Review of Penelope

Penelope is a fanciful and charming film about a girl who is born with a pig nose and, in true fairytale fashion, must find true love despite her unusual appearance. The story begins when a witch places a curse on the wealthy Wilhern family, ensuring all their daughters will be born with piggish facial features. Luckily, the family went through five generations of birthing only sons, but then Penelope is born. Unable to have plastic surgery because a major artery runs directly through her nose, Penelope is hidden inside her family’s mansion and her mother fakes Penelope’s death in an effort to discourage prying eyes.

There is a stipulation, however, that the family curse can be lifted if one of Penelope’s “own kind” falls in love with her. So Penelope’s mother (Catherine O’Hara) assembles a long line of affluent suitors, hoping that one of them will accept her daughter (or be placated by a large dowry). Each of the men end up being horrified by Penelope’s appearance and some even jump through windows to avoid her company. One such faint-hearted suitor is Edward Vanderman (Simon Woods), who is assumed to be insane for his hysterics after leaving the Wilhern estate. In an effort to restore his reputation, Edward joins forces with diligent reporter Lemon (Peter Dinklage) to secure proof of Penelope’s existence. They hire Max (James McAvoy), an aristocrat with gambling debts, to pose as a potential suitor and snap a picture of Penelope. The plan goes awry when Max develops feelings for Penelope and Penelope decides to run away and experience the real world.

Out in public for the first time, Penelope wears a scarf to hide her nose and is befriended by Annie (Reese Witherspoon), a brash and streetwise delivery driver. All things come to a head when Penelope’s parents track her down, the curse becomes public, and Max must overcome his own uncertainties to give the movie its expected fairytale ending.

Set in an otherworldly London, the film’s look is part Tim Burton, part Guillermo del Toro (Pan’s Labyrinth, The Orphanage), and even part Wes Anderson (specifically recalling The Royal Tenenbaums). Director Mark Palansky employs just the right amount of darkness to make Penelope a modern fable that will apply to audiences beyond preteen girls. With excellent acting, a sweet and engaging plot, and a trendy air, Penelope is as pleasant, plucky, and likeable as its title character.