The Magic of Tim Burton

Stephen Blackford · Follow

52 min read · Apr 2, 2022

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1985–2016. 18 films. Couple of clunkers! But a whole lot of magic. All lovingly
appreciated and spoiler free.

The genius that has given me such cinematic joy. Bless you Tim Burton. Here courtesy of a 2012 piece for the
www.nytimes.com

A Tim Burton film always feels unique and a pure creation from an artist. Every film is
bathed in oblique references, surreal animation with a quirkiness you can’t fail to love and
admire.
His films centre on familial relationships, of Father/Son tales and a personal feeling of being
alienated, different and alone and a loss of innocence masked in a surreal fantasy world,
maybe?
Between 1985 and 2016, Tim Burton helmed 18 incredible cinematic releases and
aside from these he is also a credited Producer on Abraham Lincoln: Vampire Hunter,
James and the Giant Peach, Cabin Boy, The Nightmare Before Christmas and an
uncredited actor in many of his own films. A prolific writer too, he has brought to
life some amazing character creations including:

Beetlejuice, Edward Scissorhands, Ichabod Crane, Edward Bloom, Sweeney Todd, a Corpse
Bride, Sparky the dog and Miss Peregrine.
and reintroduced real life characters such as Ed Wood and Bela Lugosi to the big
screen with a love and affection rarely accorded with such reverence these days.

His collaborations with Johnny Depp and ex wife Helena Bonham Carter are legion,
but less so is Danny Elfman and Colleen Atwood, both of whom have contributed so
vitally in original music and costume design respectively, and so regularly
throughout his career. Together with Depp and Helena Bonham Carter he has
worked with an incredible array of modern day acting greats:

Jack Nicholson, Alan Arkin, Vincent Price, Martin Landau, Glenn Close, Danny De
Vito, Christopher Walken, Tim Roth, Paul Giamatti, Albert Finney, Alan Rickman,
Danny Huston, Christoph Waltz, Amy Adams, Eva Green and Samuel L Jackson.

Concentrating solely on Directed films and with as few spoilers as is possible, I have also
written these appraisals in a slightly different fashion on occasion, specifically
concentrating on a single scene or Act or even the Actor’s performance. As with all of
my favourite cinematic Directors, I do not love or even on occasion like, every one of
their creations. That’s the prerogative of a film fan! But I’ve written this blog from a
perspective of love for the film’s created by one of the greatest Directors of the 20th and
21st Century. It is not intended as a fact track or full of trivia and more importantly,
spoilers. It is intended as a personal catalogue of the genius of Tim Burton. I hope you
enjoy.

But first, my entire 18 films from Tim Burton in order of preference. You may well
disagree and I hope you do!

1. Edward Scissorhands (1990)

2. Ed Wood (1994)
 3. Batman (1989)

4. Corpse Bride (2005)

5. Beetlejuice (1988)

6. Big Fish (2003)

7. Sweeney Todd: The Demon Barber of Fleet Street (2007)

8. Frankenweenie (2012)

9. Big Eyes (2014)

10. Sleepy Hollow (1999)

11. Charlie and the Chocolate Factory (2005)

12. Miss Peregrine’s Home for Peculiar Children (2016)

13. Planet of the Apes (2001)

14. Alice in Wonderland (2010)

15. Dark Shadows (2012)

16. Mars Attacks! (1996)

17. Batman Returns (1992)

18. Pee Wee’s Big Adventure (1985)

 “Pee-Wee’s Big Adventure” (1985). Picture courtesy of www.filmonpaper.com

“I’m a Loner, Dottie. A Rebel!”

“Pee-Wee Herman” (Paul Reubens). Picture courtesy of www.alternateending.com

The premise is simple: “Pee-Wee Herman” (Paul Reubens) is living in his
contraption filled house and wonderland style garden and lives a simple life with his
pet dog Speck and his pride and joy, his bicycle. His bike stolen, Pee Wee embarks
on a road trip by car, truck and train across the United States of America in search of
his beloved bike.

A man child enjoying life and full of zest and colour, Paul Reubens brings his
creation to life in league with his best friend and want to be girlfriend “Dottie”
(Elizabeth Daily), his arch enemy “Francis” (Mark Holton), “Mickey” (Judd Omen)
and “Simone” (Diane Salinger).

27 years since initial release, the film has only aged in relation to the CGI effects as
the film itself still looks remarkably vibrant and colourful, mirroring it’s main
character perfectly. Backed by Danny Elfman’s excellent, bubbly musical score the
film moves through it’s 90 minute running time and engages it’s core demographic
audience very well and with some surprisingly good set pieces. His trademark
laugh/giggle grates after a while and some of the gags simply don’t stand up,
whereas some continue to be fun if a little dated. Watching this again in my mid 40's
I wasn’t anywhere near as engaged as the core demographic, but the budding Tim
Burton fan who watched it with me gave me his approval, so we’ll go with my son’s
thumbs up approval!

Picture courtesy of www.wearesecondunion.com

The scenes that do stand out and are a genuine joy are all submerged in early Tim
Burton magic. Red is the dominant colour throughout (an early Burton theme) and a
short scene just after his bicycle is stolen, with Pee Wee surrounded by fellow
cyclists, tri-cyclists, uni-cyclists and children riding their bikes an early highlight. As
is the quick change before a police checkpoint to save a new found friend. But the
film’s true stand outs are pure Tim Burton, a lost in the dark Pee Wee, his now
cartoon eyes the only image illuminating the screen, the woman truck driver and
her unusual eyes and Pee Wee sitting with Simone in the mouth of a Dinosaur which
is shot from behind and saturated in red. The dream sequences too are a highlight,
with another Dinosaur eating his beloved bike, then a team of Doctors dressed as
clowns putting his bike back together! All thoroughly bizarre, all very Tim Burton!
Not a favourite film of mine but an enjoyable enough 90 minutes.

“Beetlejuice” (1988). Picture courtesy of www.pastposters.com

“I’ve seen the Exorcist ABOUT A HUNDRED AND SIXTY SEVEN TIMES, AND IT KEEPS
GETTING FUNNIER EVERY TIME I SEE IT!”.
 “Beetlejuice” (Michael Keaton). Picture courtesy of www.geektyrant.com

“Beetlejuice” (Michael Keaton) Not seen until well into the second act of the film
and then for a minimal amount of screen time, but what a performance from
Keaton. Balancing the persona of the deranged and obnoxious ghost exorcist
perfectly, the only criticism is he doesn’t figure more prominently in his own film!
What screen time there is is pure gold. His brief introduction is thus:

Approaching a “Betelgeuse” sign, “Barbara” (Geena Davis) and “Adam” (Alec

Baldwin) begin digging at the foot of the grave, accompanied by Danny Elfman’s
hurried and hectic cinematic musical score which is a joy throughout. After much
digging, rising from his grave, arms outstretched in wonder, delight and triumph is
Beetlejuice. Kissing Barbara, then grabbing Adam, before finally settling in between
them and enquiring as to the romantic availability of Barbara, it is a wonderfully
bizarre and surreal introduction. Always seemingly in the middle of the three, arm
in arm, Beetlejuice enquires “who do I have to kill?” as he hands Barbara a live rat
and throwing his voice to her!
 Picture courtesy of www.sideshow.com

Demonstrating both his qualifications “I graduated Harvard Business School!” and

his ability to be scary, this is the eponymous Beetlejuice scene where, back to
camera, he scares Barbara and Adam with snakes protruding from his head.
Unsure, and with Beetlejuice pleading for the opportunity to help them “Come on.
We’re like peas in a pod the three of us, let’s face it”, Barbara and Adam return home.
Unaware, and still offering to cook a meal for his new found friends, the four minute
scene ends in brilliant cameo fashion from Michael Keaton, topped with a little
flourish from the Director. With the only two swear words of the entire film and the
Director’s final flourish, an angry Beetlejuice exclaims “Where are you? Oh you
fucking losers. You’re working with a professional here!” before kicking down a fake
tree behind him and ending with “Nice fucking model!” before grabbing his crotch
and the scene ends with two cartoon/clown like “honks!”

Without wishing to give away huge chunks of spoiler I won’t go into much further
detail of the film itself, suffice to say that at times it is brilliantly funny, sometimes
darkly so and even with a second or third viewing you will still see little nuances or
pieces you missed on first viewing. It is very definitely a triumph for Director Tim
Burton, as the surreal flashes and inserts throughout are a marvel and very
definitely early Tim Burton at his very best. Yes the film has dated a little since it’s
release in 1988, but Keaton’s albeit brief performance, allied to the marvellous
musical score from Danny Elfman and the Director’s genius, make this a must watch
in his cannon of work. The supporting cast are excellent too, with Jeffrey Jones as
“Charles Deetz”, Annie McEnroe as “Jane Butterfield”, a young Winona Ryder as
“Lydia Deetz” and Catherine O’Hara as “Delia Deetz” particular stand outs. Just one
tiny spoiler for you, because it makes me laugh every time and I’m sure it will you
too. Just await the family gathering and their table dance to “Day-O”. It’s utterly
brilliant, funny and encapsulates this film perfectly!

