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Director: Henry Selick
Release Date: October 29, 1993
Rating: ★★★

Tim Burton’s ‘The Nightmare Before Christmas’ is an impressive film. Combining replacement techniques with puppets with complex armatures, computer-controlled camera movements, and a bit of drawn animation, Burton’s team takes the art of stop-motion to new heights.

Moreover, the film is surprisingly elaborate, and uses nineteen stages, 230 sets, sixty characters, and hundreds of puppets to tell its story. The opening scene alone is a tour-de-force of mind-blowing images, with too much happening to register it all.

The result is a stop motion film with the highest production values thus far, and simply bursting with stunning visuals. Together with Aardman’s ‘The Wrong Trousers’ from the same year the feature easily sets new standards for stop-motion.

So why don’t I give this film a five-star rating? The main reason is the songs. ‘The Nightmare Before Christmas’ was made at a time when American animation film practically equaled musical, but even so in this film soundtrack composer Elfman takes the musical idea to the max. There are no less than eleven songs within the 68 minutes the feature lasts, taking a staggering 43% of the screen time.

But Elfman is no Alan Menken, and all his songs are terribly meandering and forgettable, slowing down the action, with characters halting to express their emotions, like in a Baroque opera.

Low point arguably is Sally’s song, which could have been a moving expression of feelings, but turns out to be an all too short and completely aimless bit of music, lasting only 96 seconds. If one compares Elfman’s absent song-craft to the strong melodies of Menken’s ‘Beauty and the Beast’ (1991) or ‘Aladdin’ (1992), it becomes clear that Elfman’s efforts don’t add to the story, but drag it down, to a point that one screams to be freed from the omnipresent singing.

The film is typical Burton with its friendly take on horror, and Burton’s head animator Henry Selick rightly calls the film’s overall style a mix of “German expressionism and Dr. Seuss”. Selick and his team manage to make Burton’s pen and ink drawings come to life in believable puppets, despite the often very long limbs and unsteady balance of some of the characters.

With this animation effort Selick turned out to be a strong new voice in the animation field, and after ‘The Nightmare Before Christmas’ he continued to impress, first with ‘James and the Giant Peach’ (1996), then with ‘Coraline’ (2009), although his feature ‘Monkeybone’ (2001) was much less of a success.

Burton’s story is based on an original idea, but is not worked out too well. The idea of Holiday lands is a good one, but how does one return from Christmas land to Halloween land? And there is a focus problem: ‘The Nightmare Before Christmas’ follows two main characters, Jack Skellington and Sally, without choosing one as its principal character.

Jack is a bit of a problematical character anyhow: he’s king of his land, but remarkably bored, and he’s willing to take a huge risk to fill his own feelings of emptiness. Moreover, his selfish plans means a year without Halloween, not to mention the disastrous Christmas he makes. Jack does develop during the film, but his remorse and recovery come too quickly to be entirely convincing.

In the end, it’s Sally who turns out to be the most interesting character of the two: when we first watch her, she literally falls apart. She’s controlled and hold back by her maker, the possessive Dr. Finkelstein, and naturally very shy, but during the movie she becomes bolder and more venturous.

The film’s villain, The Bogeyman, is scary, but his role in Burton’s universe is obscure: why is he the only nightmarish character that is genuinely scary and unfriendly? I have no idea. A nice touch are the Cab Calloway influences on this character. He even literally quotes Calloway when saying “I’m doing the best I can” like Calloway did in the Betty Boop cartoon ‘The Old Man from the Mountain’ (1933).

The film’s story flaws would certainly be forgivable, given the film’s stunning visuals, if it were not for the songs. The biggest problem of ‘The Nightmare Before Christmas’ remains its unappealing soundtrack, reducing an otherwise fantastic film into a hardly tolerable one. An immense pity, for one remains wondering what the film could have been if it had not been the obligate and ugly musical it turned out to be.

Watch an excerpt from ‘The Nightmare Before Christmas’ yourself and tell me what you think:

‘The Nightmare Before Christmas’ is available on DVD and Blu-Ray

Director: Tim Burton & Mike Johnson
Release Date: September 23, 2005
Rating: ★★★★
Review:

Tim Burton's Corpse Bride © Warner BrothersThe shy Victor and Victoria are forced by their unsympathetic parents to marry each other.

Luckily, they actually like each other, but then Victor accidentally marries the deceased Emily who takes him to a world underground, while Victoria is forced to marry the evil lord Barkis…

‘Corpse Bride’ is a typical Tim Burton film, especially in its art direction, in its 19th century, gothic setting, in its dark humor, and in its jolly portrait of death. Because the film is also a Danny Elfman-penned musical, it feels like a successor to ‘The Nightmare before Christmas‘ (1993). Nevertheless, it is far more enjoyable than that sometimes tiresome film: ‘Corpse Bride’ features only three songs, two of which help to tell the story. So, even though one could do without the musical element, it doesn’t dominate the complete film.

Also, the art of ‘Corpse Bride’ is a great improvement on ‘Nightmare before Christmas’. The dull greys and blues of the living world contrast greatly with the vivid colors of the underworld, which is clearly more fun to ‘live’ in. The designs of the puppets are extreme, and their almost flawless animation is jawdroppingly rich and expressive. The story is lean, and focuses on the three protagonists, Victor, Victoria and Emily, who all three are very likable characters. The voice cast is impressive, and includes Johnny Depp (Victor), Emily Watson (Victoria), Helena Bonham Carter (Emily) and Christopher Lee (Pastor Gallswells).

All this make ‘Corpse Bride’, together with that other stop-motion film ‘Wallace and Gromit: the Curse of the Were-Rabbit‘, the best animated feature of 2005/2006, surpassing all computer animated films of those years. It proves that traditional animation is still viable and relevant in the computer age.

Watch the tailer for ‘Tim Burton’s Corpse Bride’ yourself and tell me what you think:

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