I had the misfortune of taking a date to see this rubbish. Unknown to me when booking the tickets but she'd lost her mum to cancer as she was growing up. She told me this before the film started and inside I was praying that the film would at least try to be a bit upbeat. What I wasn't prepared for was how dull and boring this rubbish was. A talking tree! Seriously what a load of crap. Peter Jackson said in the making of The Two Towers that it's actually really hard to visualise a talking tree. Well I can vouch for that. This CGI monstrosity was ridiculous. And as for my date? Having lost her mother to cancer I was really worried she'd end up feeling depressed. I needn't have worried. She was laughing at the film with me. Not because it's intentionally funny but because it's so bad I can't believe they made this *beep* funny. DO NOT WATCH THIS FILM!
But, yeah, this creature really doesn't work well. A stop-motion tree with CGI accents might have looked much better; at least given the look of the creature a 'realistic' touch.
It's a VERY hyper-sentimental story. It plays far too heavily on tear-jerking and turning the main character into a classic Woobie Trope.
Also, there's the perplexing aspect that if the monster is all in his head... it 'teaches' him in a manner far too adult for his understanding.
Then, we must also ask ourselves, if this is ALL IN HIS HEAD rather than the parables and fables of a 3rd person monster, and his thoughts are being severely influenced negatively by his life circumstances... can we take the lessons as meaningful? Or, are they merely the conclusions reached by a mind which could very well be in the grip of some type of depression?
As I said in another post, making the monster entirely imaginary eliminates the impact and causes the analytical viewer to logically disregard everything involving the monster as invalid delusion.
I understand (and respectfully disagree with) your response, but I'd like to point out that there were clues that pointed at, but avoided beating us over the head with, the possibility of mystical intervention. Perhaps it wasn't all in his head: how could he have known his mother would die at 12:07? Why did her sketchbook contain images from the three stories, and one of his mother as a little girl on the shoulders of the monster? And for those willing to step outside into production notes, did you notice that a picture of Conor's grandfather was an image of Liam Neeson, who voiced the monster? Was he speaking to Conor from beyond the grave, conveying the lessons he had given once to his daughter?
Again this is less than overt, allowing us multiple interpretations, but if you look closely, you can find some amazing detail addressing the issues you have with the film. As far as the overly sentimental complaint, I was delighted by how the story danced away from cliches at every turn: there were no easy answers for Conor. Another movie would have reveled in the ultimate outburst of violence to bullying; Conor received censuring (in a scene where--more intervention?--the school principal used the same words as his father when asked about punishment: "What would be the point of that?")
Perhaps I'm responding to my personal experience. On the passing of my father and then my mother, I has always envisioned the occasions as one more catcher in the rye being removed between me and the abyss. So the image of Conor's nightmare, in which he desperately attempts to pull his mother back from that brink, was profoundly moving for me.
I hope you give the movie a second chance--you obviously give a lot of thought to your analyses.
It's such a shame that people like jcberthelsen take the time to create a well put together response for you which you undoubtedly will ignore as you have no doubt moved onto taking your next victim, sorry - date (I'm fairly sure the other date would have got rid of you) out to a film which is a little less intellectual for you. I suggest Assassin's Creed.....be right up your alley.
Mawkish at times and falling back on some well worn tropes, the film deserves some credit for tackling the sensitive subject of children dealing with bereavement.
The mixture of fantasy and reality didn't quite work and felt inconsistent at times, also.