“Adam” (Alec Baldwin) and “Barbara” (Geena Davis). Picture courtesy of www.acebuyshomesfast.com

With a running time of just 92 minutes and writing credits for Michael McDowell,
Larry Wilson and Warren Skaaren many others deserve credit in producing a
wonderful film. Director of Photography Thomas Ackerman especially so for
bringing an intensely surreal film to life with Director Burton and Danny Elfman’s
iconic score as previously noted. The soundtrack is a fun mix with “Day-O” an
amusing stand out, alongside “Jump in the Line (Shake Senora)” and classical pieces
from Chopin and Wagner. Nominated for one Oscar, Ve Neill, Steve LaPorte and
Robert Short unsurprisingly won for Best Make Up.
 “Batman” (1989). Picture courtesy of www.pastposters.com

“You ever dance with the devil in the pale moonlight?”

With Danny Elfman’s iconic theme in the background and the Batman motif slowly
being unveiled, we cut to a wide shot of Gotham City and it’s cartoon like feel and
the hustle and bustle of a busy city below and we’re immediately in a Tim Burton
film. And Burton’s very individual take on Batman. 23 years on the effects may look
a little dated compared to today’s standards, even the repertoire of “toys” so
synonymous with Batman are a little dated too, but it remains a benchmark for
others to follow and a triumph for the Director. On it’s release 23 years ago I loved
this film for it’s closeness and homage in many ways to the TV series, for Michael
Keaton as a superb and underrated Batman, for Tim Burton bringing Gotham City to
life so brilliantly and for Jack Nicholson! His portrayal of The Joker still resonates all
these years later. It’s sublime, pitch perfect and as the character unravels, Nicholson
balances the fine line between psychopathy and madness excellently.

As you may have read in my other blogs (quick plug — they’re all on here),
Christopher Nolan’s re-boot of the franchise and his own very individual take on
Batman with his trilogy is a favourite with me, and with fan boys. I considered doing
a retrospective take on both Jokers (Nicholson and Heath Ledger) however I’ve
covered Ledger’s incredible performance on my Christopher Nolan blog, so have
decided instead to focus on this original film’s three key players, “Batman” (Michael
Keaton), “The Joker” (Jack Nicholson) and the Director himself, Tim Burton.

But first, a very short premise: After being disfigured in a chemical accident, Jack
Napier returns as The Joker and quickly rises to become a homicidal, psychopathic
underworld crime boss. Gotham City is in peril, and the call is made to The Dark
Knight, Batman to save the city from his evil clutches.

Picture courtesy of www.entertainment.directv.com

As described above, the very first scene of a dark and gothic Gotham City is Tim
Burton at his best. Richly stylised backdrops and sets bring Gotham City to life,
however on re-watching this film it is perhaps the Director’s greatest feat here to
take a more hands off approach in terms of constant stylisation and allowing both
the story and the characters themselves room to breathe and develop. The story is
particularly well told, backed by Danny Elfman’s iconic and triumphant musical
score and matched by a cast of actors playing iconic roles superbly. The nods and
flourishes in the first two acts are subtle and tasteful, pushing the story to it’s
climatic third act. The red roses placed at the scene of his parent’s death could have
been played far more heavily and with more exposition, but a short flashback later
more than suffices. The shoot out on the Gotham City Hall steps give a nod and
indication to all, especially “Vicki Vale” (Kim Basinger) that Bruce Wayne may not
be only the businessman he appears to be. But it’s the end of that short scene where
the Director shines, bringing Bruce and The Joker together, The Joker waving as he
departs in the car, Bruce’s bemusement and frustration aptly shown in the car’s
reflection.

Smaller nod’s to the TV show (the red fire exhaust of the Bat Mobile) and a nod to
the comic book Batman and his mastery of Kung Fu are added, but whereas this is
fully explored in Christopher Nolan’s trilogy, there is just a fleeting glimpse of that
here. The Director’s influence is more evident as we approach the end of Act Two
and throughout the final Act. The exhilarating drive back to the Bat Cave, winding
through typical Burtonesque avenues of dark, overhanging trees to the Bat Cave
itself is pure Tim Burton. As is the final Act and The Joker’s benevolent City Parade
and party. Backed by original songs from Prince throughout and here especially, this
adds to the majesty and the surreal nature of the climatic finale, and the inevitable
final showdown between Batman and The Joker. Sublime and surreal in equal
measure.

“Batman/Bruce Wayne” (Michael Keaton). Picture courtesy of www.hollywoodreporter.com

“Batman” (Michael Keaton). Remains underrated as the caped crusader and

perhaps even more so now Christian Bale excelled so brilliantly in the Christopher
Nolan Batman trilogy. However, Keaton excels here too, infusing Bruce Wayne with
a deliberate geek sensibility and a slightly bumbling and unsure of himself fool type
role, perfectly designed of course to show the duality of all comic book heroes. Once
they don their suit, they adopt a style and self assurance and invincibility of super
heroes. The difference between the two persona’s is stark and very well played. A
convincing Batman, the fight scenes are well choreographed and exciting for the
audience, the dramatic entrances show Keaton in a good light, as do his frequent
appearances as his alter ego Bruce Wayne.

Throughout the film it’s interesting to note that Bruce Wayne/Batman often only
interact with one other character, dual scenes with Vicki Vale and his Butler “Alfred”
(Michael Gough) and as Batman, with Vale again, and of course, The Joker. All dual
scenes propel the story well and perhaps being the example that proves the rule,
Keaton really shows his mettle in a short scene with a further character “Alexander
Knox” (Robert Wuhl) and Vicki Vale, the two reporters snooping around his “trophy
room” unaware of Keaton as Bruce Wayne slowly approaching behind them. A very
short but telling scene.

“The Joker/Jack Napier” (Jack Nicholson). Picture courtesy of www.movies.mxdwn.com

“The Joker” (Jack Nicholson). Once again in a Batman film, The Joker steals the
limelight! As with Heath Ledger in Christopher Nolan’s The Dark Knight, Jack
Nicholson steals every scene he is in, punctuates every scene he is in with jokes and
gags and literally bursts forth onto the screen. An immense performance from
Nicholson who for thirty five minutes of the film is his alter ego, Jack Napier.
However, no concentration necessary there, as it’s The Joker who dominates and
steals the film. With his maniacal laugh and attire a direct nod to the TV series,
Nicholson is sublime, delivering the trademark Joker punchlines brilliantly, from
“Oh, I’ve got a live one here!” as he electrocutes a rival to death, “Never rub another
man’s rhubarb!” after he believes he’s murdered Bruce Wayne to my personal
favourite, “He stole my balloons!” during the climatic scene. There are many, many
more, all delivered brilliantly by Nicholson and equally many more touches and
subtle gags that round off the character and assure both the character and
Nicholson, an Actor’s Hall of Fame position.

Noted by the Director himself as a film about a “Duel of the Freaks”, a large cast of
supporting roles include Billy Dee Williams as “Harvey Dent”, Pat Hingle as
“Commissioner Gordon”, Jerry Hall as “Alicia Hunt” and Jack Palance as “Carl
Grissom” as the star stand outs not previously referenced and with two concurrent
soundtracks from Danny Elfman and Prince complimenting Tim Burton’s surreal
vision and direction, this 24 year old film remains a joy to watch time and time
again. Director of Photography Roger Pratt deserves great credit as does Anton
Furst’s Production Design as they both bring a cartoon like Gotham City to life
brilliantly. Anton Furst, along with Peter Young deservedly won an Oscar in 1990 for
their Art Direction/Set Decoration achievements.
 “Edward Scissorhands” (1990). Picture courtesy of www.pastposters.com

“Hold me?

I can’t”.

Following black and white credits through heavily falling snow against a snow globe
type backdrop and an imposing mansion house on the hill, we fade through a
window and into full colour and onto an older lady telling a bedtime story to a very
young girl. The story is about a man called Edward and the Inventor who created
him. Quickly cutting to present day and a vibrant coloured, almost picture postcard
type housing estate, immaculately clean and tidy with multi coloured individual
houses. A picture of domestic serenity. Sometime later, mid way through the first
Act comes “Edward Scissorhands” (Johnny Depp) first appearance:
 “Edward Scissorhands” (Johnny Depp) and “Peg” (Dianne Wiest). Picture courtesy of www.amazon.co.uk

Arriving at a large gate overgrown with weeds, “Peg” (Dianne Wiest) enters to
encounter a beautifully manicured and colourful inner grounds surrounding the
house. Peg marvels at the colourful beauty, of the manicured shrubs in the shape of
various animals and as the camera shoots her from below and up at the imposing
gothic style house, we see a brief glimpse, a shadow of a figure crossing in front of
the window. Another brief shot before Peg enters the house is through a manicured
shrub in the shape of an archway. Entering the Mansion with an “Avon Calling”
intentional tension breaker, the Mansion itself is a dusty, desaturated grey interior
and with a short panning shot we see unused contraptions and machinery, all of
which will become clearer later into the film. Throughout these early scenes is
Danny Elfman’s haunting, almost ethereal musical score. Reaching the top of the
stairs and entering the loft, a huge gaping hole in the roof is immediately evident as
we follow Peg to an unused fireplace which is full of paper cuttings of a “miracle
boy” and images of Mary and Jesus, whereby she hears the faint sound of scissors
grinding together. Seen now for the first time in the film, Edward emerges slowly
from the shadows, startling Peg who turns to leave to which Edward responds “Don’t
Go”.

