You are currently browsing the tag archive for the ‘Tim Burton’ tag.

Director: Henry Selick
Release Date: April 12, 1996
Rating: ★★★½
Review:

Based on the children’s book by Roald Dahl from 1961 ‘James and the Giant Peach’ is, in fact, a hybrid, starting and ending as a live action movie, with the middle forty minutes (ca. half the movie) being done entirely in stop-motion.

The opening scenes set ‘James and the Giant Peach’ as one of the great fantasy films of the nineties. The sets and atmosphere are magical and dreamlike, with no attempt at reality. James’s horrific aunts, too, are grotesque and deeply rooted in caricature. They are excellently played by British actresses Miriam Margolyes and Joanna Lumley, who are allowed to play their personas as broadly as possible. Young James, in contrast, remains perfectly normal, and Paul Terry’s performance is on the brink of boring.

Despite the great opening scenes, the real fun starts when James descends into the giant peach. During this scene he transforms into his puppet self, and inside he meets a sextet of giant ‘insects’ (in fact, three of them are insects, the others being a myriapod, an arachnid and an annelid), with whom he decides to fly to New York, cleverly using sea gulls to propel the peach into the air.

Except for the all too bland glowworm, the arthropods are delightful characters: there is a very American sounding boastful and bragging centipede (Richard Dreyfuss), a motherly ladybug (Jane Leeves), an aristocratic and knowledgeable grasshopper (Simon Callow), an anxious and gloomy earth worm (David Thewlis), and a femme fatale-like but friendly French female spider (Susan Sarandon). The design of these is less eccentric than that of the protagonists in ‘The Nightmare Before Christmas’, but still have some freaky touches, most notably Miss. Spider’s eyes, which each consist of two yellow eyeballs. Moreover, they all have the correct number of legs, with Miss Spider’s eight legs all ending in elegant boots. The animation, too, retains some creepy-crawly quality, and Miss Spider remains a little scary, despite her friendliness.

The voice cast is excellent, and most of the humor originates from the interplay between these characters, but there is plenty of action anyway, with the bugs having to battle a mechanical shark, defend themselves against a ghost ship, and fight starvation.

Unfortunately, after 59 minutes we return to live action, when James and his friends land in New York. True, this New York remains a fantasy-product, with very stagy and crooked sets, but lasting a staggering 30 minutes this finale turns out to be overlong and weak. It does not really help that the film makers decide to make the aunts survive the crushing of their car and to follow James into New York, an idea not in the book. Believability is certainly breached in these scenes, because of the fake character of the sets, some wooden action of the crowds, and the strange interplay between the grotesque aunts and the more down-played Americans. Moreover, the insects are mostly absent from these scenes, which only show that young actor Paul Terry cannot carry these scenes on his own, which seem to drag without inspiration.

Another letdown of this film are the four songs by Randy Newman. All four are weak and forgettable. Even worse, they are clearly superfluous, and they threaten to stall the action instead of helping the story forward. Luckily, there are only four of them, making ‘James and the Giant Peach’ much more tolerable as a film than ‘The Nightmare Before Christmas’ was, but nevertheless I regard this film yet another victim of the unwritten rule that every animation film should be a musical, which was prevalent in the 1980s and 1990s.

The overlong finale and unwelcome songs prevent ‘James and the Giant Peach’ to become an all-time classic, and certainly it was not well received back then, becoming a box office bomb. With this the short Disney adventure into stop motion ended. This is pity because the stop motion animation is excellent and delightful to watch throughout.

There is also a fair deal of computer animation, surprisingly executed by Sony Pictures Image works, who did an excellent job on the rhinoceros, some dancing clouds, and the mechanical shark. The latter, especially, is a great piece of computer animation, as it blends surprisingly well with the stop-motion and never loses its fantastical character.

Disney thus may have stopped making stop motion films, but both Tim Burton and Henry Selick continued to follow this path, with Tim Burton making ‘Corpse Bride’ in 2005 and ‘Frankenweenie’ (again for Disney) in 2012, while Henry Selick joined Will Vinton’s LAIKA studio in 2005 to make the widely acclaimed ‘Coraline’ (2009).

Watch the trailer for ‘James and the Giant Peach’ yourself and tell me what you think:

‘James and the Giant Peach’ is available on Blu-Ray and DVD

Director: Tim Burton
Release Date:
September 20, 2012
Rating:
 ★★★½
Review:

‘Frankenweenie’ was the third horror-themed animated feature of 2012, after ’ParaNorman’ and ’Hotel Transylvania’. Based on a short live action film director Tim Burton made way back in 1984 when still working at Disney, Again made at Disney, the new ‘Frankenweenie’ is obviously an ode to classic horror cinema, and to ‘Frankenstein’ from 1931 in particular.

Indeed, the references to other films are all over the place, and as horror is not my specialty, I’m sure I have not nearly caught half of them. It already starts with the town’s name, ‘New Holland’, which is a direct reference to the Dutch settlement in which Irving Washington’s tale of horror ‘The Legend of Sleepy Hollow’ (1820) takes place.

