brief content, unfortunately, may ruin what would otherwise be a thrilling theatrical experience, especially considering that many venues will be presenting it in “Real 3-D” technology—and it’s the best 3-D I’ve seen.  Absolutely no “ghost” imaging; this is a sharp, seamless 3-D effect that adds another vibrant layer to an already eye-popping presentation.

The cast of voices is also superb, providing legitimate characterizations rather than merely high-energy line reads.  Dakota Fanning gives Coraline spirit and spunk, Ian McShane relishes the thick Russian accent of an aging acrobat, the deep bass of Keith David imbues the mysterious black cat, and Desperate HousewivesTeri Hatcher is the real standout as the Mother/Other Mother, ranging perfectly from maternal to terrifying.

Coraline is a feat of imagination—an absolute triumph, really—and a morality tale deserving of the arduous and endless creativity applied.  It is enchanting in its own peculiar way.  Yet while its qualities outweigh its concerns, they don’t reduce them.  I wouldn’t discount it out-of-hand and would even argue it earns the opportunity to be given a chance, but in doing so the full meaning of PG—Parental Guidance—should definitely be heeded.


  • Drugs/Alcohol:  None. 
  • Language/Profanity:  Very mild by most standards, with no specific profanities used.  The expression “Oh God” is used once.  Coraline uses the phrase “wuss puss” in a derogatory fashion a few times—in a way that might be catchy to young kids—but eventually apologizes for it.
  • Sex/Nudity:  Two older women are former burlesque dancers, but these facts are alluded to without great detail.  In the Other World, one of these older/overweight women barely has any clothes on in one sequence, only wearing ornate nipple covers and a g-string.  Not sexual but still “near nudity” even if just a figurine.
  • Violence/Other:  While “magic” is never directly used, supernatural powers are used, often with evil intentions.  Also, animals and inanimate objects talk in the “other world”, furthering the “magical” atmosphere.  In the normal world, the older ladies and one point “read tea leaves”, predicting danger.  Slimy bugs are eaten by the villain.  Some burlap dolls are mutilated or burned.  “Other Mom” transforms into a metallic spider that is scary; she pursues Coraline, including capturing her in a web, and those events can be intense.  Ghosts of previous victims—kids who were captured and chained-up by the villain—appear a few times, and we learn how their souls were slowly sucked out of their bodies.  Overall, the film is gloomy and creepy in tone (like a Tim Burton movie) and may be scary to many children.

Jeffrey Huston is a film director, writer and producer at Steelehouse Productions in Tulsa, Okla.  He is also cohost of the "Steelehouse Podcast,” along with Steelehouse Executive Creative Mark Steele, where each week they discuss God in pop culture. 

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