Fully out of the shadows Edward is now seen fully for the first time, dressed entirely
in black except for the long scissors he has for hands hanging awkwardly by his side.
Simple cuts between the two, depicting a frightened Peg and a wide eyed Edward
who responds to why he’s here with “I’m not finished” which relaxes Peg slightly to
become more inquisitive, where are his parents, his father? “He didn’t wake up”.
Very matter of fact, and following a subtle and darkly comedic moment, Peg smiles
as she says “Edward, I think you should just come home with me!”.

Picture courtesy of www.regmovies.com

With a brilliant supporting and cameo cast, Alan Arkin is superbly dead pan as “Bill”
husband of Peg and Winona Ryder excellent as “Kim”. Kathy Baker is hilarious as sex
crazed housewife “Joyce” and Anthony Michael Hall very good as “Jim”. Legendary
Vincent Price also cameo’s as Edward’s “Inventor”.
 Picture courtesy of www.irishcinephile.com

This Tim Burton joy of a film is darkly comedic at times, filled with pure Burton
imagery and the creation of Edward Scissorhands as a character is still superb
twenty three years after release. With very little dialogue, Johnny Depp (in the first
of a long line of collaborations with the director) is brilliant as the awkward and
painfully shy Edward. His wide eyed stare now synonymous with the character,
Depp is so engaging and embracing of the character, a future star is born, though it’s
very easy for me to say now, writing as I do retrospectively here. His joint scenes
with Kim are heart breaking, his rise and fall, freak outsider to everyone’s friend, to
everyone’s enemy, is expertly portrayed, as is the story as a whole, as the above
named supporting cast are excellent throughout. The film has dated just a little
since release, however it’s probably a further veiled compliment that the film has
only dated a little considering it’s 23 year life span.

With regular collaborators Danny Elfman (there are also three Tom Jones tracks
included and all add so much “Delilah”, “It’s Not Unusual” and “With These Hands”),
Colleen Atwood’s wonderful costume design and the great Stan Winston’s make up
and effects, combined with some of the finest actors of our generation and a story
from a genius storyteller leaning again on his very personal themes of alienation,
being the geeky outsider outside of societal norms and unable to fit in or
communicate within defined society, this fairy tale story never ages, never fails to
thrill and remains my personal favourite of Tim Burton’s vast iconic collection of
films.

At just 105 minutes in total screen time this masterpiece of a film retains a real
magic for me as you submerge yourself into two very distinctly different worlds.
One a stereotypically 1980’s prim and proper suburban world of manicured gardens
and neighbours gossiping across the lawns juxtaposed against Edward’s exterior
world of joy and creation yet crumbling inwardly and desperate for acceptance.
With a story by the Director himself alongside Caroline Thompson (who also wrote
the fantastic screenplay) Edward Scissorhands was the second consecutive Tim
Burton film to be nominated for an Oscar with Stan Winston and Ve Neill rightfully
acclaimed for Best Make Up. This was also Burton’s first collaboration with Director
of Photography Stefan Czapsky, who would collaborate with the Director on his next
two feature films.
 “Batman Returns” (1992). Picture courtesy of www.pastposters.com

“I am a Man! I have a name! Oswald Cobblepot”.

Danny Elfman’s triumphant Batman signature score opens over the opening credits
and this film’s defining enemy “The Penguin” (Danny De Vito) back story is quickly
shown. Against a backdrop of a beautifully decorated and shot Mansion house and
again beautifully shot outside scene, this is clearly a Tim Burton film from the very
beginning. A continuing picturesque backdrop amidst continual heavy falling snow
and The Penguin’s character creation complete, it would seem the beginning of yet
another successful and enthralling Batman film. However, the early acting
disappoints and with almost a direct nod to the TV series on which the film(s) are
based this begs the early question, was that clunky exposition intentional? Sadly it
was not and a precedent is set for the remainder of the film.

“Gotham City 33 years later”: Set at Christmas time, the Gotham City of Batman
Returns seems far brighter and vibrant than that of Burton’s original, perhaps
intentionally so, thus providing a stark difference between settings and the much
gloomier story provided and Burton’s original which was criticised for being too
dark. That is not a criticism (though the story isn’t particularly good), more the story
of the character’s development and history is far gloomier than that of the
effervescent Joker, for example. However, the Director deserves much praise for the
settings, which, with cinematographer Stefan Czapsky and production designer Bo
Welch are brilliantly shot and depicted. Gotham City itself is more standardised than
the original but still brilliantly shot as are the settings from the opening scene, the
Zoo, the Penguin’s sewer and the graveyard. There are highlights although they are
few and far between, but the two stand outs both involve “Catwoman” (Michelle
Pfeiffer). The first is a destruction of her apartment in a fit of rage and her “Hello
There” neon wall sign becomes “Hell Here”. This is brilliantly framed with a long
distance lens shot, the newly attired Catwoman now standing imperiously at her
window with the neon sign just behind her. The second stand out scene involves all
three main characters for the first major time together, with “Batman” (a returning
Michael Keaton) and The Penguin standing in the middle of the street before being
joined by an athletic and gymnastic Catwoman. Her “Meow” signals a huge
explosion in the background. This very short scene takes place exactly an hour into
the film and sadly very little of note has happened before it.

To sum up the negatives, this Batman film has two scenes, and two very short
scenes at that where Batman features in the first 45 minutes. That would be ok
whereby the back story is being developed to him and inferences made and an
expectation of the film’s hero is built up and awaited with excitement. But it’s not.
There are also three scenes of Bruce Wayne in the first 45 minutes, all of which are
very standard, redundant and throwaway segments. Again, the argument could be
made that all three villain stories need to be developed in lieu of the hero. These
stories are told, albeit in a clunky, plodding manner that has very little, if no
engagement at all. As below, some of the main actor’s did perform admirably, some
didn’t, but re-watching this twenty year old film again for the first time recently it’s
clear that the script is badly written (“What a corn dog”) and often very badly
performed. Michael Gough as “Alfred” and Pat Hingle as “Commissioner Gordon”
return from the original, and even Alfred’s larger role in this film is badly written
and not of a standard for an acting talent as Gough’s. Similarly, Christopher Walken
stars as “Max Shreck” but is again hampered by a poor script yet performs well and
stands out despite the film’s faults.
“Catwoman/Selina Kyle” (Michelle Pfeiffer) and “Batman/Bruce Wayne” (Michael Keaton). Picture courtesy
of www.imdb.com

“Batman/Bruce Wayne” (Michael Keaton). Excellent in the original, underplayed

here and dare I say it, Michael Keaton looks equal parts bored and bemused? Absent
from the film for most of the first half of the film, re-watching this it struck me
immediately that our hero was almost entirely absent. As his alter ego Bruce Wayne,
Keaton again struggles in this film, with a poor script and in jokes that fall flat. A
long way from his tussles with The Joker in the original.
 “The Penguin/Oswald Cobblepot” (Danny De Vito) and “Max Shreck” (Christopher Walken). Picture
courtesy of www.youtube.com

“The Penguin/Oswald Cobblepot” (Danny De Vito). Danny De Vito does admirably

well with very little, but as the character descends late in the film, so does the
performance. Again, very little to work with script wise.

“Catwoman/Selina Kyle” (Michelle Pfeiffer). Picture courtesy of www.releasedetails.com

“Catwoman/Selina Kyle” (Michelle Pfeiffer). As her alter ego Selina Kyle, a bumbling,
unattractive and struggling secretary, Michelle Pfeiffer is poor, intentionally so for
the character perhaps, but poor on the whole. Her transformation into Catwoman is
a triumph for both actress and the film. One of the film’s few stand out stars.

Nominated for two Oscars in 1993 for Best Visual Effects and Best Make Up, this is
the third consecutive Tim Burton film to be acclaimed in such a way but not a
favourite film of mine and a huge disappointment from his 1989 original.
 “Ed Wood” (1994). Picture courtesy of www.vintagemovieposters.co.uk

“Greetings, my friends! You are interested in the unknown. The mysterious. The
unexplainable. That is why you are here. And now, for the first time, we are bringing
you the full story of what happened. We are giving you all the evidence based only on
the secret testimony of the miserable souls who survived this terrifying ordeal. The
incidents, places. My friends, we cannot keep this a secret any longer. Can your heart
stand the shocking facts of the true story of Edward D. Wood Jr.?”
“Bunny Breckinridge” (Bill Murray), “Dolores Fuller” (Sarah Jessica Parker) and “Ed Wood” (Johnny Depp).
Picture courtesy of www.rpm-media.org

I had zero knowledge of Edward D Wood prior to watching this film. I had equally
little knowledge of Bela Lugosi aside from being aware of his iconic portrayals of
Dracula. It’s a strangely bizarre film, a homage to Ed Wood more than a biopic,
funny and heart breaking, and does charm you. Amusing in parts, very funny in
others, but it’s Burton’s love and admiration for the film maker that shines through.
Special praise for long time costume design collaborator Colleen Atwood should be
made, so too Howard Shore for the sublime musical and orchestral score. Another
Tim Burton film to secure Oscar nominations and wins, again for Best Make Up (Ve
Neill again alongside Yolanda Toussieng and Rick Baker) and for Martin Landau in a
wonderful performance as Bela Lugosi and fully deserving of his win.

