FRANKENWEENIE: REVIEW & INTERVIEW

FRANKENWEENIE
Written by John August
Directed by Tim Burton
Voices by Charlie Tahan, Catherine O’Hara, Martin Short, Winona Ryder and Martin Landau

Mr. Rzykriski: Even after death, the wiring remains.

Almost 30 years ago, Tim Burton was fired from Walt Disney for supposedly wasting the company’s resources on non-family friendly fare like his 1984 short film, FRANKENWEENIE. The definition of what constitutes a family film has changed significantly since then, thanks in great part ironically to Burton game changers like ALICE IN WONDERLAND, and subsequently Burton’s career has come around full circle with his latest creation. By going back to his roots and re-imagining his live-action short film as a stop-motion animation feature, Burton has made his best film since 2003’s BIG FISH. I might even call FRANKENWEENIE Burton’s best work since his seminal classic, EDWARD SCISSORHANDS.

Considering FRANKENWEENIE is the story of a dog named Sparky, who is more or less brought back to life after being tragically hit by a car one day, the film itself is surprisingly charming and jovial. And John August’s feature length adaptation is shockingly bursting with life, considering the whole thing is about the undead and learning how to accept loss. This is the trick that makes FRANKENWEENIE such a treat; that it never shies away from the creepy and the ghoulish, but it does so with such a light, unimposing tone that it strikes this perfect balance between dark and delightful at all times. Burton is clearly enjoying himself and not taking himself, or the expectations of who he has become as a filmmaker, seriously at all, an extraordinary feat when you consider how painstaking it must have been to work with all that clay for all that time.

FRANKENWEENIE, a stunning black and white film experience, is chock full of colorful characters, but it is the guy at the center of it all that holds this crazy adventure together. Victor Frankenstein (voiced by Charlie Tahan) is misunderstood, spends all of his time in the attic and has just lost his best and only friend. It is a lonely place to be and one that is quintessential to the Burton film experience. Burton’s own personal understanding of feeling like the odd man out has always informed his work as a filmmaker, but he hasn’t been that man himself in quite some time. As much as he deserves the fanfare for being such an imaginative director, it is refreshing to see that he does still understand what it feels like to be all alone in this crazy world.

Q & A with FRANKENWEENIE star, CHARLIE TAHAN (voice of Victor Frankenstein)

Black Sheep Reviews: First of all, congratulations on the film! It is by far my favourite animated film of the year. How excited were you when you first learned you were going to be a part of it? How exactly did you get the part?

Charlie Tahan: I loved Tim Burton movies since I was really little, so I  almost couldn't believe it when I heard I booked it.  It was a long audition process.  I think from the first time I read for "Victor" til I found out, it was about a year.  I had a bunch of callbacks, and met with the casting directors and producers along the way.  For a while I didn’t even know that it was for an animated film - I thought it was for a live-action movie because they filmed the auditions.  I really couldn't believe that I got it - I had never done a voice role before, but I was so happy. 

BSR: You were not even alive when the original Frankenweenie short was produced. Had you seen it before making this is film? And presuming you did see it, what if anything did you take from it to inform the character of Victor? What else did you bring to find Victor's voice?

TAHAN: I think I actually did see the original when I was really little; I think we had it on tape. But it was so long ago, and I didn't watch it again until I found out I booked it. It is a really cool short film. I wouldn't really say I took anything from it, directly. But I think Victor is sort of based on Tim when he was a kid and Victor is a real, relatable, natural kind of kid. So I just tried to keep Victor very real and natural. I tried to keep my normal voice, and that is what Tim wanted, I think.  

BSR: For such a young man, you've worked on some very big projects with some very big and talented names, and Tim Burton is one of the biggest yet. How was it to work with this legendary filmmaker?

TAHAN: Tim Burton was basically like my favorite director while I was growing up!  I loved so many of his movies, even when I was really little, so I couldn't believe I was working on a "Tim Burton Movie!"  But when I actually met him, he was so nice, and it was so easy to work with him.  He knows exactly what he wants and is very ... calm.  He is a really nice guy.

BSR: The trend in animated film this year seemed to be related to scarier, darker projects, which was met with mixed results from audiences. Why do you think audiences are hesitant about scarier family fare? Is it as simple as saying parents want to protect their kids from feeling frightened?

