Come Away (2020)

Come Away is a rare kind of prequel: not a checklist of references, but an earnest, dream-laced fable that tries to stitch two beloved myths into one tender origin story about family, grief, and the escape hatches we build to survive it. Its greatest charm is the way it treats imagination as both refuge and risk, drifting between candlelit domestic drama and storybook wonder with a subtle, melancholy glow. The cast leans into the material with sincerity, helping the film feel more like an enchanted bedtime tale than a franchise exercise. It won’t be for everyone—if you want brisk adventure or a faithful, literal tie-in, it may feel slow and wistful—but if you’re open to something imaginative and quietly heartfelt, it just might cast a spell.

Come Away is clearly aiming for a poignant, grief-soaked origin story that stitches together Alice in Wonderland and Peter Pan into one emotional fairy tale about a family falling apart. The problem is it often plays more like a solemn period drama with fantasy window dressing, so the “magic” you came for can feel muted, dreary, and oddly dutiful rather than enchanting. Its heavy themes and whimsical elements don’t always blend cleanly, leaving the tone muddled and the big moments less impactful than they should be. If you’re hoping for wonder, escapism, or a lively adventure, this may disappoint—but if you’re open to a darker, slower, mood-first reimagining with some striking visuals and committed performances, you might find something to appreciate.