Frankenweenie

Tim Burton hasn't been making any of his original ideas since 2005. His recent films are adaptations that most of them are not outstanding nor creative like his own stories. Tim Burton's returns to his original roots with this. Frankenweenie is based on a short he made decades ago. He remade it into a full length animated feature film with sheer campiness. It's great when it goes there but when it tries to be emotional, it works in a short while but it is more interested to its craziness and the storyline doesn't know where to go. The director may return to his style but he still has his old flaws.

The concept is fascinating. It sounds like it's going to be a heartwarming family fun film. It obviously tries to capture the old horror movies with black and white. Most of the characters are based on iconic horror movie characters. Tim Burton is always highly imaginative but somehow he's lacking something. In family films, he creates a charming innovation but he couldn't bring enough depth to it. There are things that could have been interesting. This is about a kid who brings his beloved pet back to life. There could have been more genuine cherishing moments of Victor and resurrected Sparky. There are times like that but it immediately skims to the comedy. The storyline doesn't quite know what to do until it hits to the big climax.

The voice performances were good. Martin Landau's is probably the best among them who gratifies and delights his character with his campy accent that reminds you of his role in Ed Wood. The stop-motion animation is simply majestic. The black and white effect makes it a lot more fascinating. The character and monster designs are magnificent. It's wonderful enough as a Tim Burton animated film.

Frankenweenie suffers with the same problem of Edward Scissorhands. Don't get me wrong, Edward Scissorhands is a beautiful film but there is a little depth to its concept and serves an awkward climax leads to an underdeveloped romance. At least there's an endearing performance by Johnny Depp. Frankenweenie is fun but it's kind of empty in the end. It's not bad, it just could have been better. The darkness of the film could have been something affecting instead of an impaled cat. The sad parts seem contrived for the idea's sake. The film messes around the rest of the runtime. I guess the throwbacks and the filmmaking are the only merits of the film. Fans of Tim Burton's dark and crazy vision would enjoy. Since we don't see a lot of stop-motion animation these days, I guess that what makes this appealing. To think about the story, still not satisfying.

Frankenweenie (2012)

*** 1/2 (out of 4)

Tim Burton's excellent remake of his 1984 short about a young boy who suffers a heartbreaking loss when his dog is ran over and killed by a car. Inspired by a science experience, the young boy decides to use electricity to bring him back to life. FRANKENWEENIE was a pretty big disappointment at the box office but I guess this type of storyline would be a hard sell to certain parents plus the B&W might scare off a few as well. I can honestly say that this here is the best thing Burton has done in years as it really reminded me of his earlier days where the imagination was all over the place and it really delivered some fun, laughs and great emotion. I really, really loved the original movie and I really didn't think it would work when expanded to a longer running time but Burton and screenwriter John August has done a very good job with this. I think what makes this one so special are the various homages to earlier horror movies like BRIDE OF FRANKENSTEIN, FRANKENSTEIN and there's no question that the scientist here is a homage to Vincent Price and we even got a great way to show off Christopher Lee. The entire look of the film is excellent as well because you really do feel as if you're watching a horror movie from their Golden Age because the sets are incredible, the humans are wonderful and once the animals start to come back at the end you can't help but smile. I really liked the way the other kids started to copy our hero here and we're left with a monster mash at the end including a giant turtle, which is obviously a wink to the Godzilla films. Catherine O'Hara, Martin Landau, Martin Short and Winona Ryder are all extremely good in their vocal work as is Charlie Tahan as the young boy. FRANKENWEENIE is certainly a terrific little gem that I think will play extremely well with the right child and of course the parents are really going to enjoy not only the charm but also the respect towards the films that came before it.

It's inevitable to compare Frankenweenie to ParaNorman due to both being 2012 stop motion animated films centered around Halloween. I would say Frankenweenie is the lesser of the two, but not by too much. The story is heartfelt, the visuals are distinctive, and there's a peculiar charm to it. This seemed like a passion project for Burton and it shows. There's a lot of love and care put into this film, but it's classic Burton in that it's often weird, idiosyncratic, and grim. Frankenweenie is a fun homage to old school horror movies and should be a welcome return to form for fans of Tim Burton.

With its cute, yet, decidedly creepy-looking characters, and all, I thought that Frankenweenie was a pretty darn good "Mad Scientist" story that's sure to be a hit with audiences of all ages.

Containing some very nice touches of warped humor, grotesque horror and several arousing moments of pathos (cleverly injected into its weird, but oddly wonderful, little tale), Frankenweenie has proved, once again, that director Tim Burton still has the master's touch when it comes to making stop-motion, animated films that seem to emerge from the very depths of the dark-side.

If nothing else, Frankenweenie certainly turned out to be a lovingly-charged homage to a variety of classic horror, monster, and Sci-Fi pictures from those glorious days of yesteryear.

All-in-all, Frankenweenie certainly had its share of flaws, but, just the same, I certainly hadn't expected to enjoy this film as much as I did.

Appropriately filmed in b&w, thank goodness that it didn't contain any musical numbers.

Burton is a cartoonist. I don't mean this as a putdown. He is at his best in short sketches, and his main talents flow from that: imaginative as a toymaker and has a knack for comedy, both short-term effects, both a matter of tinkering in the small, but he puts his heart to it.

I pass on his big 'storybooks' like Big Fish because layered long-term narrative is another thing altogether. In Burton's case, it is something he stumbled over as the only financially viable format to convey his sketches, so he treats narrative as only the canvas instead of as itself the sculpting matter.

Some of his other cartoons fail to reach me pure, because they are still big and polished studio-work and that all but defeats the intention. This is just the right size, an appendix of sorts to Ed Wood. It is a sketch, his first ever, this time reworked into a feature. And naked enough (no Depp, no Hollywood excess) to see the wirings and so appreciate what he loves about his work.

As you flip through this sketchbook, you will find the following:

The film opens with footage of a young Ed Wood's homemovie shot in his backyard—a giant monster movie, the kind that a kid (who we can presume is Burton) growing up in the 1950's can be expected to admire.

A teacher who looks like Vincent Price and inspires him to perfect his 'science', in the film it is supposed to be real science, but is actually viewed in the context of 1930's horror and Shelley before, a kind of cinematic magic.

This kicks off the Frankenstein story proper with the dog, which includes additional references to both Bride and Son, Mummy and Invisible Man, and the fiery windmill conclusion of the Karloff original. (also reused in Sleepy Hollows)

Eventually, this leads to an actual giant monster movie, where different classmates, essentially using the same 'science' of cinematic magic, bring to life different monsters: one is a Godzilla-type creature (kaiju fans will know it is really Gamera), there are Gremlin- type critters, and a cat-bat creature that I couldn't pinpoint.

So, there you have it: 1930's Universal horror, 1950's sci-fi, 1980's pop Hollywood, all of it sketched here that influenced the man's career.

Typical for Burton: the story goes nowhere, the ending is Disneyfied like the first time, it is fun in short spurts, and he has nicely sketched the world of his childhood, which is my favorite bit here—a clean and modernistic 1950's suburbia as was advertised to housewives of the time, it is amazing some of the textures and light they managed to capture. Stop-motion trumps cg animation in my mind, physical presence carries energy into the eye—this looks so real, it feels like it is taking place down the street from Ed Wood.

Overall, I don't know if releasing this confirms the nagging suspicion that Burton is over and done with as a creative voice and is really scrapping for material, but it is nice to watch, and reminds why he was at one time an interesting guy. What will it take for him to bounce back?