TAHAN: Hmmm, I'm not sure. My parents always sort of let me watch scary movies. I guess some parents try to "protect" their kids from stuff like that. Maybe they think kids can't handle it? But my parents always like, talked to me about stuff, and just explained things to me ... So scary movies were not too scary to me. I knew they were just movies and I liked being a little scared! And my little sister loves scary movies. I don’t know, I guess it is up to each family, and it depends on the kid, I guess.  

BSR: I hear Frankenweenie has great odds at the Oscars this year for animated feature, especially after all the accolades it is getting from critics groups right now. How does it feel to be a part of such a celebrated project?

TAHAN: It is amazing. "Frankenweenie" is such a good movie, and no matter what, I am so proud to be a part of it.  I don't actually read reviews or anything, but I love this movie and I am really proud that I am part of it.

BSR: Your future is looking very bright. You have upcoming projects with Woody Allen, Marion Cotillard and Peter Fonda. At 14, do you find it difficult to balance work with play? Also, what can you tell me about your parts in these projects?

TAHAN: In the Woody Allen movie, I only have a small role but it was really cool working on that.  The movie with Marion Cotillard? I just had a small part in that too. But I just got to see a bunch of footage and that movie looks amazing.  It's called "Blood Ties" and it looks so good; I can’t wait to see it.  I am still filming the movie with Peter Fonda.  There is an amazing cast, and we go back to work after the holidays. I can't wait to see everyone again.

I go to public school and they are really good about supporting me while I am working, but it is hard sometimes.  I'm working on a movie right now, and I have a teacher on set, but  I go back to school just in time for midterms - I hope I am all caught up for school when I go back!  I do get to hang out with my friends and stuff... I live in a small town so I get to do normal stuff when I am not filming.

FRANKENWEENIE is available to rent or own now. Review copy provided by Walt Disney Motion Pictures Canada.

Mini-Reviews: Cosmopolis, Frankenweenie, and Oslo, August 31st (2012)

Thoughts after the cut.

Cosmopolis (2012)

Yay! No vampires.

Directed by David Cronenberg
Produced by Paulo Branco and Martin Katz
Written by David Cronenberg (screenplay); Don DeLillo (novel)
Starring Robert Pattinson, Juliette Binoche, Sarah Gadon, Mathieu Amalric, Jay Baruchel, Kevin Durand, K'naan, Emily Hampshire, Samantha Morton, and Paul Giamatti

***

A twentysomething billionaire (Pattinson) wants a haircut, so he travels in his limo across town in the midst of a chaotic, apocalyptic Manhattan. Over the course of the day, he encounters several people, discussing life, philosophy, economics, and the universe, among other things. 

It's a slick, yet grimy vision full of musings and somewhat witty banter that is sure to bore some viewers. There's a lot of talking in this film, and most of it can seem like empty or heavy-handed garbage. Really, part of me thinks it's just nonsensical ramblings for the sake of sounding intellectual. Apart from the excessive babbling, the performances are, in general, nothing special. However, Robert Pattinson makes the most of his somber Twilight persona in his best performance yet, and the supporting cast of names and unknowns does a decent job. As much as I was disappointed, I can't help but admire the film's gall. I'd even see it again. 

Oscar Potential: None

Frankenweenie (2012)

A gorgeous dud.

Directed by Tim Burton
Produced by Tim Burton and Allison Abbate
Written by John August (screenplay); Tim Burton (idea)
Starring Catherine O'Hara, Martin Short, Martin Landau, Charlie Tyran, Atticus Shaffer, and Winona Ryder

*1/2

When Victor's dog Sparky meets an untimely end, the boy resurrects him with lightning, aka Frankenstein-style. Things take a turn for the worse when Victor's classmates learn of his experiment before the upcoming science fair. 

Burton's latest animated feature is a crisp black-and-white horror knockoff. Clearly, Burton was having a blast just getting to make this fun, nostalgic film, yet I was uninterested from the start. Though most of the voice cast consists of noteworthy talent, the largely unrecognizable (to me, at least) voices, thankfully, do not draw attention away from the story. Not surprisingly, Danny Elfman's score is one of the highlights of the film. But that's all the praise I can give. I wanted to be engaged with it, but the film felt like it was on auto-pilot for an hour and a half. For a better Frankenstein send-up, just watch (or rewatch) Young Frankenstein. I'd even recommend Dark Shadows over this one. 

