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Gulliver's Travels (2010) Stream and Watch Online

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Fancy watching ' Gulliver's Travels ' on your TV, phone, or tablet? Tracking down a streaming service to buy, rent, download, or view the Rob Letterman-directed movie via subscription can be difficult, so we here at Moviefone want to help you out. Read on for a listing of streaming and cable services - including rental, purchase, and subscription alternatives - along with the availability of 'Gulliver's Travels' on each platform when they are available. Now, before we get into the nitty-gritty of how you can watch 'Gulliver's Travels' right now, here are some details about the Dune Entertainment, Davis Entertainment, Dune Entertainment III, 20th Century Fox adventure flick. Released December 25th, 2010, 'Gulliver's Travels' stars Jack Black , Jason Segel , Emily Blunt , Amanda Peet The PG movie has a runtime of about 1 hr 25 min, and received a user score of 52 (out of 100) on TMDb, which collated reviews from 2,279 experienced users. Curious to know what the movie's about? Here's the plot: "Travel writer Lemuel Gulliver takes an assignment in Bermuda, but ends up on the island of Liliput, where he towers over its tiny citizens." 'Gulliver's Travels' is currently available to rent, purchase, or stream via subscription on Cinemax Amazon Channel, Apple iTunes, Google Play Movies, Vudu, Amazon Video, Microsoft Store, YouTube, and AMC on Demand .

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Gulliver's Travels

Travel writer Lemuel Gulliver takes an assignment in Bermuda, but ends up on the island of Liliput, where he towers over its tiny citizens. more

Travel writer Lemuel Gulliver takes an assignment in Bermuda, but ... More

Starring: Jack Black Jason Segel Emily Blunt

Director: Rob Letterman

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Travel writer Lemuel Gulliver takes an assignment in Bermuda, but ends up on the island of Liliput, where he towers over its tiny citizens.

Starring: Jack Black Jason Segel Emily Blunt Amanda Peet Billy Connolly

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I DON'T KNOW...WITH LEMUEL GULLIVER

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Black's take on Gulliver's Travels may be released in the closing days of 2010 - but there will be few less impressive films in the year to come.

A Jack Black film is a goodhearted comedy that allows Black to put on full display the two cinematic notes he has mastered, broad comedy and the puppy dog look.

Throwaway hangover fodder, big on goofiness and small on invention.

The pitch to remake this was probably four words: Gulliver's Travels Jack Black. No adjectives, no adverbs, and, most of all, no imagination. Fox took the bait, and this Christmas there's something smelling rotten under the tree.

While the film retains the satire of the original story, it goes too far with the pop culture references.

The over the top performances of the well-spoken Lilliputians, and even that of Jack Black, go a long way towards helping make the movie better, but sadly, they just couldn't save the material from itself.

Despite its broad strokes of goofball, sometimes gross-out comedy tailored to Black's gonzo style, the movie does echo some of the classic novel's farcical observances.

This version of 'Gulliver's Travels' is strictly for the little people.

It's a product for undemanding children to consume, one they'll forget pretty quickly after leaving the theater.

Additional Info

• Genre : Comedy, Family
• Release Date : December 25, 2010
• Languages : English
• Captions : English, Spanish
• Audio Format : 5.1

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Gulliver's Travels

Travel writer Lemuel Gulliver takes an assignment in Bermuda but ends up on the island of Lilliput, where he towers over its tiny citizens. Travel writer Lemuel Gulliver takes an assignment in Bermuda but ends up on the island of Lilliput, where he towers over its tiny citizens. Travel writer Lemuel Gulliver takes an assignment in Bermuda but ends up on the island of Lilliput, where he towers over its tiny citizens.

• Rob Letterman
• Joe Stillman
• Nicholas Stoller
• Jonathan Swift
• Emily Blunt
• Jason Segel
• 152 User reviews
• 181 Critic reviews
• 33 Metascore
• 3 nominations

• Lemuel Gulliver

• Princess Mary

• Darcy Silverman

• King Theodore

• General Edward

• Queen Isabelle
• King Leopold

• Prince August

• Nigel Travel Writer

• Blefuscian Captain

• Lilliputian Scientist
• Blefuscian Sentry 1
• Blefuscian Sentry 2

• Blefuscian Sentry 3
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia Playing a Princess, Emily Blunt felt this was her "girliest" role thus far in her career.
• Goofs Gulliver finds his iPhone, but although there is no signal he is still able to retrieve his voice messages.

