With a descending doll all expectation is set aside at the start of author Neil Gaiman and director Henry Selick’s Coraline. Her punch-and-cut deconstruction is distressing; at her inversion you may feel a gastric tug. You may also dream of submissive needlepoint only to awake with new eyes.
To paraphrase the film’s series of alphabet posters, “‘C’ is for Coraline – brave little girl. Who unlocks the door to a whole different world.”