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 ICEMAN

THE ICEMAN
Written by Ariel Vroman and Morgan Land
Directed by Ariel Vroman
Starring Michael Shannon, Chris Evans, Ray Liotta and Winona Ryder

Roy Demeo: You want to complain about life? You’re talking to the wrong fucking guy.

I’ve met Michael Shannon before. He is a friendly fellow but he is just as menacing to meet as one would expect from his ominous presence on screen. And while I wonder when the day might come when we might see Shannon in a comedy or as a romantic lead, for now we can all admire his ferocity in the many tough guy parts that get thrown his way. The latest is Ariel Vroman’s THE ICEMAN, a biopic of one of the most notorious contract killers in American history, Richard Kuklinski. See if you can guess who plays the lead.

Kuklinski is said to have murdered between 100 and 250 people between the years of 1948 and 1986. Somehow, amidst all that murderous mayhem, Kuklinski found the time to marry and have two daughters as well. Vroman’s film covers this entire period, from the moment he goes out on his first date with the future mother of his children (Winona Ryder is a surprisingly impressive turn), through his time as an independent murderer for hire, to his inevitable capture and conviction. Shannon bounces back and forth between family man and maniacal murderer with an eerie ease that eludes to only one of the reasons Kuklinski earned his Iceman moniker. The other is that he froze his victims for months before disposing of the bodies so that no time of death could be accurately determined.

In many ways, and I mean this with all due respect, Shannon was born to play this part. He is as callous and as icy as he would have to be to pull this off. His powerhouse performance helps THE ICEMAN reach terrifying heights it most certainly would not have, if it weren’t for Shannon’s presence. The lean script rolls through the decades of killing as though they meant nothing to anyone and subsequently, the film is just as frigid as the subject matter. And as disturbing as all this coldness is, a little bit of warmth would have given the character insight necessary to take this film from disconcerting to downright harrowing.

BLACK SWAN

Written by Mark Heyman, Andres Heinz and John J. McLaughlin

Directed by Darren Aronofsky

Starring Natalie Portman, Vincent Cassel, Mila Kunis, Barbara Hershey and Winona Ryder

Thomas Leroy: Perfection is not just about control. It is also about letting go.

From my understanding, to be a true ballerina, one must always strive for perfection. Your toes, your torso, your lines must be just so. If you’re serious about ballet, you might be lucky enough to join a company. Only a select few get to be company soloists though. And so, lightly prancing about beneath the stage at any given ballet, you will find dozens of girls all striving toward an unattainable goal - some starving themselves and some hoping the soloist will take a bad fall and need replacing at the last second. It’s a microcosm, ripe with potential for drama and madness, making it the perfect setting for Darren Aronofsky’s latest, BLACK SWAN.

At the film’s start, a single spotlight rises on two feet, tightly wound in the tiniest of slippers. They begin to dance and as they land one after the other, we can see how delicate ballet is and how tortuous it must be to make it look that good. When the camera pulls away to reveal that these feet do in fact belong to Natalie Portman, it is clear just how much grace she will bring to this film. And by the time a beastly creature makes itself known to this frightened dancer, it is clear that Aronofsky is about to, yet again, give us something unlike anything else he’s done.

Portman is Nina, a dancer with the New York City Ballet who has just been cast as the Swan Princess in the upcoming production of “Swan Lake”. To do so in exactly the manner her director (Vincent Cassel) demands, she must embody the spirit of both the white and the black swan. Yes, the thematic conflict for this character is obvious at this point but Aronofsky tells it with complex visual style that jetés between jarring and captivating. And Portman, who has reportedly been in dance lessons since she was a toddler, knows the pressure of the dancer. She is to tightly wound that by the time her dark side begins to show its face, we are just as ready to release as she is. It certainly doesn’t help matters that her mother (Barbara Hershey) pressures her to succeed, a new dancer (Mila Kunis) wants her spot and the soloist she replaced (Winona Ryder) wants her just plain gone.

BLACK SWAN is as theatrical and as dramatic as any ballet that I’ve seen performed on stage. Aronofsky directs but, from behind the camera, he dances alongside the dancers as if he was part of the choreography, forming some hybrid of dance and film that begs repeat performances. It also warrants a resounding standing ovation.