Shot in Black and White and set in the early 1950’s at the start of Ed Wood’s (Johnny
Depp) film making career, Tim Burton saturates this homage to Wood and 1950’s
cinema. Main Scenes and Acts dissolve into each other and the interplay and acting
between actors is rooted in films of the period. It often feels as though you are
watching a film about a film, about a film being made! And if you go with this
premise you’re in a for a fun, if often bizarre and surreal time.
 “Ed Wood” (Johnny Depp). Picture courtesy of www.ifccenter.com

Ed Wood, a struggling writer and director is brilliantly brought to life by Depp.

Perma smiled and idealistic, balancing so many original ideas for a movie yet
seeking that “break”, Depp’s character performance is excellent. From the very first
scene, standing backstage as his play is performed to a sparse crowd amid rain
falling through holes in the roof into numerous buckets, Wood is totally oblivious to
all of this as he mimes with perfection the lines he has written for his cast. This
becomes a constant theme and Depp again excels. This opening scene also
introduces the audience to two key players in the narrative and constant
companions of Wood. “Bunny Breckinridge” assists Wood in his productions and Bill
Murray is superb in a supporting role full of camp extremes! “Dolores Fuller” sees
Sarah Jessica Parker on top form as Wood’s idealistic leading lady and long suffering
girlfriend.

Since acknowledged as “the worst director of all time” in many circles and gaining a
cult following in doing so, we follow Wood as he creates films such as “Glen or
Glenda”, “Bride of the Atom” and “Plan 9 from Outer Space”, meeting a burgeoning
cast of characters as we go. Jeffrey Jones as “Criswell” a local psychic and
entertainer (and who also opens the film), Lisa Marie is brilliantly bizarre as TV host
“Vampira”, Juliet Landau cameos as “Loretta King” and Patricia Arquette is excellent
as “Kathy O’Hara”, but special mention must be reserved for George ‘The Animal’
Steele as “Tor Johnson”, a wrestler turned film star! However the film’s true star with
a stand out and sublime performance falls to Martin Landau as “Bela Lugosi”.
Rightly acclaimed with a deserved Oscar, it’s a character performance as high as I’ve
seen. Again adding to the “film within a film, within a film…” aspect, Landau’s
portrayal of Lugosi as a brash, arrogant loner figure soon melts into a loveable
performance of endearment and of the joy of acting. Saved by Ed Wood on a
number of occasions, the interplay between Depp and Landau is both excellent and
affecting. The two also share many in jokes (some subtle) and some not so but still
engagingly funny as when Lugosi, dressed as his iconic alter ego Dracula attempts to
scare away children at Halloween! There’s also a lovely scene, seconds only of
screen time, whereby you see Ed Wood and Lugosi watching one of his film’s on
television, with a huge picture of Dracula hanging on the wall. Not subtle, but highly
effective.

“Bela Lugosi” (Martin Landau) and “Ed Wood” (Johnny Depp). Picture courtesy of www.independent.co.uk

Be warned! It’s strange and bizarre, but heart warming and charming too. It may
leave you with a huge smile on your face at the end, which is apt considering the
constant forced smile of Depp’s Ed Wood. My second favourite Tim Burton film and
an all time classic.
 “Mars Attacks!” (1996). Picture courtesy of www.pastposters.co.uk

“Ack! Ack! Ack!”

A parody on 1950’s B-Movies, there is a lot to like in Mars Attacks! However 16 years
on and a re-watching later, there is also much to frown at too! From the very
opening credits and a UFO flying behind the Warner Brothers logo, to the opening
scene of burning cows running through a suburban town it’s clear this isn’t a film to
be taken literally or seriously. The opening credits are both the first indication of
Tim Burton’s homage, and of Tim Burton himself and his constant theme of
juxtaposing colours against each for effect. Here, a recognisable earth in full colour
and the planet of Mars familiarly in red, against a grey invading army of UFO’s. This
juxtaposition is used repeatedly in the film as scene breaks and remains a common
theme throughout.
 “Professor Donald Kessler” (Pierce Brosnan). Picture courtesy of www.imdb.com

“President James Dale” (Jack Nicholson). Picture courtesy of www.medium.com

However, a week passes on earth as the UFO’s approach, whereby we visit suburban
USA, Washington and Las Vegas and with the alien threat looming and confirmed,
the President addresses the nation to expect an invasion. All main characters are
introduced and developed very early during the awaited invasion and all are played
well against a parody/black comedy backdrop. Jack Nicholson is the star (what else?)
as “President James Dale” and also plays Las Vegas tycoon “Art Land”. Pierce
Brosnan is excellent as presidential adviser “Professor Donald Kessler”, Martin
Short plays presidential press secretary “Jerry Ross”. Also in The White House are
Glenn Close as First Lady “Marsha Dale” and a cameo role for Natalie Portman as
daughter “Daffy Dale”. Away from The White House, Sarah Jessica Parker is
excellent as an airheaded TV host “Nathalie Lake” with boyfriend “Jason Stone”
played by Michael J Fox. Numerous cameo roles abound, notably ex-boxer Jim
Brown as “Byron Williams”, Pam Grier plays his ex-wife “Louise Williams”, Rod
Steiger as “General Decker”, Jack Black as “Billy Glenn Norris” and Lisa Marie as
“Martian Girl”. Oh, and Welsh crooner Tom Jones sings.

Twice!

Picture courtesy of www.syfy.com

After a slow beginning, the film takes off (pun intended) after the Martian invasion,
and the introduction of the bizarre Martians themselves. 16 years on, both the CGI
Martians and the overall CGI itself look dated and out of touch, but with the touch of
Tim Burton they remain fun, and very funny. It’s here that Burton excels, as with the
all star cast sending themselves up in the theme of the intended parody, so too do
the CGI Aliens. Almost “growing” into the film, they are slowly shown to be far more
intelligent (and again funny) but from the beginning of Act Two they are fully
immersed in the film and the film noticeably benefits from this. The comedy grows
too, more and more ridiculous, more and more of a parody and more Tim
Burton(esque) as we go. From head transplants, to sucking up Nuclear bombs, to
having their picture taken in front of a destroyed Taj Mahal, to sitting in space
watching “The Dukes of Hazzard”. Not a classic Tim Burton film by any means. The
main criticism I have is that aside from the Black/White interludes and a small
Batman nod, it just doesn’t “feel” like a Tim Burton film. The CGI struggles in places
too. But above all, the film’s star is it’s Martian creations and at times they are
charmingly funny, surreal and bizarre.

“Sleepy Hollow” (1999). Picture courtesy of www.pastposters.com

“You’re a long way from New York, Constable”.

New York City, 1799: “Ichabod Crane” (Johnny Depp) is desperately trying to advance
his newly developing and outside of the norm detective skills. Scorned by many, he
is given an assignment by “Burgomaster”, a local Judge, (Christopher Lee in a minor
cameo) to investigate the brutal slayings in a small village — Sleepy Hollow. These
slayings are aptly portrayed in the film’s opening short scene, with a killer
decapitating the heads of his victims. In a saturated black and white and greyish
overall tone, the scene is set for this gothic thriller immediately.
Interesting to note that both the colour red, and distinctive colour changes to the
film are fleeting, but important touches from the Director. As with many of his
films, there is a duality with the choice of colours, be it here with the greyish overall
tone to the film perfectly fitting with the neo gothic style and almost dreamlike
world inhabited. Full colour is used only fleetingly and, importantly, when we
flashback during Ichabod’s dreams, to the first scene in Sleepy Hollow itself and at
the beginning of the opening titles themselves. Burton introduces the opening titles
in a style reminiscent of his film Corpse Bride, still six years away as we see Ichabod
releasing a red cardinal bird through a small porthole window. As with the release
of the butterfly in Corpse Bride, this is also the first time a first splash of real colour
is used in the film.

Picture courtesy of www.thefilmexperience.net

The film is saturated throughout with that grey tinge and it’s very much Tim Burton
to the fore with the surroundings, villages and overall gothic feel. It’s also arguable
the film has a combined gothic/cartoon style and feel. A constant mist during the
night scenes adds to both this and the pervading atmosphere, with the only light
seemingly coming from the flashes of lightening in every night scene. Continuing
the colour theme, it’s used a second time as we’re introduced to the main characters
at a Sleepy Hollow party. From the greyish tones of the village, the party is more
vibrantly coloured, both in theme and the characters themselves. There are
numerous cameos and supporting roles: Michael Gambon as “Baltus Van Tassel”,
Jeffrey Jones as “Reverend Steenwyck”, Richard Griffiths as “Magistrate Philipse”,
Ian McDiarmid as “Doctor Lancaster” and Michael Gough as “Notary Hardenbrook”
among many others.
During the above party, “The Headless Horseman” (Christopher Walken) myths and
stories of old are detailed, and through Baltus Van Tassel as he narrates the story via
flashbacks. However, the three key roles in this film are reserved for Christina Ricci
as “Katrina Van Tassel”, Miranda Richardson as “Lady Van Tassel” and Marc
Pickering as “Young Masbath”.