Oscar Potential: Best Original Score, Best Animated Foreign Film

Oslo, August 31st (2012)

Lie gives a fine performance in one of the year's best films.

Directed by Joachim Trier
Produced by Hans-Jørgen Osnes and Yngve Sæther
Written by Joachim Trier and Eskil Vogt (screenplay); Pierre Drieu La Rochelle (novel)
Starring Anders Danielsen Lie, Hans Olav Brenner, Ingrid Olava, Ystein Rger, Tone B. Mostraum, Kjrasti Ooden Skjeldal, Johanne Kjellevik Ledang, Petter Wioth Kristiansen, Renate Reinsve, and Anders Borchgrevnk

****

Anders (Lie), a recovering drug addict, gets a one-day leave from his rehabilitation center for a job interview. Being on the outside isn't an easy adjustment, and he struggles to deal with old relationships and, of course, the pain of his addiction. 

In only his fifth credited film appearance, Anders Danielsen Lie delivers a striking portrayal of a sick man fighting himself, as he depicts Anders' inner turmoil in a subtle, authentic performance. The rest of the cast is solid, but can only support the great work by Lie. Addiction is tough to pull off, and a hard sell for me. Last year, raves poured in for a film about sex addiction, but I actually prefer this understated gem. It doesn't need the explicitly stunning visuals of the aforementioned Shame to make the most of its quiet, depressing moments with its tortured protagonist. Although this film hasn't received as much notice, it is one of 2012's finest offerings. 

Oscar Potential: None

FRANKENWEENIE

FRANKENWEENIE
Written by John August
Directed by Tim Burton
Voices by Charlie Tahan, Catherine O’Hara, Martin Short, Winona Ryder and Martin Landau

Mr. Rzykriski: Even after death, the wiring remains.

Almost 30 years ago, Tim Burton was fired from Walt Disney for supposedly wasting the company’s resources on non-family friendly fare like his 1984 short film, FRANKENWEENIE. The definition of what constitutes a family film has changed significantly since then, thanks in great part ironically to Burton game changers like ALICE IN WONDERLAND, and subsequently Burton’s career has come around full circle with his latest creation. By going back to his roots and re-imagining his live-action short film as a stop-motion animation feature, Burton has made his best film since 2003’s BIG FISH. I might even call FRANKENWEENIE Burton’s best work since his seminal classic, EDWARD SCISSORHANDS.

Considering FRANKENWEENIE is the story of a dog named Sparky, who is more or less brought back to life after being tragically hit by a car one day, the film itself is surprisingly charming and jovial. And John August’s feature length adaptation is shockingly bursting with life, considering the whole thing is about the undead and learning how to accept loss. This is the trick that makes FRANKENWEENIE such a treat; that it never shies away from the creepy and the ghoulish, but it does so with such a light, unimposing tone that it strikes this perfect balance between dark and delightful at all times. Burton is clearly enjoying himself and not taking himself, or the expectations of who he has become as a filmmaker, seriously at all, an extraordinary feat when you consider how painstaking it must have been to work with all that clay for all that time.

FRANKENWEENIE, a stunning black and white film experience, is chock full of colorful characters, but it is the guy at the center of it all that holds this crazy adventure together. Victor Frankenstein (voiced by Charlie Tahan) is misunderstood, spends all of his time in the attic and has just lost his best and only friend. It is a lonely place to be and one that is quintessential to the Burton film experience. Burton’s own personal understanding of feeling like the odd man out has always informed his work as a filmmaker, but he hasn’t been that man himself in quite some time. As much as he deserves the fanfare for being such an imaginative director, it is refreshing to see that he does still understand what it feels like to be all alone in this crazy world.

THE FALL 2012 FILM PREVIEW (part one)

Ive been up for a couple of hours now and it has only just now dawned on me that it is September 1. Summer isn't technically over but it's hard to argue with its inevitable finality once September rolls around. All is not lost though. With the fall comes some very impressive films and Black Sheep is here to help you sift through them ...

