037. Frankenweenie

037. (28 Jan) Frankenweenie (2012, Tim Burton) 36



It's not shocking that Frankenweenie is so dull and joyless, as Tim Burton doesn't direct anything but nowadays, but considering the film's targeted at young children you'd think it'd at least hold some intrigue. Hideously designed characters unable to emote make this deeply unpleasant from the start. But the film's themes of death and grief aren't doing it any favors. There's some amusement in hearing one of the sad sack kids say, "I welcome death." The funniest bit involves sharp-toothed mutant sea monkeys, but amusing moments could be listed on one hand. I pity the kids whose parents dragged them to this.

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.

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.

Abraham Lincoln: Vampire Hunter

I am actually finding it hard on how to begin the review. Firstly, I haven't read the book the film is based on so you can expect no comparisons. It's also pertinent to know that I have enjoyed Timur Bekmambetov's previous works, Wanted & Night Watch, so although I was not at all impressed by the trailer of this film, I was still excited about it.

Abraham Lincoln: Vampire Hunter is the story about the President of USA who for the sake of fantasy and story and originality also happens to be a vampire hunter, or rather becomes one during the course of the film when his parents are killed by the living dead.

The film in totality was a major disappointment and for a change I decided to list my irritations one point at a time;

The Voiceover- Normally I am a big fan of voiceovers. It's a great way to fast forward a film and more so a technique to showcase a montage without using music, and who doesn't love montages. Unfortunately, the excessive voiceover in this particular film gets annoying around half time and doesn't stop till quite late in the film.

The Story- I am all for a bit of uniqueness in stories and by giving the real life events surrounding the American president an alternate twist is perfectly fine by me. The film however tries to stuff too much in its timeframe. From a revenge film, to saving mankind, to a political piece, to life history, almost all aspects of the real Lincoln's life is made to resemble situations in the film making it more and more disjointed.

Real vs Reel Life & The History - The other aspect of the story mentioned above which really irritated me was that the makers try desperately to link all the real life events with the fantasy aspect which after a while feels forced. Furthermore, due to the lack of America's historical knowledge I was unaware of most of these events and just had to view them as they happened. So while I am aware of the Civil War or the Gettysburg Battle, I had no knowledge about their background, and I understand this might be my own fault, but for me that made the film a bit more oblique. If you do know about American history, I am sure you would appreciate that the film does not go into details of the said events, so this aspect might just divide the audience in half.

The Special Effects- This one is more middle-of-the-road. There are scenes that are beautiful to look at, even though they mostly comprise of people getting axed and blood splattering all over, while there are others that are simply torture. Two important scenes, the horse fight and the climax, are both CGI laden to the amount that they shout FAKE! Both these scenes, the former more so than the latter, were probably the biggest disappointments for me. Well that and the excessive use of slow motion throughout the entire film to the point that I almost wished I had a fast forward remote control to move the character move/kill/splatter/and die faster.

Tim Burton- I would have hoped that having Tim Burton as the producer would have infused a bit of his dark humor in the film, but alas that is not the case. In fact, his style is so absent that had I not known of him having producer credits; I would not have linked him to this film at all.

And now for the good stuff...

I did like the premise of the story with adding the whole vampire element to the president's life. With Pride and Prejudice and Zombies being made, this could be the new trend in books and films and not something that I disapprove of. What the resulting features will be, it’s hard to tell, but after Abraham Lincoln studios might think twice about taking a step in this direction.

The acting was mediocre, but not bad, which in this case is good. The performances might not have been extraordinary, but the actors took their roles seriously and whatever little chance of characterization they are given (especially the supporting cast), they made the most of it.

The films does have enough action throughout that although there were all the above listed reasons why I did not enjoy the film, it still managed to keep me awake.

Oh wait... sorry that would be the large Latte I had during the film that kept me awake and I believe it even burnt my tongue and in fact that was probably more exciting than the film.

Rating 1.5/5

   

        

DARK SHADOWS

DARK SHADOWS
Written by Seth Grahame-Smith
Directed by Tim Burton
Starring Johnny Depp, Michelle Pfeiffer and Eva Green


Barnabas Collins: Of all the servants I could have spurned, I got the witch.

The original soap opera television series, DARK SHADOWS, is before my time, I’m afraid. I’ve never seen the show but from what I understand, it was a bizarre endeavor that, about six months into its roughly 5-year and 1225 episode run, introduced ghosts and other supernatural elements into its world, a first for daytime television for sure. About a year in, the show reached its height of popularity with the introduction of a vampire character by the name of Barnabas Collins. Boys everywhere wanted to be this debonair creature, who is both heroic and flawed. One of those boys was Johnny Depp.

Depp’s boyhood dream of being Barnabas has finally come true. These kind of dreams can do that when you have enough money and clout to resurrect a cult classic such as DARK SHADOWS by convincing Hollywood that you can sell it to the masses. And not surprisingly, Depp brought on his long time director buddy, Tim Burton, to helm the project, a seemingly natural choice. After all, Burton is the director of BEETLEJUICE and EDWARD SCISSORHANDS. If there is any director out there that can capture that kooky, yet sometimes scary, but still human deep down, tone needed to pull this film off, it’s this guy, right? Unfortunately, as of late, Burton is more often than not the director Hollywood goes to when you need a vividly colorful and imaginative film that plays so broad it loses all its actual character. DARK SHADOWS falls somewhere in between the two Burton’s.

Burton does his best to keep these particular shadows pretty darn dark. Barnabas loses his parents at a young age, at the hand of a scorned lover, Angelique (Eva Green), and then watched his girlfriend plummet to her death off a cliff while under the influence of a magic spell (also administered by Angelique). When he reemerges in 1972, nearly 200 years after he was buried alive - well, more like buried undead - he rejoins his family, now led by a lovely Michelle Pfeiffer, and insists that they work together to reclaim the power and glory the Collins name once commanded. Any steam Burton musters in the setup though is lost once Barnabas is distracted by things like lava lamps and televisions. And then this epic, century-spanning, cursed feud is reduced to a corporate competition between fishing companies. Depp is delightful as Barnabas, which salvages DARK SHADOWS from disaster, but it would be nice to see Burton’s once unbound vision become boundless again, rather than see it consistently watered down for mass consumption. The worst part is that Burton is doing this all to himself.