Lemuel Gulliver : I'm not doing this. You got me in the diaper and the dress. I'm not doing tea time with you! Go find another doll!

[the giant girl breaks a rabbit doll's head]

Lemuel Gulliver : Tea, time for tea! Haha...

• Crazy credits The end credits are presented as part of newspaper clips from Gulliver's column. Surrounding the credits is actual text from the original novel by Jonathan Swift , and mentions some adventures from the book that are not featured in the movie, such as the encounters with the subhuman "yahoos".
• Alternate versions Also released in a 3D version.
• Connections Featured in The Rotten Tomatoes Show: The A-Team/The Karate Kid/Winter's Bone (2010)
• Soundtracks Rock and Roll All Nite Written by Gene Simmons and Paul Stanley Performed by KISS Courtesy of The Island Def Jam Music Group Under license from Universal Music Enterprises

User reviews 152

• Jan 3, 2011

Everything New on Max in April

• How long is Gulliver's Travels? Powered by Alexa
• Is it reliable to the book?
• December 25, 2010 (United States)
• United States
• Gulliver Du Ký
• Greenwich, London, Greater London, England, UK (on location)
• Twentieth Century Fox
• Dune Entertainment
• Davis Entertainment
• See more company credits at IMDbPro
• $112,000,000 (estimated)
• $42,779,261
• Dec 26, 2010
• $237,382,724

Technical specs

• Runtime 1 hour 25 minutes
• Dolby Digital

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• Washington Post Michael O'Sullivan I will tell you there's a cast credit for a character described only as "Butt-crack man." Consider yourself warned.
• AV Club Nathan Rabin Like its protagonist, Gulliver's Travels is big, dumb, and slow-moving, a lumbering oaf of a movie that just barely makes it to feature-length via a groaningly unnecessary production number set to Edwin Starr's "War."
• Film.com Eric D. Snider There is laziness at every turn -- in the writing, in the acting, in the filmmaking. Don't reward these yahoos.
• New York Daily News Elizabeth Weitzman It all feels so lazy and familiar that adults may find themselves hoping Black will start to challenge himself again -- and the more swiftly the better.
• Arizona Republic Scott Craven The film stumbles along a predictable path, and there is an audible wince when Gulliver says, "These little people have grown large in my heart."
• Rolling Stone Peter Travers [A] dumb excuse for a movie.
• Los Angeles Times Betsy Sharkey "Gulliver's Travels" is one of those movies that falls between complete disaster and loads of fun. Mild amusement is probably about right.
• New York Post Kyle Smith Black was already the world's biggest little kid, and he might be the only actor who could have made this movie such nimble fun. No matter how thin the concept, Black always manages to make it his own.
• San Francisco Chronicle Mick LaSalle Somewhere by the middle, the souffle collapses, and the movie becomes sleep-inducing. Gulliver doesn't have much to do in Lilliput, and we notice that before he does.
• Entertainment Weekly Keith Staskiewicz Gulliver's Travels strips the source material down to its recognizable parts and then builds something completely new out of them. Unfortunately, the result is entirely Lilliputian in ambition, even for a children's movie.
• Austin Chronicle Marjorie Baumgarten As disinterested in itself as Gulliver's Travels seems to be, it's a wonder it ever came into existence at all.
• MovieFreak.com Sara Michelle Fetters Someplace, somewhere, Jonathan Swift is hanging his head in shame.
• Beliefnet Nell Minow The flaccid torpor of the script shows utter contempt for its audience in every line.
• Wall Street Journal Joe Morgenstern What were they thinking? What were they smoking? What were they singing on the way to the bank?
• Philadelphia Inquirer Steven Rea A murderously unfunny rethink of the groundbreaking literary satire.
• CinemaBlend Katey Rich It's not just weary parents who will get fed up with this one; kids will probably realize they've been duped too.
• Boston Globe Wesley Morris A migraine inducement that you'd think Jack Black had gotten out of his system years ago.
• ReelViews James Berardinelli The chief sin committed by Gulliver's Travels is not that it's a poor adaptation but that its entertainment value is almost nonexistent.
• New York Times A.O. Scott I was but seldom inspired to peals of true laughter, though I did relish that part when Mr. Black, confronting a fire raging in the Palace of Lilliput, douses the blaze through heroic use of such means as Nature has provided him.

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‘Civil War’ Review: We Have Met the Enemy and It Is Us. Again.

In Alex Garland’s tough new movie, a group of journalists led by Kirsten Dunst, as a photographer, travels a United States at war with itself.

