Greetings again from the darkness. If you know an adolescent who is ready to step up from comic book movies, this would be a terrific introduction to more emotionally dramatic and narrative-driven cinema. That's certainly not meant to imply that director Todd Haynes' latest is only for kids, or even that it's aimed at that demographic. Instead, it's the rare opportunity to follow two intersecting story lines over two different time periods with kids as the main focus, and have some very interesting post-movie discussions related to characters, eras, and filmmaking techniques.

We follow the stories of two kids who are separated by 50 years. Although the time boundary exists, the similarities between their journeys are many. Each is running away from home in search of their roots and identity. They are both hearing-impaired and living in less than ideal family environments. Additionally, their footsteps cross many of the same places in New York City as two museums play key roles.

Ben (Oakes Fegley, PETE'S DRAGON) is a 12 year old living in Gunflint, Minnesota. It's 1977 when his mother (Michelle Williams) dies unexpectedly and a freak accident takes his hearing. Convinced an odd bookmark is a clue to finding the father he's never met, Ben sets off for New York City. Rose (remarkable first time actress Millicent Simmonds) lives in 1927 Hoboken, New Jersey and is obsessed with silent screen star Lillian Mayhew (Julianne Moore in a dual role). Rose is an artistic child whose domineering dad has little time for her, so she hops aboard the ferry and heads to the big city to track down an idol - who may be more closely tied than we first imagine.

Brian Selznick adapted the screenplay from his own novel (he also wrote "The Invention of Hugo Cabret", which was the basis for Scorcese's HUGO),and some may find the two story lines muddled or difficult to follow. However, for those who connect with the characters and their adventures, it's a fascinating and entertaining ride. Director Todd Haynes (FAR FROM HEAVEN, CAROL) has established his expertise in visual stylings, and here he gets to present two distinct looks for the separate eras. Ben's 1977 world is filled with the polyester and neon colors of that era and it's even given the washed-out look of 1970's cinema. On the opposite end of the spectrum, Rose's 1927 world is presented in black and white as a silent movie. The lack of dialogue allows us to focus on her facial expressions and body language, which tell us what we need to know.

The American Museum of Natural History plays a significant role in both stories, and the Queens Museum is central to the finale which ties up the two pieces for us. The contrasts of the two eras are as vital as the similarities. Along the way, each of the kids gets a bit of help. Ben befriends Jamie (Jaden Michael) whose connection to the museum and the city provides Ben a boost, while Rose's much older brother Walter (Cory Michael Smith) also has a connection to the museum and helps put Rose on the right track. The distinct photographic styles help us easily switch between eras, and much credit goes to cinematographer (and frequent Haynes collaborator) Edward Lachman and editor Affonso Goncalves.

Oscar Wilde's quote, "We are all in the gutter but some of us are looking at the stars", takes its shot as the theme for the two stories, and really it's a heartfelt film with interesting storytelling and unusual cinematic effects. The set design is terrific throughout, and especially vital during the silent movie segments of Rose's story. Carter Burwell's prominent score also effectively shifts styles between stories and eras. The ties that bind us – a core need to understand our roots – do so regardless of age and time period. This is a nifty little film that provides much to discuss and consider.

Loved 'Wonderstruck's' concept, one of my favourites of the year in fact, and there is a lot to admire about Todd Haynes' previous work that includes the likes of 'Carol', 'Safe' and 'Far from Heaven'. Julianne Moore is always worth watching too.

'Wonderstruck' is not one of Haynes' best, a lesser effort perhaps. That it is still very good (though divisive) just goes to show how good Haynes' previous work is. Can totally see why it won't work, and hasn't worked, for some, some may be alienated by the pace and structure of the film while others will be entranced and fascinated. It certainly worked for me and found myself really connecting with it.

Not a perfect film by all means. It does drag and ramble in the middle act and there are scenes that go on for too long and could have done with a small trim or a complete excision.

Can't find much to fault otherwise. Most of the pace was fine for me, it is deliberate but the atmosphere kept me entranced. The two time-lines/periods (one being from 1927, the other being from 1977) structure is fascinating, both periods but especially for 1927, and fluidly handled with no jarring. Loved how the two contrasted in how they were shot and their tones.

It is a beautiful-looking film, exquisite at its very best. The different visual styles for the two periods were both wonderfully filmed, with a real sense of affectionate nostalgia for 1927, with the visual language of silent cinema, and a grittier one for 1977. Haynes directs with skill.

A big star of 'Wonderstruck' is Carter Burwell's stunning music score, adding to and enhancing the atmosphere of both stories. The use of songs was inspired and nostalgic. The writing is sensitive and thought-provoking, though 'Wonderstruck' shows the beauty of actions and expressions reading louder than words. It is also another strong case of some of the cleverest and effective uses of sound design/editing of the year.

The emotional impact of the story and how this fascinating concept was executed were most striking. 'Wonderstruck' is not just affectionately nostalgic, thoughtful and at times uplifting, it is also a very emotional experience. Especially the last half an hour, which reduced me to sobbing like a baby. The film really moved me and stirred my soul, part of me related to it too despite not ever being in the situation, and it never felt manipulative or trying too hard.

Millicent Simmonds and Oakes Fegley are excellent leads, especially Simmonds, who is actually deaf in real life, in the more challenging role, what a beyond her years powerful performance. Julianne Moore glows with radiance in two roles.

In conclusion, not for everybody but for me it was a beautiful and very moving film while finding faults with the middle act. 8/10 Bethany Cox

In 1977, young Ben loses his mother in a car accident. He loses his hearing in a lightning strike. He runs away from his Minnesota home to search for his father in NYC. In 1927, young Rose is deaf living with his father. She runs away from home to reunite with her absent mother and Broadway star Lillian Mayhew (Julianne Moore). The two stories would intersect in a museum.

I find the stylistic concept intriguing. The 1927 story is done in a black and white silent movie style. All that's missing are the onscreen intertitles. There are some visual touches that reverts back to that era. The 1977 story does use period music and has a style recalling the era. It's a missed opportunity to go full silent movie when Ben goes deaf. The movie keeps alternating between silence and full audio. It should have gone full speed ahead with the stylistic concepts. The other possible improvement is some sort of time travel connection between the two stories. It would have been great to have these two kids connect from time to time. Instead, the movie piles everything into an emotional exposition reveal in the last fifteen minutes. It's lacking the narrative connection to drive the flow. This is a movie with daring concepts but it's not a fully cohesive endeavor.