SEPTEMBER

For me, September means the Toronto International Film Festival. And as I plan on previewing the 40 or so titles I will be seeing during this year's festival later this week, I will limit my choices today to films that will only be coming to a theatre near you.

TROUBLE WITH THE CURVE
Let's begin with the man everyone is talking about this week, Clint Eastwood. With all his directing as of late, he hasn't acted for another director for almost 20 years. (1993's IN THE LINE OF FIRE would be the last time, in case you were curious.) Personally, I can barely handle the man. His films are so bogged down with his old, white man idealism that they never resonate with me emotionally. Perhaps relinquishing his directorial duties will make him more enjoyable for me, but seeing as how his baseball scout character in this Robert Lorenz film seems like just as much of a curmudgeon as everyone else he plays, my hopes are not high. At least Amy Adams and Justin Timberlake are along to lighten the load.

HOUSE AT THE END OF THE STREET
Yes, this does look just like your typical fright flick, but how can it be with Jennifer Lawrence in the lead role? After earning an Oscar nomination for her brilliant work is WINTER'S BONE and dominating her star making turn as the girl on fire in one of the year's biggest hits, THE HUNGER GAMES, she certainly doesn't have to take a role like this. So unless this was shot before she stepped into the role of Katniss (which is possible but I could not find the shooting dates), this horror film has to be a cut above the rest. Lawrence herself is reason enough to find out though. Elizabeth Shue and Max Theriot co-star.

Other September highlights include Bradley Cooper plagiarizing Jeremy Irons in THE WORDS; Viola Davis and Maggie Gyllenhaal take over a broken down public school in WON'T BACK DOWN; Kirsten Dunst hopes her group of gal pals can repeat the BRIDESMAIDS success with BACHELORETTE; and although I can hardly believe it, they are still making RESIDENT EVIL movies. RETRIBUTION, the fifth in the series, hits September 14.

OCTOBER

FRANKENWEENIE
Many people accuse Tim Burton of having sold out a long time ago, of being washed up and tired now. I am actually often amongst those people but I am very excited for his newest stop-motion animation, FRANKENWEENIE. Based on his 1984 short film, which got him ousted from the Disney junior animator job he had at the time, the expansion is pretty much exactly what you would expect - young boy's dog is brought back to life and the townspeople are not very open to this freak of nature. Yes, there is the potential the feature length will bring with it many schmaltzy and unnecessary moments but if Burton does it right, it could be a new creepy cult classic.

KILLING THEM SOFTLY
Brad Pitt reteams with the director of THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD, Andrew Dominik, for this new thriller. Pitt plays a hit man hired to tail two less than sharp thieves who rob a mob-run poker game. The premise sounds almost funny but the trailer looks like the final product will be less than amusing. One thing is for sure though; with a 97 minute runtime, this one will surely be faster paced paced than their last collaboration. Also, Richard Jenkins and James Gandolfini co-star.

TAKEN 2
Given the success of the first TAKEN film, it is no real shock to see a sequel for the film hitting theatres now. After all, that film solidified Liam Neeson as a bonafide action star internationally. After watching the preview for the sequel, I am sure fans of the first film will not be disappointed with the follow-up. I, however, was not a huge fan of the first film and have very little interest in this instalment. This time around, his wife and daughter appear to be taken as revenge for the havoc he wreaked last time out. And I'm supposed to take this seriously?

Also coming in October ... Helen Hunt plays sexual surrogate to John Hawkes in Oscar-buzzy, THE SESSIONS; Jennifer Garner comes dangerously close to losing her cool as a champion butter sculptor in BUTTER; Robert De Niro and Diane Keaton play a long-divorced couple trying to play nice for their son's wedding in THE BIG WEDDING, which sounds like it could have been directed by Nancy Meyers (it is not); and apparently there is a never-ending stash of found ghost footage somewhere in a Hollywood basement just waiting to be turned into a PARANORMAL ACTIVITY movies. The fourth film in the series hits October 19 (and will be gone by November 1, most likely).

Check back tomorrow for Part Two of Black Sheep's 2012 Fall Film Preview, which will feature November and December.