The Nightmare Before Christmas

Henry Selick, 1993

2/5

From the mind of Tim Burton comes a story about Halloween Land and its inhabitants. After another successful holiday, Jack Skellington expresses his boredom with the repetition and looks for something different to reinvigorate his interest in Halloween. He ventures to a crossroads that has a doorway to Christmas Land. There, he finds a completely different world... one that he becomes quite enamored with.

This film was made in a time when Burton used to make good films. Big Fish, Edward Scissorhands, Beetlejuice, Batman. Back in a time when Johnny Depp and Helena Bonham Carter weren't fixtures in every piece of work. And despite the fact he didn't direct this one, his personality is all over it. The film is basically a Tim Burton PCP trip laid out before your eyes. A glance into his younger, more creative brain. Bizarre, odd-shaped claymation with an impressive amount of detail. Headless creatures, windy roads etched with curvature, circular tree branches. Everywhere you turn, there's a ghost, ghoul or vampire lurking ready to pop out and go into song. And there's plenty of song. A bit much, actually. In front of Elfman's catchy score are lyrics that end up feeling repetitive and tiresome. It's an eerie musical with Jack Skellington at the forefront. He plays the curious one, the seeker, the explorer. The inhabitants of Halloween Land are satisfied with their existence but he grows hungry. The film plays on the dichotomy of Halloween and Christmas, and reinforces a sort of alternate dimension approach to them where one world isn't aware of the other. When Jack's cross-pollination occurs it's quite artfully done, with the Christmas set pieces almost coming off as a satisfying Candyland game board. But the simple message takes a long time to get delivered as it heads down its predictable path. It's certainly not rich in story as it's a feast for the eyes. While Burton's characters are uniquely constructed, the film could be watched with the volume down. Probably at least worth a single watch to see Burton's art at work, at the peak of his career. 

Beetlejuice

Tim Burton, 1988


(REWATCHED)

4/5

Adam (Alec Baldwin) and Barbara (Geena Davis) realize that they are deceased. Bound to their country home they loved dearly, they want to do anything they can to stop the new residents from getting too comfortable. They seek the help of "Beetlejuice", a "bio-exorcist" who assists them in scaring the new homeowners away.

A classic for children of the 1980's, any probably scary to young ones of today. One of Tim Burton's best, probably second best (with Edward Scissorhands in the lead). He uses the innocent Vermont backdrop to showcase quirky caricatures and his own bizarre creations. You venture into the white farmhouse only to discover the model home Adam has been working on so detailed, and comes alive as soon as they are dead. There are so many moments in this film that have a lasting impact. Walking out of the house and landing in the sand-worm's dimension. The waiting room of the case worker's office. The possession scene at the dinner table. And most of Beetlejuice's antics. Keaton is so buried in his role. One must wonder who or what he used to channel this performance. He probably should have been nominated for an Oscar, but it was a very competitive year with Dustin Hoffman winning Best Actor for his role in Rain Man. The film still took home an Oscar for Best Makeup, and for good reason.

Tim Burton's older films are so much better than his newer films. Why? Age? Did he lose that edge as he got older? Probably a lot of reasons. But he certainly took more risks in the 1980's. This film was so out there for it's time, it could have completely flopped. But it didn't. It was made on a rather modest $15M budget and ultimately grossed $73M. At times it has an almost Cronenbergy feel to it. But also very much unlike Cronenberg's films in the sense that the characters never really take themselves seriously. Adam and Barbara are very quickly accepting of their own death, and jump into a more defensive mode in trying to maintain ownership of the house. The most serious person in the film is likely Lydia (Winona Ryder), but her lack of fear of communicating with her deceased housemates certainly diminishes any kind of serious tone and only adds to the comedy.

John Dies at the End

Don Coscarelli, 2012


3/5

          Dave encounters a new street drug called "soy sauce" that has some pretty powerful effects. It seems to be taking the neighborhood by storm, bringing on multi-dimensional consequences.
          This is unlike any film I've ever seen. In an attempt to draw some kind of comparison, I'll say if Fear and Loathing in Las Vegas and Limitless had a baby it would be John Dies at the End. Sort of like if Scott Pilgrim Vs. The World smoked salvia laced with PCP. This film starts off with silly bloodsplatter in the same vein as Zombieland but soon dives deeper into some elaborate visual effects coupled with a demonically trippy story-line. You really won't know what you're in for. I didn't. Erratic quick cutting, good acting (Paul Giamatti providing some veteran acting to the film), impressive visuals, and even some stop motion that is reminiscent of early Tim Burton. There's hints of Beetlejuice for sure. You'll need a moment after watching this to collect your thoughts.