Main protagonist Victor’s surname is Frankenstein. His eccentric science teacher takes after horror actor Vincent Price, while Edgar, one of his school mates, looks like the hunchbacked Fritz in ‘Frankenstein’. Another school mate looks like a mix between Buster Keaton and the monster of Frankenstein, and so on and so forth. In the finale Burton even throws references to 1950s movie monsters into the mix, unfortunately diluting the theme on the way.

In any case ‘Frankenweenie’ suffers from a lack of focus. Not only can’t Burton stick to the Frankenstein theme, but his film is also stuffed with ideas that lead nowhere. For example, there’s an evil neighbor, whose role is hardly played out. He lives up to a festival day called ‘Dutch Day’, but again very little is done with the concept. This neighbor guards one Elsa van Helsing (yes, there’s another reference), a probable love interest to Victor, but this story idea isn’t developed beyond conception. Then there’s the father who worries Victor becomes too weird – and again, this story idea is only used to get the story at the point at which Victor can revive his deceased dog, after which this subplot never returns.

There’s a particularly large number of villains in this film: the neighbor is evil, Edgar is evil, Toshiaki (yet another of Victor’s schoolmates) is evil, but like the other story elements their particular stories are touched, not played out. We mostly learn that reviving animals apparently is deadly easy. Best of the oddball characters that fill the film is a wide-eyed girl with a cat that prophecies in its poo.

Tim Burton certainly has indulged in stuffing his film with references, but what he wanted to tell with his story is less clear. There’s even a completely idiotic message (voiced by Victor’s science teacher) that science can only succeed when you put your heart into it. Really?! If you’d believe this, you’d believe science is more like magic than a method.

Despite the weak story, the film’s finale consists of twenty minutes of pure action and excitement, ending in a burning windmill (yes, echoing ‘Frankenstein’). This sequence is full of stunning cinematography and complex sets. There’s even a moment of real horror, including a scare moment. Unfortunately, after the action sequence the films ends forced and cliché with e.g., an applauding crowd, missing an opportunity for a more intelligent and daring ending.

It’s a shame ‘Frankenweenie’ doesn’t deliver story-wise, for the film’s looks are a delight. In design ‘Frankenweenie’ is clearly the successor of Burton’s earlier and similarly horror-themed stop-motion films, ‘The Nightmare Before Christmas’ (1993) and, more obviously, ‘Corpse Bride’ (2005). Like in those earlier films, the puppets are top-heavy, with long slender limbs. But unlike these two earlier films, ‘Frankenweenie’ is no musical, and Burton made the bold move to film this movie in black and white, enhancing the classic feel. The cinematography is at times no less than marvelous, like in the reviving scene, or the scenes at the graveyard.

The animation is fine, but sometimes on the bland side, especially on Victor’s parents and secondary characters, whose expressions are too often rather empty gazes. Moreover, nowhere do the animators manage to blow genuine feelings into the puppets (most of the characters are just weird anyway), and the film lacks proper emotion, even in its most desperate scenes.

‘Frankenweenie’ is not a bad film, it’s too well crafted for that, but when compared to Burton’s earlier movie ‘Corpse Bride’ or to Laika’s contemporary and comparable ‘ParaNorman’ it just falls short on its potential. Especially ‘ParaNorman’ does well what ‘Frankenweenie’ does not: staying focused, spinning a tale with a clear message, building characters you care for, and giving the film a surprising twist. At least we should be thankful that 2012 brought us no less than two stop motion features, keeping the old technique alive and kicking in a sea of computer animation.

Watch the trailer for Frankenweenie’ yourself and tell me what you think:

’Frankenweenie’ is available on Blu-Ray and DVD

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
Release Date: October 1, 1982
Rating: ★★★★
Review:

Vincent © Walt Disney‘Vincent’ a is short film, which director Tim Burton made while still working at Disney.

The short is as typical for Tim Burton as it is atypical for Disney. First, it’s a stop-motion film, something the studio was not famous for, at all. The only other stop-motion film ever released by the studio was ‘Noah’s Ark‘ from 1959. Second, the film is in black and white, and third, it has a genuine horror theme, miles away from the child friendly worlds of contemporary Disney films, like ‘The Fox and the Hound‘ (1981) or ‘Mickey’s Christmas Carol‘ (1983).

The film uses the deep voice of classic horror star Vincent Price to tell the story of Vincent in rather Dr. Seuss-like rhyme. Vincent is a little seven year old boy, who wants to be like, well… Vincent Price. Because his mind has become twisted by reading stories by Edgar Allen Poe, Vincent imagines himself a madman haunted by his deceased wife, and locked in by a cursed house. In the end his imagination runs haywire, taking hold of him.

Burton does an excellent job mixing horror with silliness. The result is a rather twisted version of ‘Gerald McBoingBoing’ – equally weird, equally expressionistic, but much darker. In ‘Vincent’ you find much of the Tim Burton to come. It’s not hard to see the link between this wonderful short and ‘The Nightmare Before Christmas‘ (1993),  ‘Corpse Bride‘ (2005) or with his live action films like ‘Beetlejuice’ (1988) or ‘Sleepy Hollow’ (1999).

Interestingly, in the same year, Vincent Price would also lend his voice to the Michael Jackson song ‘Thriller’.

Watch ‘Vincent’ yourself and tell me what you think:

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 1,112 other followers
Bookmark and Share

Follow TheGrob on Twitter

Categories