it's great to have Tim Burton back in the game. after Sleepy Hollow he staked out and firmly defended a healthy territory of mediocrity, but building from (or at least handsomely recreating) Sondheim's musical finally seems to have snapped him out of it. he's a good fit for the material, of course, but for reasons opposed to the obvious ones: Corpse Bride, his last foray into the macabre, was an abysmally affected and unimaginative rehash of past successes that tainted his earlier work by association, and here he redeems himself by leaning on material that had "that Tim Burton feeling" long before he did, which seems to free him to concentrate on the finer points of his craft, so often overshadowed by his sensibilities.
Thursday, January 24, 2008
tim burton's SWEENEY TODD, THE DEMON BARBER OF FLEET STREET (2007)
it's great to have Tim Burton back in the game. after Sleepy Hollow he staked out and firmly defended a healthy territory of mediocrity, but building from (or at least handsomely recreating) Sondheim's musical finally seems to have snapped him out of it. he's a good fit for the material, of course, but for reasons opposed to the obvious ones: Corpse Bride, his last foray into the macabre, was an abysmally affected and unimaginative rehash of past successes that tainted his earlier work by association, and here he redeems himself by leaning on material that had "that Tim Burton feeling" long before he did, which seems to free him to concentrate on the finer points of his craft, so often overshadowed by his sensibilities.
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