As “Miss Peregrine and the Peculiar Children” has just arrived on the platform, let’s review the Tim Burton movies available on Disney +.
MISS PEREGRINE AND THE PARTICULAR CHILDREN (2016)
In the heart of the 90s, Tim Burton was offered the direction of the first X-Men film, but he turned it down in favor of his late Superman Lives. Everything suggests that he offered himself a second chance with Miss Peregrine and the special children, because there is no doubt that an adaptation of the comic books of Stan Lee and Jack Kirby in his sauce could have resembled this feature film. Released in the fall of 2016, the latter even resembles a best-of of his universe, with its mixture of fantasy with Gothic accents, marginal, disturbing buildings and the poetry he manages to give birth to in this story. of a teenager who discovers a timeless zone in which everyone has a power.
There is no doubt that Tim Burton and Ransom Riggs’ books, illustrated by bizarre photos, were made for each other. As in Mars Attacks or the finale of Pee-Wee Big Adventure, the director ends the narrative with a real jubilant slaughter game where he even does a quick cameo as he lets off steam behind the camera. But we can also feel a touch of melancholy in this story of a time loop led by Eva Green, one of his favorite actresses, as an admission of the fact that today it is difficult for him to get out of the box in which we put it on. With a little less than 300 million dollars of receipts in the world, for a budget of 110, the feature film has for the moment remained without continuation. But who knows what the future holds, especially since there are four more books.
ALICE IN WONDERLAND (2010)
Even more than for Miss Peregrine…, seeing Tim Burton attacking Alice in Wonderland was obvious, so much so that one wondered why it had not been done sooner. Shot using the latest technology, at the crossroads of performance capture and motion capture, the result was released in the early 2010s, in 3D, with a cast in which we find the usual Johnny Depp and Helena Bonham Carter, alongside Mia Wasikowska, then known for her role in the series In Analysis. The young actress embodies the heroine of the story which is presented as a sequel and has a little more eye on Lewis Carroll’s second novel, “On the other side of the mirror”. Despite a marvelous box office of $ 1.025 billion, which opens the door to more live-action adaptations of Disney classics, the feature disappoints audiences.
Pointing the finger at misinterpretations in relation to the spirit of Lewis Carroll, the too important place taken by the Mad Hatter and the Queen of Hearts played by Johnny Depp and Helena Bonham Carter or a staging on automatic pilot, the spectators do not are not as thrilled as they should have been. And it will take a while, six years to be exact, before Wonderland is back on the screens. Without Tim Burton, who however remains the producer of this sequel entitled From the other side of the mirror, directed by James Bobin (The Muppets, the return) and where Alice finds her friends to face Time, personified by Sacha Baron Cohen. A little better received, the film is less lucrative than its predecessor (barely 300 million tickets in the world), but is presented as the very last of Alan Rickman, who died a few months before the release, and who lends his voice serious to the Absolem caterpillar.
THE STRANGE CHRISTMAS OF MR JACK (1993)
No, of course: Tim Burton did not direct The Nightmare Before Christmas, because it was Henry Selick (Coraline) who was directed. But it is impossible to deny his influence on this jewel in stop-motion (frame-by-frame animation) whose story and characters he imagined, most of them being born in his drawings. Starting with the hero, Jack Skellington (dubbed by the composer Danny Elfman in the original version), star of the Halloween world who gets bored and decides to celebrate Christmas. In its own way and without realizing that it risks creating trauma in many children.
Mixing the spirits of Christmas and Halloween together, The Nightmare Before Christmas takes pride of place in Tim Burton’s filmography, and the film looks so much like him that many believed he was the director of it so much. seemed to flow naturally. What is certain, however, is that the love rating of the feature film is still as important after nearly three decades, that its soundtrack remains a classic, and that it is an ideal program for the 31 October AND December 25.
EDWARD WITH SILVER HANDS (1990)
If you ask fans to show off their favorite movies directed by Tim Burton, there’s a good chance that Silver-Handed Edward is on the podium. Because it is indeed one of his best opus. And undoubtedly his more personal, reinterpreting the myth of Frankenstein in the American suburb where he grew up feeling isolated, him the horror fan. Like him, his hero (played by the one who would become his muse, Johnny Depp) is shaggy. Like him too, he manages to transcend his disturbing aspect to give birth to beauty, the most striking example being this dance scene under chippings of ice that fall like snow.
After having given his letters of nobility to Batman on the big screen, Tim Burton has asserted himself as a major author thanks to Edward in the Silver Hands, a film in which he was able to direct his idol Vincent Price, to whom he had returned tribute in a short film a few years ago. The horror movie star of the 50s and 60s plays the hero’s creator, which completes the story a little more personal.
Edward in the Silver Hands isn’t really Tim Burton’s first rereading of Frankenstein. Because in 1984, there was Frankenweenie, a short live-action film in which a young boy manages to resuscitate his dead dog, without suspecting for a moment the consequences that this will have on the neighborhood. Neither on the public. Because the film, designed to be screened as a preview of a Pinocchio release is deemed too scary for the family target, to such an extent that Disney leaves it on a shelf and slams the door in the face of its director, which does not clearly shouldn’t have helped her feel less marginalized. It was not until the beginning of the following decade and the broadcast of a censored version for things to get better.
However, we must recognize that the result is more touching than frightening, in the way it shows the innocence of the hero and his dog in front of the eyes of others, who do not manage to see the animal other than as a monster. And the various nods to the original story, such as this finale in a mill, are funny. A little less than three decades later, Tim Burton and Frankenweenie will be offered a second chance, the time of a stop-motion feature film, a technique that the filmmaker had to give up in 1984 for budget reasons. If the starting point of the 2012 film remains the same, it is in the second half of the story that things change to turn into a gigantic tribute to a whole section of horror cinema (and, a little, of its author), which ultimately makes the two opus complementary.
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