“Ichabod Crane” (Johnny Depp). Picture courtesy of www.basementrejects.com

“Ichabod Crane” (Johnny Depp) The stand out performer, playing the unorthodox
outsider well. Clumsy and erratic, despite carrying an appearance of being in
control and of authority. Deliberately effeminate, his quizzical looks, glances and
frowns sometime border over the top, but Depp’s overall performance surpass this.
A minor criticism of both Burton and Depp would be that Crane often “narrates” the
film with too much exposition, especially towards the end of Act Two.
 Picture courtesy of www.bloody-disgusting.com

Based on “The Legend of Sleepy Hollow” by Washington Irving and adapted by

writers Andrew Kevin Walker and Kevin Yagher, Burton infuses his trademark
dualities of character and colour to the accompaniment of a superb musical score
from regular collaborator Danny Elfman. This soars mightily during numerous
chase sequences before returning to a beautiful accompaniment to the film. The
film itself just needed further character development to become a truly great film.
Acts two and three make up for a slow first act and the final twenty minutes is
superb and so typical Tim Burton, as are the uses of the pentagram, evil eye, tree of
the dead and (especially) the wooded witch. Some minor grumbles! But a worthy
addition to Burton’s cannon of work and one in which the great Director of
Photography Emanuel Lubezki collaborated with Tim Burton for the first time and
secured a worthy Oscar nomination for Best Cinematography. As did regular
Costume Designer Colleen Atwood who was criminally overlooked (again) for her
achievements in Costume Design. However, Rick Heinrichs and Peter Young won a
deserved Oscar for Best Art and Set Decoration.
 “Planet of the Apes” (2001). Picture courtesy of www.pastposters.com

“The smarter we get, the more dangerous our world becomes”.

Slightly different appraisal for this, the second remake/re imaging in Tim Burton’s
catalogue. Firstly, I love the 1968 original of the same name. I grew up with this and
distinctly remember how blown away I was by the ending of the original (late
night/early morning watching on television when I was still a young boy). The 1968
original still sets the standard although the recent 2011 Rise of the Planet of the Apes
by Rupert Wyatt is a fantastic film and highly recommended if you haven’t seen it.
Far more stylised and updated than either the original or here, the Tim Burton
remake.

But I also like Tim Burton’s 2001 re-imaging! There are many faults, the ending
borders on farce and some of the apes are far too human like they become too
disconcerting after a while. If that isn’t a paradox in and of itself! It’s also the least
Tim Burton film of all of his vast cannon of work. While a huge fan of Burton (as you
may have noticed), this film is all the better for being less, well, Burtonesque!

A brief premise:
2029 on the space station Oberon, “Captain Leo Davidson” (Mark Wahlberg) receives
a video postcard from home during which a power failure alerts the crew of a huge
vortex/electrical storm heading their way. After seeing his favourite chimpanzee
sent to investigate and subsequently disappear, against orders, Captain Davidson
sets off to investigate. Sucked into the vortex, the instrument panels state he’s
journeying into the future. But is he?

In addition to the all star cast mentioned throughout this brief appraisal are
supporting and cameo performances from Michael Clarke Duncan as “Attar”, Estella
Warren as “Daena”, Kris Kristofferson as “Karubi” and Lisa Marie as “Nova”. A joint
screenplay from Williams Broyles, Lawrence Konner and Mark Rosenthal
disappoints but a pleasing musical score from Danny Elfman and cinematography
from Philippe Rousselot propel a weak film along. There are three stand out
performances in an otherwise forgettable re-make and whilst I like this film from a
fan’s perspective it doesn’t come anywhere near the eponymous 1968 original.

Nods to the 1968 original film:

There are numerous nods throughout but this, as with my other film blogs is not
intended as a fact track. The nod’s I found particularly pleasing and affecting are:

The opening title shot and slide of Planet of the Apes being the font and style as
the original.

Human hunting!

“Take your hands off me, you damn dirty human” as opposed to Charlton Heston’s
immortal “Take your stinking paws off me, you damn dirty ape!”

Charlton Heston has an uncredited role as “Zaius”, Father of “Thade” and

reprises his “damn them all to hell” line from the 1968 original.

The relationship between Captain Davidson and “Ari” (Helena Bonham Carter)
reminiscent of the similar relationship between George and Zira in the original.

Crane shot upward in this film of the buried spaceship is eerily similar to the
iconic shot of the buried Statue of Liberty of the original.

Three character reasons for liking this Tim Burton remake:

 “Thade” (Tim Roth). Picture courtesy of www.forbes.com

“Thade” (Tim Roth) Frightening portrayal. Full of anger, spite and aggression.
Snarling, brooding and ultra violent. An astonishing performance and due to rolling
his eyes back and leaving them a majority of white, as opposed to seeing his pupils
directly, the most affective of the apes. With the excellent prosthetic make up added
to his thunderous performance, the film’s true stand out star.
 “Ari” (Helena Bonham Carter). Picture courtesy of www.legionpodcasts.com

“Ari” (Helena Bonham Carter) The film’s heart and moral centre. A great
performance with little dialogue to work with and her relationship with Captain
Davidson is a treat. Their relationship is also a great touch from the 1968 original.

“Limbo” (Paul Giamatti). Picture courtesy of www.imdb.com

“Limbo” (Paul Giamatti) One of the most underrated comedic actors of his
generation. Every scene Giamatti is on screen is a joy and darkly funny.

“Believe me, the last thing you want is a human teenager running around your house!”.
 “Big Fish” (2003). Picture courtesy of www.pastposters.com

“The truth is, I didn’t see anything of myself in my Father”.

Based on Daniel Wallace’s novel “Big Fish: A Novel of Mythic Proportions”, this was a
Tim Burton film I avoided for too many years. From the trailers and the reviews it
was clear I’d find it hard to watch as I lost my Father when I was young and
unfortunately, watched his slow disintegration and passing. It was harrowing at
times and seemingly replicated within this film. However, after avoiding the film for
so long I can more happily report that I needn’t have avoided for so long. It certainly
resonates deeply with me, but it’s such a heart warming and uplifting tale and more
importantly, a truly stunning film.

Narrated throughout, but primarily by the three main characters, after a gentle back
story driven opening, we frequently cross timelines and generations and the
flashbacks used are key to the film. Present day is approximately 25% of the film,
whereas the remaining 75% is flashback driven, brilliantly and expertly so by
Burton. The flashbacks themselves often dissolve from present day and the
juxtaposition is also key. This is very much a story of storytellers and of people
telling stories, and very tall tales. Are they real? Are they embellished to tell a story?
Are they a fantasy from reality? This film is all this, and much much more.

The brilliant Albert Finney plays “Edward Bloom Senior”, recounting his tall tales as
we flashback to his younger days, and Ewan McGregor is excellent as the younger
“Edward Bloom Junior”. McGregor plays the younger self brilliantly, always smiling,
ever hopeful and full of cheer and optimism despite whatever life throws at him.
Billy Cudrup plays son “Will Bloom” with a detached charm, and his scenes together
with his aged Father are superb. Both Finney and Cudrup excel here. Excellent
supporting and cameo roles abound, notably Jessica Lange as “Sandra Bloom
Senior”, Marion Cotillard as “Josephine Bloom”, Matthew McGrory as “Karl the
Giant” and Helena Bonham Carter in her husband’s film as “The Witch” (with a very
interesting glass eye!). Steve Buscemi is also superbly funny in a small cameo as
“Norther Winslow” and Danny De Vito similarly so as “Amos Calloway”.

“Edward Bloom Senior” (Albert Finney). Picture courtesy of www.imdb.com

Due to the interweaving of narratives, generations and of characters playing more

than one role, it is particularly difficult to appraise this film without providing large
spoilers, so I’ll specifically concentrate on the Director touches he added to this
film. On the surface this doesn’t appear to be an ideal Tim Burton film but he brings
the flashbacks to life with a real zest, bright and full of colour against a more
monochrome present day. A directorial theme of using a prominent colour (usually
red) against a greyish/neutral backdrop is again well used, especially as Bloom
junior (McGregor) enters a dreamlike, picture postcard town, his dominant red shirt
against a completely neutral dressed population, and De Vito’s red coated circus
ringmaster. As the tall tales grow taller, a circus performer in love, a presumed dead
soldier in World War 2 to successful businessman, so too does Burton’s flourish with
the absurd and surreal, often to brilliant effect.

