Harold And The Purple Crayon Review: Zachary Levi, Lil Rel Howery’s Film Is A Crayon, A Conundrum, And A Colourful Concoction

Title: Harold and The Purple Crayon

Director: Carlos Saldanha

Cast: Zachary Levi, Lil Rel Howery, Benjamin Bottani, Zooey Deschanel, Jemaine Clement, Tanya Reynolds, Alfred Molina

Where: In theatres near you

Rating: 3 stars

This film directed by Carlos Saldanha is a colourful journey into the whimsical world of a boy who can bring his drawings to life, but it sometimes feels more like a studio-engineered blueprint than a work of unbridled imagination. Based on Crockett Johnson’s beloved 1955 children’s book, the film starts strong, with an opening sequence that perfectly captures the simple charm of the original story. Harold, the cartoon boy with his trusty purple crayon, draws a world of his own, and we’re instantly pulled into his quirky, 2D universe.

But as you settle into this delightful animated realm, Harold decides to break free from his 2D world and step into “The Real World”. And that’s where things get complicated—both for Harold and the film itself. Suddenly, the story shifts from a magical exploration of creativity to a more conventional live-action adventure, with Zachary Levi taking over as a grown-up Harold. Levi brings plenty of energy to the character, but his performance occasionally veers into over-the-top territory, making Harold more of a caricature than a character.

As Harold embarks on a quest to find his creator, known as “Old Man,” voiced by Alfred Molina, he’s joined by his two sidekicks—Moose and Porcupine—who also transform from their original cartoon forms into human characters. Moose, played by Lil Rel Howery, provides some comic relief, while Tanya Reynolds’ Porcupine, with her punk-rock look, feels more like an afterthought, underused and underdeveloped.

The real world Harold enters is populated by a quirky cast of characters, including Terri (Zooey Deschanel), a single mother and former concert pianist struggling to balance her past with her present. Deschanel’s performance is solid, but the character feels, a bit too familiar and lacks the depth needed to make her truly memorable. Terri’s son, Mel (Benjamin Bottani), also joins Harold on his journey, adding a touch of youthful curiosity, though his role in the story is more functional than essential.

The film’s antagonist, Gary the librarian (Jemaine Clement), is a would-be fantasy writer with a penchant for Tolkien-esque epic tales. Clement’s deadpan humour shines through, especially in scenes where Gary’s misguided ambition leads him to plot world domination with Harold’s magical crayon. However, the villainy here is more pantomime than peril, keeping the stakes relatively low.

From a technical standpoint, the film is well-crafted. Gabriel Beristain’s cinematography captures the contrast between Harold’s 2D world and the live-action setting, while Batu Sener’s score adds a playful touch to the proceedings. Editors Mark Helfrich and Tia Nolan keep the pacing tight, though the film’s shifts in tone can feel jarring at times.

Overall, this is a visually appealing family film that entertains but doesn’t quite capture the full magic of its source material. Saldanha’s adaptation is enjoyable, but it plays things a bit too safe, drawing more from the predictable formulas of Hollywood than from the boundless creativity that made Johnson’s book a classic.