• Share full article

‘Civil War’ | Anatomy of a Scene

The writer and director alex garland narrates a sequence from his film..

“My name is Alex Garland and I’m the writer director of ‘Civil War’. So this particular clip is roughly around the halfway point of the movie and it’s these four journalists and they’re trying to get, in a very circuitous route, from New York to DC, and encountering various obstacles on the way. And this is one of those obstacles. What they find themselves stuck in is a battle between two snipers. And they are close to one of the snipers and the other sniper is somewhere unseen, but presumably in a large house that sits over a field and a hill. It’s a surrealist exchange and it’s surrounded by some very surrealist imagery, which is they’re, in broad daylight in broad sunshine, there’s no indication that we’re anywhere near winter in the filming. In fact, you can kind of tell it’s summer. But they’re surrounded by Christmas decorations. And in some ways, the Christmas decorations speak of a country, which is in disrepair, however silly it sounds. If you haven’t put away your Christmas decorations, clearly something isn’t going right.” “What’s going on?” “Someone in that house, they’re stuck. We’re stuck.” “And there’s a bit of imagery. It felt like it hit the right note. But the interesting thing about that imagery was that it was not production designed. We didn’t create it. We actually literally found it. We were driving along and we saw all of these Christmas decorations, basically exactly as they are in the film. They were about 100 yards away, just piled up by the side of the road. And it turned out, it was a guy who’d put on a winter wonderland festival. People had not dug his winter wonderland festival, and he’d gone bankrupt. And he had decided just to leave everything just strewn around on a farmer’s field, who was then absolutely furious. So in a way, there’s a loose parallel, which is the same implication that exists within the film exists within real life.” “You don’t understand a word I say. Yo. What’s over there in that house?” “Someone shooting.” “It’s to do with the fact that when things get extreme, the reasons why things got extreme no longer become relevant and the knife edge of the problem is all that really remains relevant. So it doesn’t actually matter, as it were, in this context, what side they’re fighting for or what the other person’s fighting for. It’s just reduced to a survival.”

By Manohla Dargis

A blunt, gut-twisting work of speculative fiction, “Civil War” opens with the United States at war with itself — literally, not just rhetorically. In Washington, D.C., the president is holed up in the White House; in a spookily depopulated New York, desperate people wait for water rations. It’s the near-future, and rooftop snipers, suicide bombers and wild-eyed randos are in the fight while an opposition faction with a two-star flag called the Western Forces, comprising Texas and California — as I said, this is speculative fiction — is leading the charge against what remains of the federal government. If you’re feeling triggered, you aren’t alone.

It’s mourning again in America, and it’s mesmerizingly, horribly gripping. Filled with bullets, consuming fires and terrific actors like Kirsten Dunst running for cover, the movie is a what-if nightmare stoked by memories of Jan. 6. As in what if the visions of some rioters had been realized, what if the nation was again broken by Civil War, what if the democratic experiment called America had come undone? If that sounds harrowing, you’re right. It’s one thing when a movie taps into childish fears with monsters under the bed; you’re eager to see what happens because you know how it will end (until the sequel). Adult fears are another matter.

In “Civil War,” the British filmmaker Alex Garland explores the unbearable if not the unthinkable, something he likes to do. A pop cultural savant, he made a splashy zeitgeist-ready debut with his 1996 best seller “The Beach,” a novel about a paradise that proves deadly, an evergreen metaphor for life and the basis for a silly film . That things in the world are not what they seem, and are often far worse, is a theme that Garland has continued pursuing in other dark fantasies, first as a screenwriter (“ 28 Days Later ”), and then as a writer-director (“ Ex Machina ”). His résumé is populated with zombies, clones and aliens, though reliably it is his outwardly ordinary characters you need to keep a closer watch on.

By the time “Civil War” opens, the fight has been raging for an undisclosed period yet long enough to have hollowed out cities and people’s faces alike. It’s unclear as to why the war started or who fired the first shot. Garland does scatter some hints; in one ugly scene, a militia type played by a jolting, scarily effective Jesse Plemons asks captives “what kind of American” they are. Yet whatever divisions preceded the conflict are left to your imagination, at least partly because Garland assumes you’ve been paying attention to recent events. Instead, he presents an outwardly and largely post-ideological landscape in which debates over policies, politics and American exceptionalism have been rendered moot by war.