“Edward Bloom Junior” (Ewan McGregor). Picture courtesy of www.denofgeek.com

The opening circus scene is a joy, climbing the highs and lows of love against a
surreal backdrop of freeze screen, slow motion and fast forward techniques all used
in combination with the circus as another bizarre backdrop. One small chapter
encompasses all that is great about Tim Burton. Bloom Junior running through a
dark and dank overgrown forest, to emerge into a clean, other worldly dreamlike
town and quickly back to a dark, gothic river scene. With a superb first cameo from
Steve Buscemi surrounding the Tim Burton trademark of juxtaposing colours and
settings, and more besides, but that would go into “spoiler” territory. Suffice to say
that small segment of a single scene encapsulates the film and the Director’s
approach to the film perfectly.
 “Will Bloom” (Billy Cudrup). Picture courtesy of www.filmaffinity.com

With a sublime and quiet musical score from regular collaborator Danny Elfman for
which he was Oscar nominated but sadly did not win, and inter cut with popular
songs of the respective time periods including “Everyday” from Buddy Holly, “All
Shook Up” by Elvis Presley and “Man of the Hour” from Eddie Vedder, these all
accompany a complicated and compelling story that is well told and expertly tied all
together. It’s a vibrant feel good film that is clearly a deeply personal one for the
Director following the recent death of both his parents, in 2000 and 2002.
 “Amos Calloway” (Danny De Vito). Picture courtesy of www.moviestillsdb.com

With the astounding period costumes and attention to detail throughout from
Colleen Atwood and superb Production Design from Dennis Gassner it is highly
surprising to note as I write this retrospectively that neither was nominated for an
Oscar for their overwhelming respective achievements. Dare I say that this also
extends to the Director himself who produces a heart warming and deeply affecting
film with a near constant smile on it’s face. Be warned it may make you cry, but tears
tinged with smiles and tears of real joy too.
“Charlie and the Chocolate Factory” (2005). Picture courtesy of www.pastposters.com

Picture courtesy of www.thedrum.com

The third remake (or re imaging) in Tim Burton’s cannon of work and based on the
original book of the same name by Roald Dahl. This is an entirely new take on the
1971 original. And save your is it better/worse than the original, please!
Accompanying Danny Elfman’s sublime musical score, a brief narration follows the
opening credits and straight into a short backstory on the history of Willy Wonka
and his world famous chocolate. The premise is well known: Five Golden Tickets
have been inserted into Wonka chocolate bars, with the resultant winners granted a
tour of the most famous chocolate factory in the world. Now mainly sealed from the
outside world, both the factory itself and a reclusive Willy Wonka, the competition
to find the golden tickets seem to be the ultimate prize.

Immediately you’re drawn into Tim Burton’s world, from the saturated grey colour
of present day, to the full colour of the numerous flashbacks and especially when
inside the chocolate factory itself. Both worlds are distinct from each other, the cold,
grey dilapidated home Charlie shares with his family which extends into the outside
world, to the zesty colours and opulence of living within the factory. Both worlds are
equally as bizarre and surreal as each other, and the juxtaposition between the
locations is key. A house riddled with holes and seemingly on the verge of collapse is
set against a towering factory, of chocolate rivers, endless chocolate and a maze of
delights and treats.
 “Willy Wonka” (Johnny Depp), “Charlie” (Freddie Highmore) and “Grandpa Joe” (David Kelly). Picture
courtesy of www.imdb.com

Similarly, the juxtaposition of the characters themselves are key, beginning with
“Charlie” and a triumph of a performance from Freddie Highmore. Happy and
blissfully content to spend time with his family this is juxtaposed to a reclusive and
unhappy “Willy Wonka” brought to life with seeming ease by the masterful Johnny
Depp. Whereas Charlie is eloquent, straightforward and at peace with life, Willy
Wonka is uneasy, detached and speaks in a regimented riddle style, unable to fully
engage. Their scenes particularly drive the film, and are it’s heart and soul. In
supporting roles, Charlie’s family are brought to life expertly, especially David Kelly
(and his mad dance!) as “Grandpa Joe”, Noah Taylor is superb as ever, this time as
Charlie’s Dad “Mr Bucket” and Helena Bonham Carter returns to her husband’s
films, as “Mrs Bucket”. Charlie’s fellow golden ticket holders are under developed,
but deliberately so, as this is a dominant tale of Charlie and Willy Wonka, but
AnnaSophia Robb, Julia Winter, Jordan Fry and Philip Wiegratz bring their
respective characters of “Violet”, “Veruca”, “Mike” and “Augustus” to life well.
Cameos are vast, with standouts from James Fox as “Mr Salt” and Missi Pyle as “Mrs
Beauregarde” but two key cameos follow.

Picture courtesy of www.theculturetrip.com

The (in)famous “Oompa Loompas” are brought to life with just one actor, and
brilliantly so by Deep Roy. However for me, this is the only part of the remake that
doesn’t resonate well. The portrayal is excellent, but the repeated use of just one
character to cast across numerous Oompa Loompas may match the surreal nature
of the film, but it just doesn’t work. A minor criticism. However, Christopher Lee’s
albeit small cameo as “Dr Wonka” does resonate, is expertly played, and continues
the theme of juxtaposing characters. A driven, detached Father to a reclusive,
detached Son.

“Oompa Loompas” (Deep Roy). Picture courtesy of www.imdb.com

A true Tim Burton imagining of a film, it is a delight to the eyes and ears alike.
Surreal and bizarre, even downright strange at times, but a joy nonetheless.
Continuing themes of detachment, of isolation and of Father/Son relationships
abound. But it’s the heart of the story that appeals. And a glass elevator! What a joy!
 “Corpse Bride” (2005). Picture courtesy of www.pastposters.com

“I love you Victor, but you are not mine”.

This joy of a film and first time Oscar nomination for Director Tim Burton seeps
into the consciousness. Only 77 minutes of sublime screen time but from the
original music score of Danny Elfman which is a real joy and really engages you in
the wonderful story, to the surreal otherworldly and bizarre aspects of the
characters and the world they inhabit. Tim Burton at his most flamboyant?
Probably! A Stop motion animated film, Burton creates his all of his characters with
love and care despite their frailties and their often bizarre appearances. Each
character is truly unique in appearance, elongated faces, tall spindly characters to
obese, to small almost indistinct characters, all are created with definition and care.
Voiced by a wealth of the finest actors and actresses our generation, each Burton
creation is wonderfully brought to life. From regular collaborators Johnny Depp,
Helena Bonham Carter and Christopher Lee, through to Emily Watson, Paul
Whitehouse, Tracey Ullman, Albert Finney, Joanna Lumley and Richard E Grant.
 “Victor” (Johnny Depp) and “Corpse Bride” (Helena Bonham Carter). Picture courtesy of www.imdb.com

The Premise: A proposed arranged marriage between “Victor” (Johnny Depp) and
“Victoria” (Emily Watson) is interrupted as in the process of practising his wedding
vows in a nearby forest, Victor marries a “Corpse Bride” (Helena Bonham Carter)
and is spirited away into the Land of the Dead! And with that premise, Tim Burton
comes into his own!

Picture courtesy of www.imdb.com

Opening with saturated black and white/greyish tones, the only rich colour seen in
the opening minutes is the released butterfly as she flies from an open window. The
use of colour/non colour is clearly a metaphor for the film, and a juxtaposition often
used in Burton’s films. The saturated grey tones of present day are seemingly only
illuminated by the colour red (fire, red wine, gold ring), otherwise the general tone
is staid and grey, but deliberately so. This is completely reversed when entering the
Land of the Dead, as rich, vibrant colours replace the grey, as does the madness and
ultra surreal goings on in the Land of the Dead, as opposed to the more respectable
and sober life in present day, or indeed, above ground!

The colour changes are apparent throughout the film, as is the juxtaposition
between life above and below ground. Again, both are imagined brilliantly by Tim
Burton, the near gothic feel and tone of present day to the utterly bizarre, tongue in
cheek adventures in the Land of the Dead. So many meaningful juxtapositions, one
in particular stands out and is hauntingly beautiful. Victor/Victoria playing the
piano is a joy — Victor/Corpse Bride doing likewise is heartbreaking. Interspersed
throughout with Danny Elfman’s magical score and songs, the occasional sprinkling
of Tim Burton magic, plus the occasional smack in the face of his genius too! This
film will utterly charm you.
 “Sweeney Todd: The Demon Barber of Fleet Street (2007). Picture courtesy of www.originalposter.co.uk

“No. Not Barker. That man is dead. It’s Todd now, Sweeney Todd”.

Based on Stephen Sondheim’s Broadway musical and with Sondheim providing the
musical score, it’s worth stating immediately that the music is supreme throughout
and a real joy. Being a Drama/Horror/Musical, Burton wraps these in his surreal
world from the opening credits, with a cartoon style opening and the Director’s
trademark colour of red standing stark against an otherwise dark black background.
The colour red is again significant throughout with Red Roses, a Red Dress Coat,
Red Dress and Red Leather furniture standing out in various scenes against the
predominant desaturated grey, black and white setting. As with the previous two
Tim Burton films, the world of Victorian London we inhabit is a desaturated grey,
whereas the few flashbacks we see are in full, bright vibrant colours. One scene in
particular captures everything, the desaturated world, the dream sequence in
vibrant colour, all backed by a song highlight, which I’ll come to shortly.

Benjamin Barker aka “Sweeney Todd” (Johnny Depp) is returning to London after
being unfairly banished and losing his wife and young child fifteen years earlier.
Now as Sweeney Todd, he returns seeking revenge on “Judge Turpin” (Alan
Rickman) who both banished him and stole his wife and child all those years ago. In
league with “Mrs Lovett” (Helena Bonham Carter) he re-opens his barber shop to
sate his murderous needs, and to plot revenge on Judge Turpin.

In support of the main roles are a great turn from Timothy Spall as assistant, man
servant “Beadle” to Rickman’s Judge Turpin, Sacha Baron Cohen in a cameo as
“Pirelli”, Jamie Campbell Bower as “Anthony”, Laura Michelle Kelly as a “Beggar
Woman”, Jayne Wisener as “Johanna” and a terrific performance from the youngest
member Ed Sanders as “Toby”.

