1999 was a very good year for film, and how much more peculiar Tim Burton’s Miss Peregrine’s Home for Peculiar Children might have been had it come out that year, before the X-Men and Harry Potter franchises were launched in 2000 and 2001, respectively.
Lewis Carroll is now right side up in his grave, having turned over twice.
Frankenweenie, Burton’s best film in years, is available in a number of editions: four-disc Blu-ray/DVD combo with 3-D Blu-ray and digital copy; 2-disc Blu-ray/DVD combo, and 1-disc DVD.
Dark Shadows in 60 seconds: my “Reel Faith” review.
If you are in love with the 1970s and Johnny Depp, perhaps you will enjoy this. Andrew O’Hehir says he knew he would love the film when he spotted a banana-seat Schwinn bicycle leaning against the front porch of Collinwood in an early scene. All right. But then comes a “happening” featuring Alice Cooper as himself (!), with a disco ball and cage dancers. At Collinwood. Is this really anyone’s idea of a good time?
The film is actually a joint evisceration not only of Carroll’s Alice in Wonderland, but also of “Jabberwocky,” with Alice recast as (so help me) a messianic warrior-hero destined to claim the fabled “Vorpal Sword,” don shining armor, and wage an epic battle on the fated “Frabjous Day” against the forces of the Red Queen (Helena Bonham Carter) and the dragon-like Jabberwocky.
Critics adored Batman for its eccentric, Burtonesque take on a pop-culture icon, for its moody, noirish gothic art-deco Gotham City, and of course for Jack Nicholson’s showy performance as the Joker. Comic-book fans, meanwhile, appreciated the film for rescuing the Dark Knight from the over-the-top camp comedy of the 1960s series and making him suitably dark and brooding. For all that, though, the film’s flaws are hard to overlook.
As imagined by Tim Burton in stunning, wildly stylized stop-motion animation overtly reminiscent of The Nightmare Before Christmas yet technically far beyond it, this macabre fairy tale becomes, variously, a poignant meditation on the daunting weightiness of the vows of marriage, a raucous danse macabre in jumping jazz rhythms and florid colors, a visually rich celebration of Edward Gorey Gothic-Victorian and Charles Addams grotesque, and, perhaps most surprisingly, a touching portrait of tragedy, doomed love, empathy, and sacrifice.
Tim Burton’s Charlie and the Chocolate Factory is enough to make any fan of Roald Dahl’s most beloved novel cry — with delight at all the film gets so magically right, and with frustration that in spite of that the film is still nearly ruined by Burton’s obsessions and a spectacularly miscalculated performance by star Johnny Depp.
Like Haley Joel Osment in Secondhand Lions wanting to know the truth about the tales of his uncles’ alleged exploits, Ed’s son Will (Billy Crudup) wants to know whether his dying father really was a Big Fish in a small pond, or whether his father’s tales were just Big Fish stories. Big Fish also echoes Secondhand Lions by ending with a funeral scene that provides some answers as Will finally meets certain individuals from his father’s past.
Helena Bonham Carter is also convincingly simian as the chimpanzee Ari, though less so than Thade, since she has to be visibly feminine and potentially attractive to the human lead (Mark Wahlberg). But the gorillas, like Attar (Michael Clarke Duncan) and Krull (Cary-Hiroyuki Tagawa), are as compellingly realistic as Thade, if not quite as expressive.
Despite the macabre humor, there’s something touchingly innocent about Halloweentown. Its inhabitants live for fear and thrills, yet there’s no real malice in any of them — with the exception of a sort of Halloween outlaw named Mr. Oogie Boogie and his three young protégés.
Copyright © 2000– Steven D. Greydanus. All rights reserved.