‘Civil War’ Is Designed to Disturb You

One thing that remains familiar amid these ruins is the movie’s old-fashioned faith in journalism. Dunst, who’s sensational, plays Lee, a war photographer who works for Reuters alongside her friend, a reporter, Joel (the charismatic Wagner Moura). They’re in New York when you meet them, milling through a crowd anxiously waiting for water rations next to a protected tanker. It’s a fraught scene; the restless crowd is edging into mob panic, and Lee, camera in hand, is on high alert. As Garland’s own camera and Joel skitter about, Lee carves a path through the chaos, as if she knows exactly where she needs to be — and then a bomb goes off. By the time it does, an aspiring photojournalist, Jessie (Cailee Spaeny), is also in the mix.

The streamlined, insistently intimate story takes shape once Lee, Joel, Jessie and a veteran reporter, Sammy (Stephen McKinley Henderson), pile into a van and head to Washington. Joel and Lee are hoping to interview the president (Nick Offerman), and Sammy and Jessie are riding along largely so that Garland can make the trip more interesting. Sammy serves as a stabilizing force (Henderson fills the van with humanizing warmth), while Jessie plays the eager upstart Lee takes under her resentful wing. It’s a tidily balanced sampling that the actors, with Garland’s banter and via some cozy downtime, turn into flesh-and-blood personalities, people whose vulnerability feeds the escalating tension with each mile.

As the miles and hours pass, Garland adds diversions and hurdles, including a pair of playful colleagues, Tony and Bohai (Nelson Lee and Evan Lai), and some spooky dudes guarding a gas station. Garland shrewdly exploits the tense emptiness of the land, turning strangers into potential threats and pretty country roads into ominously ambiguous byways. Smartly, he also recurrently focuses on Lee’s face, a heartbreakingly hard mask that Dunst lets slip brilliantly. As the journey continues, Garland further sketches in the bigger picture — the dollar is near-worthless, the F.B.I. is gone — but for the most part, he focuses on his travelers and the engulfing violence, the smoke and the tracer fire that they often don’t notice until they do.

Despite some much-needed lulls (for you, for the narrative rhythm), “Civil War” is unremittingly brutal or at least it feels that way. Many contemporary thrillers are far more overtly gruesome than this one, partly because violence is one way unimaginative directors can put a distinctive spin on otherwise interchangeable material: Cue the artful fountains of arterial spray. Part of what makes the carnage here feel incessant and palpably realistic is that Garland, whose visual approach is generally unfussy, doesn’t embellish the violence, turning it into an ornament of his virtuosity. Instead, the violence is direct, at times shockingly casual and unsettling, so much so that its unpleasantness almost comes as a surprise.

If the violence feels more intense than in a typical genre shoot ’em up, it’s also because, I think, with “Civil War,” Garland has made the movie that’s long been workshopped in American political discourse and in mass culture, and which entered wider circulation on Jan. 6. The raw power of Garland’s vision unquestionably owes much to the vivid scenes that beamed across the world that day when rioters, some wearing T-shirts emblazoned with “ MAGA civil war ,” swarmed the Capitol. Even so, watching this movie, I also flashed on other times in which Americans have relitigated the Civil War directly and not, on the screen and in the streets.

Movies have played a role in that relitigation for more than a century, at times grotesquely. Two of the most famous films in history — D.W. Griffith’s 1915 racist epic “The Birth of a Nation” (which became a Ku Klux Klan recruitment tool) and the romantic 1939 melodrama “Gone With the Wind” — are monuments to white supremacy and the myth of the Southern Lost Cause. Both were critical and popular hits. In the decades since, filmmakers have returned to the Civil War era to tell other stories in films like “Glory,” “Lincoln” and “Django Unchained” that in addressing the American past inevitably engage with its present.

There are no lofty or reassuring speeches in “Civil War,” and the movie doesn’t speak to the better angels of our nature the way so many films try to. Hollywood’s longstanding, deeply American imperative for happy endings maintains an iron grip on movies, even in ostensibly independent productions. There’s no such possibility for that in “Civil War.” The very premise of Garland’s movie means that — no matter what happens when or if Lee and the rest reach Washington — a happy ending is impossible, which makes this very tough going. Rarely have I seen a movie that made me so acutely uncomfortable or watched an actor’s face that, like Dunst’s, expressed a nation’s soul-sickness so vividly that it felt like an X-ray.

Civil War Rated R for war violence and mass death. Running time: 1 hour 49 minutes. In theaters.

An earlier version of this review misidentified an organization in the Civil War in the movie. It is the Western Forces, not the Western Front.

How we handle corrections

Manohla Dargis is the chief film critic for The Times. More about Manohla Dargis

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