“Sweeney Todd” (Johnny Depp) and “Mrs Lovett” (Helena Bonham Carter). Picture courtesy of
www.slantmagazine.com

With the songs themselves a joy and forming the majority of the film, the only two
negatives I have is the comfort (or otherwise) shown when the characters are
singing and the occasional clunking as a song is finished or faded, and replaced
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with traditional character dialogue. Occasionally this feels a little jarring, as does
the lack of comfort it appears some (Rickman, Depp, Bonham Carter) feel when
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singing. The stand out performer here and a real acting talent too is Ed Sanders, as
his Toby character is wonderful when singing, excellent when not and with
traditional dialogue. The film has many stand outs, the “By The Sea” scene as noted
below, Depp is excellent as always, as is Helena Bonham Carter and Alan Rickman.
Timothy Spall too albeit in a smaller role. Supported by the superb musical score,
Burton’s dark, gothic and desaturated London brilliantly brought to life by
Cinematographer Dariusz Wolski and production designer Dante Ferretti and a final
nod (again) to Costume Designer Colleen Atwood. Sacha Baron Cohen’s codpiece is
also, a, well, stand out!

Nominated for three Oscars in 2008, Dante Ferretti deservedly won in the Best Art
Direction category and there were richly deserved nominations for Colleen Atwood
(Costume Design) and Johnny Depp (Best Actor in a Leading Role). How Colleen
Atwood didn’t win completely astounds me.

The scene I’ve chosen to briefly appraise is backed by Helena Bonham Carter
singing “By The Sea” and the reason I’ve done so is that it simply encapsulates
everything that is great about this film. It features every key element and also
commences the last Act of the film in real style. Immediately noticeable is the
change in colour, the present day scene is now in full vibrant colour as opposed to
the desaturated colour used to depict present day throughout the rest of the film. A
burgeoning love affair in the eyes of Mrs Lovett, not entirely shared by Sweeney
Todd, but to the strains of Bonham Carter singing “By The Sea” we merge from the
now vibrant present day to a future dream sequence, even more vibrant in it’s
colour, and a surreal seaside scene.

Picture courtesy of www.pinterest.com

Remaining in the dream sequence, an overhead crane shot shows Mrs Lovett and
Todd ambling along a seaside promenade, but with Burton’s use of the dominant red
colour again Mrs Lovett clearly stands out from the other strollers, who are all
decked in white. It’s a strikingly familiar image and use of colour. Cut to a “seaside
wedding” and a particularly unhappy Sweeney Todd! The short scene ends with a
brilliant swooping camera moving 360 degrees all whilst the vibrant colour is slowly
replaced by the familiar desaturated grey. A short gem of a scene.

Picture courtesy of www.dvdbeaver.com

Not a personal favourite Tim Burton film of mine, but equally not a bad film and the
opposite in fact. If you go along for the ride, suspend disbelief and place your
tongue firmly in your cheek you may well enjoy the ride.
 “Alice in Wonderland” (2010). Picture courtesy of www.pastposters.com

“You’re entirely bonkers. But I’ll tell you a secret. All the best people are”.

Tim Burton’s take on Alice in Wonderland follows a familiar early premise: “Alice
Kingsleigh” (Mia Wasikowska) is a dreamer who mourns her deceased Father who
similarly shared her dreams and fantasies. Arriving at at a stuffy, aristocratic garden
party it soon becomes evident the party is in fact a proposed engagement party,
Alice’s engagement party, and one she bitterly does not want to be at. Distracted by a
white rabbit in a blue waistcoat, she follows the rabbit until she falls into a large
rabbit hole and enters Wonderland.

As these pictures aptly demonstrate, Tim Burton’s Wonderland is rich with vibrant
colours and textures and it’s immediately noticeable how this varies from the
desaturated grey colour of the real, above ground world. A key Tim Burton
technique. We are transported into a strange world of colourful toadstools, flowers
and a large collection of talking frogs, dogs, cats, caterpillars and flowers, amongst
many many others! Together with characters with over sized heads, a mixture of live
action, CGI and voice talents merging together, this is very much a Tim Burton
creation!
 “Alice Kingsleigh” (Mia Wasikowska). Picture courtesy of www.dvdizzy.com

The cast involved is a veritable who’s who of recent British cinema history, plus the
almost ever present Johnny Depp as the “Mad Hatter”. Helena Bonham Carter also
returns to her husband’s film, this time as the “Red Queen”, with Anne Hathaway
playing her polar opposite, the “White Queen”. Crispin Glover is the Red Queen’s
faithful servant “Knave of Hearts”, with Matt Lucas playing both the “Tweedledee”
and “Tweedledum” roles. Voice talents are also provided by Michael Sheen as the
“White Rabbit”, Stephen Fry as the “Cheshire Cat”, Alan Rickman as “Absolem”,
Barbara Windsor as the “Dormouse”, Paul Whitehouse as the “March Hare” and
Timothy Spall as “Bayard” the bloodhound.

With all the acting and voice talent on display, why was I so disappointed then?
Some of the constituent elements just didn’t fit together to make an enjoyable film
would sum it up very quickly. The Tweedledum and Tweedledee characters are from
one actor (a good Matt Lucas) however as with the Oompa Loompa’s in Charlie and
the Chocolate Factory, they grated on me and just didn’t fit the film. Similarly, their
oversized head(s) just felt out of place, as did the Red Queen’s.
 “Red Queen” (Helena Bonham Carter). Picture courtesy of www.alternateending.com

“Mad Hatter” (Johnny Depp). Picture courtesy of www.tampabay.com

Helena Bonham Carter is very good as ever however her 3 times sized head just
didn’t fit the film. Some of the characters worked well, others didn’t and that
accusation can also be applied to some of the CGI which looks clunky and jarring
and unfortunately, out of place. The Knave of Hearts for example just appears to be
almost superimposed over the scene! The world’s created by Tim Burton are rich
and colourful and full of life, yet the blending of the CGI, the oversized and
undersized characters just doesn’t hold true. Exemplary musical score from regular
collaborator Danny Elfman and a deserved Oscar for Costume Designer Colleen
Atwood do not cover up this disappointing addition to Burton’s cannon.

“Dark Shadows” (2012). Picture courtesy of www.originalposter.co.uk

“I am Barnabas Collins”.

Before the opening credits, “Barnabas Collins” (Johnny Depp) narrates the early
premise for the film: In 1760, Barnabas and his family are starting work on their
imposing family home in Collinsport. The timeline moves quickly, with Barnabas
now aged early 20’s and torn between a true love and an unwanted one. Following
the suicide of his true love, Barnabas tries to save his love, with the realisation
quickly evident his unwanted love, a witch, had cursed a family spell on him,
turning him into a vampire. Cut to present day of 1972, with the Moody Blues
beautiful “Knight’s in White Satin” playing across the film’s opening credits.
A stellar cast, led by regular Tim Burton collaborators Johnny Depp and Helena
Bonham-Carter, Michelle Pfeiffer, Eva Green, Jonny Lee Miller and Bella Heathcote
also play significant roles, with Christopher Lee in a short cameo. As Barnabas
Collins, Depp stars and carries the film with his twisted performance and poetic
style, together with spurned lover “Angelique Bouchard”, a great performance from
Eva Green. Bella Heathcote as family Governess “Victoria Winters” is also worthy of
note.

“Barnabas Collins” (Johnny Depp). Picture courtesy of www.imdb.com

Whilst not a Tim Burton classic, it is a fun ride with strangely likeable characters.
But the criticism of the film is simply that it doesn’t convince as a fantasy, thriller or
comedy, and is a mash of all three. There is also too much exposition, rather than
allowing the audience to decide, the characters are prone to telling the story too
directly. But it is a fun ride, especially Depp’s performance and the 1970’s inspired
soundtrack. Together with Knight’s in White Satin, there are numerous great choices
throughout the film, and their exposition with scenes raise a smile, especially the
manic love making to Barry White’s “My First, My Last, My Everything”! Snippets of
The Carpenters “Top of the World”, Elton John’s “Crocodile Rock and Black Sabbath’s
“Paranoid” are eclectric choices, and fit the film very well. As does a cameo from
Alice Cooper.
 “Barnabas Collins” (Johnny Depp). Picture courtesy of www.imdb.com

The final fifteen minutes are pure Tim Burton and lead to an exhilarating finale’.
With two great nods to The Exorcist, the film ends really well and satisfies, just not
completely. Which is perhaps both the film’s class and indeed it’s curse.
 “Frankenweenie” (2012). Picture courtesy of www.pastposters.com

“I have to go and find Sparky!”

Based on Tim’s own 1984 short story/film of the same name, now with a screenplay
written by Leonard Ripps and infused with yet another joyous musical score from
Danny Elfman, the opening minutes of this sweet homage to the Frankenstein films
of the 1930’s is layered in Tim Burton, the man and the myth. We drift from
watching a home made film with his faithful friend Sparky the dog, we follow Victor
as he spends obsessive hours alone tinkering and mending the broken film amidst
references of him being a loner, without friends and that he “should be playing
outside”. To school, and Mr Rzykruski, the Salvador Daliesque moustache and
mannered teacher who inspires Victor, instils in him ideas and desires outside of the
perceived norm.

His school friends, a bizarre mix all beautifully created and brought to life by
Burton, and voiced by a great cast of acting talent. This time Tim Burton resists
leaning on his tried and trusted formula of Johnny Depp and wife Helena Bonham
Carter but instead employs further cinematic greats for this film, with the voice
talents on display coming from Martin Short, Martin Landau, Winona Ryder,
Catherine O’Hara, Robert Capron, Conchata Ferrell and Atticus Shaffer. Fresh to a
Tim Burton film for many, they all bring a depth to the characters they voice,
particularly the returning, modern great of cinema, Martin Landau as the Dali
inspired teacher!

“Sparky”. The star of the show, and a beautiful show it is too. Picture courtesy of www.intofilm.org

“Mr Rzykruski” and his very pleasing Salvador Dali moustache. Voiced by Martin Landau. Picture courtesy
of www.moviefanatic.com
 “Victor” (voiced by Charlie Tahan) and his twin obsessions. Picture courtesy of www.popmythology.com

Whilst not a criticism of the voice talents in this film in any way, the three stand out
characters for me are the characters who infuse so much love and joy without
uttering a word! Sparky, Victor’s faithful dog is effervescent and a joy, playfully
seeking the attention of Persephone, the neighbourhood dog, and chasing Mr
Whiskers, yes you’ve guessed it, the neighbourhood cat. All are expertly created but
all infused with delightful, endearing touches from Director Burton. Shot entirely in
Black and White, this stop motion animation film is a re-make of sorts of his earlier
1984 short story and a clear homage to Frankenstein (watch out for the very brief
Christopher Lee film inserts mid way through the film and a couple of the
characters are clearly a homage to Frankenstein). Just imagine the favourite old
classic film Frankenstein reinvented through the eyes of a young boy and his
beloved dog and you need know no more. Just sit back and enjoy another wonderful
Tim Burton creation.

Clearly a very personal film and autobiographical in tone, it’s fitting perhaps only
for my own opus Blog on this genius of modern cinema that this one film
encapsulates the vast majority of themes Tim Burton has infused his wonderful
cinematic creations with over the past 26 years. Of isolation, rebelling against a
world outside that casts you as an outsider, a freak, a geek, a loner. Of a non-
conformist who believes in his creations and is dedicated to his art. Of loss and
suffering, yet here, as with the majority of his 16 films, it is layered in love and
affection, compassion and friendship. On the surface there are many nods to the
1980’s and small oblique references to some of his previous films, the Batman
shaped Bat and the butterfly being released through a window are obvious
examples. The joy for me is perhaps the reprising of a similar style of facial and
body components that make up these particular characters from his 2005 film
Corpse Bride. Based very much on or indeed very similar in style to his Corpse Bride
creations (elongated heads, tall spindly bodies) the characters here are extremely
similar and work all the better for this. Nominated for an Oscar for Best Animated
Feature at this year’s Oscars, here’s hoping Tim finally gets recognition for a
lifetime’s achievement to Cinema at last.

“Big Eyes” (2014). Picture courtesy of www.originalposter.co.uk

“I think that what Keane has done is just terrific. It has to be good. If it were bad, so
many people wouldn’t like it” — Andy Warhol

Based on the incredible true story of 1950’s/1960’s painter Margaret Keane and
written for the screen by Scott Alexander and Larry Karaszewski, all the regular
elements of a Tim Burton creation are present: A number of superb central
performances especially from Amy Adams and Christoph Waltz, Danny Elfman’s
bubbly and retro musical score, Colleen Atwood’s pin point attention to detail with
her period costume designs and a story that with a little added Tim Burton twist
becomes ever more bizarre.

In the realm of truth being stranger than fiction “Margaret Keane” (Amy Adams)
bucks the conventional trend of the conservative 1950’s and runs away from her
inattentive husband, taking her young daughter Jane to the hip and modern city of
San Francisco. An accomplished portrait painter of young children and especially
her young daughter, her distinctive style of painting them with larger than normal
eyes goes largely unnoticed until she meets fellow painter “Walter Keane”
(Christoph Waltz) who aside from being an amateur painter and real estate agent is
a quick witted cad, bounder type, the teller of tall tales and archetypal salesman.
Seduced by early success, a loose agreement is reached whereby the outgoing
Walter promotes and sells the various child portraits as his own with the slightly
neurotic and nervous of the outside art world Margaret taking a silent but heavily
productive back seat as she is completely overwhelmed and consumed by the
passion and verve of her now new husband, Walter.

“Margaret Keane” (Amy Adams). Picture courtesy of www.variety.com

The above is not a spoiler as it’s both well documented in the trailers and quickly
introduced into the narrative and indeed the crux of this incredible true story, but
even more compelling is the fact that we as the audience know the fraud taking
place and yet continue to be absorbed in the tale. Still further, Walter is so obviously
a fraud and a liar (with every main character in the story from the newspaper
reporter to Margaret’s own daughter each give the audience a nod as to knowing the
real truth) with even Margaret’s best friend “Dee Ann” (Krysten Ritter) bitterly
acknowledging “He’s diddled everything in a skirt”, Margaret continues with the
deception and goes along for the ride as we the audience do too.

“Walter Keane” (Christoph Waltz). Picture courtesy of www.theplaylist.net

The central performances of Adams and Waltz naturally propel the film, with
Waltz’s growing screen time simply building a more and more repulsive and
opportunist individual getting by on his wits and abilities as a showman and
salesman. Adams is the film’s true star and ably supported by a typically ebullient
and off kilter performance from Jason Schwartzman as aloof Art Gallery Owner
“Ruben”, with Jon Polito as opportunist bar owner “Enrico Banducci” and Terrence
Stamp in a minor, yet crucial cameo as outspoken art critic “John Canaday”. The
most impressive supporting performance falls to one of my favourite all time actors
Danny Huston as Newspaper Reporter “Dick Nolan”, who in an assured performance
also narrates this fascinating true life tale proving that truth can indeed sometimes
be stranger than fiction.
 Picture courtesy of www.imdb.com

The eyes are the window to the soul, so goes the old maxim. Here Tim Burton (with
his own career long fascination for the theme of eyes) uses the eyes of thousands of
paintings from an incredible artist to produce a fascinating story. “Walter Keane
wasn’t a subtle man. But subtle doesn’t sell”. But I was sold on this Tim Burton
creation immediately and remain so on repeated viewing. Along with
Frankenweenie, Big Eyes is one of his most accomplished films of recent times.
 “Miss Peregrine’s home for Peculiar Children” (2016). Picture courtesy of www.pastposters.co.uk

“No-one tells my children what to do!”

Tim Burton’s 18th feature length film sees him return to his Gothic horror story
making roots with a film adaptation of the book “Miss Peregrine’s Home For
Peculiar Children” by Ransom Riggs and adapted for the screen by Jane Goldman.
As you may have gathered by now I have a rather unhealthy obsessional love for all
things Tim Burton! So why does his latest film leave me cold even after several
repeat viewings with my very own beautiful peculiar child? The film’s beginning
pleases me enormously, from Tim Burton tropes of an awkward human being at
odds with the world through to the foreboding dark forest where he finds his
beloved Granddad.
 Picture courtesy of www.imdb.com

I like the expedition to the remote Welsh island and the underlying
Father/Son/Generational story and its twist into the 1943 time loop narrative and of
the children and their uniquely special gifts and abilities guided by the pipe
smoking Miss Peregrine. Eva Green’s performance is everything I initially hoped it
would be, quirky, off kilter, resilient and protective of her charges. Asa Butterfield
excels too as the searching yet disbelieving Jacob Portman. Many of the film’s visual
and special effects are well realised, from the rewinding of time to the stopping of
the German bomb in mid-air as it approaches the house from above, the children’s
unique gifts and especially Emma’s underwater “secret hideout” and the magnificent
raising of the steamship from deep under the sea. There is much to love in Tim
Burton’s latest film here so why am I constantly left so cold?
 Picture courtesy of www.theguardian.com

I am simply often bored with the story as it passes the initial introduction of the
time loop and I rarely enjoy the ride of the film. The “wights” and “hollows” (even
the mighty Samuel L Jackson!) leave me wanting them excised from the film even
though they are a major part of the movie. And the Blackpool ending is even too
ludicrous for a Tim Burton film!
 “Miss Peregrine” (Eva Green). Picture courtesy of www.reddit.com

Miss Peregrine’s Home For Peculiar Children features at Number 12 (of 18) in my all
time rating of Tim’s films. All of his magnificent creations are detailed here, as is my
love for his career in film making. But I just can’t seem to love his latest film and
maybe that’s more reflective of me than the great cinema master. My own peculiar
teenage child loves this film with his own rating of 9/10. Whatever my misgivings of
this film, I’m just sincerely proud to have introduced him to so many of his creations
and as he will attest to, whenever I see an opening credit title of “A Tim Burton Film”
I’m just childishly excited every single time. I may not like this film but boy aren’t we
lucky as film fans to marvel at a film making genius at work.

Bless you Tim.

Film Reviews Cinema Tim Burton Johnny Depp Writing

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