Tag Archives: tim burton

Top 10 Movie Scars

Scars are a movie shorthand. Bad guys often have visible scars, gruesomely healed. Austin Powers’ Dr. Evil has a huge scar, from the corner of his right eye down to his jaw. Freddy Krueger from Nightmare on Elm Street is extensively scarred. Staff Sergeant Bob Barnes in Platoon has a face meant to tell you how crazy he is, right from the start. Most but not all of the scars on this list are found on villains, but in real life scars can criss-cross the bodies of all kinds of people, even, occasionally, good ones. Scars are portraits of courage and bravery, reminders of stupid decisions, the markers of time and change. My left arm was left completely scarred after a car accident; oddly, it is NOT the arm covered in ink (okay, it’s partially covered in ink). They make me a little sad, but also a lot grateful: scars mean you’re still alive.

tumblr_inline_nt3aoaZFge1tpfg2f_500.gifThe Joker: I suppose there are probably dozens of back stories as to how The Joker got his scars, but I love how Chris Nolan approaches them in The Dark Knight. The Joker himself tells several vastly different tales involving their provenance, which reveals nothing about their true nature, but tonnes about his sanity. The way he accents the scars with makeup makes us think he’s proud of them. He wants them to be noticed. Perhaps he wants us to believe they’re self-inflicted. Perhaps they are.

Tony Montana: It’s inevitable that a character nicknamed  ‘Scarface’ will make this list. tonyTony is blase about his scar, laughing it off, attributing it to his youth but never getting specific. It’s obviously a reminder of the past he left behind, and it’s a focal point to his enemies, something that makes him look scary and intimidating, perhaps warning them that he’s capable of violence. But in true Tony spirit, he addresses his scar only thusly: “You should see the other kid; you can’t recognize him.” I bet that’s true.

20110713_scars-1-harrypotter.nocrop.w375.h670Harry Potter: Harry got his distinctive lightning-bolt scar in a failed murder attempt, when Lord Voldemort put a killing curse on him (his mother’s sacrifice saved him from death, but he would bear the mark of the attack). The scar is legendary among the magic set, and it tingles whenever the Dark Lord is near. It wasn’t just a warning system, but a link to what Voldemort was thinking and feeling – actually a small piece of his soul, yearning to escape. Which is pretty crazy.

Edward Scissorhands: Edward’s face (and not just his face) is covered with fine scars, 350191the obvious result of learning the hard way how to live with scissors for hands. They aren’t terrible to look at, and actually give him a sympathetic look, reminding us of his hardships. Since the movie skewers conformity, Edward’s scars are just another thing that set him apart.

Randy ‘The Ram’ Robinson: Randy shows stripper Cassidy some of the many scars he’s accumulated over his years in the ring as ‘The Ram’ in The Wrestler. His broken body is a good indication of his mental state as well, beat down and tired. “He was pierced for our transgressions, he was crushed for our iniquities; the punishment that brought us peace was upon him, and by his wounds we are healed” Marissa Tomei quotes from the Old Testament. But his worst scar is yet to come: he undergoes bypass surgery on his heart, leaving the tell-tale scar down his chest, a constant reminder that his heart can no longer take the stress of his career. He’s forced into retirement, but can’t quite commit to it.

90f7a43a2555ef092a3825e3a5574878Marv: Sin City’s Marv puts Mickey Rourke on this list twice, ironic considering his own not-insignificant scars. In the 1990s he took up boxing, and had to have lots of reconstructive surgery as a result – two broken noses, a smashed cheekbone – but admittedly went to the wrong doctor to put things right. Finally, after massive amounts of plastic surgery, he’s starting to look good again. Regardless, in Sin City, Rourke’s face in prosthetic scars. Marv is supposed to be too “ugly” to attract the opposite sex, which is why his relationship with Nancy is so pure and good, and highly cherished by him.

Scar: In Lion King, Mustafa’s brother is marked for evil by eye-skimming scar that leaves him disfigured. The movie doesn’t tell us how he got it, but we do kn1000px-Gill-FindingNemo3Dow he’s defined by it, bearing its nickname.

Gill: Gill has terrible scarring to his face and fins after an escape attempt left him badly
wounded by dental tools. Voiced by Willem Dafoe, Finding Nemo’s Gill seems dark and brooding because of his scars, but we come to understand that they’re a symbol of his fight for freedom, and what the fish are willing to risk in order to be free.

tumblr_mlg4d5SRte1s3oe2qo1_250.gifInigo Montoya: “Hello. My name is Inigo Montoya. You killed my father. Prepare to die.” A mysterious man with 6 fingers attacked Inigo’s father, and presumably Inigo’s scar is from that same fight. His greatest wish is to avenge his father’s death, and he spends much of The Princess Bride pursuing the man who left so many scars in his wake.

Darth Vader: Vader’s scars represent his turn from annoying emo brat to pure evil. As main-qimg-b22185b5f56500fa08f9e8b3a426e005-c.jpgthe ghost of Obi-Wan tells Luke: “When your father clawed his way out of that fiery pool, the change had been burned into him forever – he was Darth Vader, without a trace of Anakin Skywalker. Irredeemably dark. Scarred.” Those scars are kept underneath a menacing helmet for much of the series, but when that helmet comes off, oof: impact.

 

 

 

 

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Miss Peregrine’s Home for Peculiar Children

Despite never having read the book(s?) upon which this movie is based, it still felt all too familiar to me while watching Miss Peregrine’s Home for Peculiar Children. Could it be that we’ve finally seen the bottom of Tim Burton’s bag of tricks, and now we’re just watching the shadow of his talent?

Miss Peregrine (Eva Green) keeps the wards in her charge safe by keeping them in a 24 hour time loop, the 24 hours before their beautiful home is to be bombed by the Nazis, circa 1943. Neither she nor her peculiar children age while in the time loop, but to step peregrins-gallery10outside of it would have time catching up to them in a hurry. Inside their cozy little loop, they can be as peculiar as they like without repercussion. Or they could until a peculiar gone rogue (Samuel L. Jackson) invents monsters to hunt them. That’s why Abe (Terence Stamp) chooses to live outside the loop – true he has to leave behind his love, but he keeps her and everyone else safe by hunting the monsters in turn. But in his old age, Abe meets an ugly demise and his eyeless body is discovered by his teenaged grandson, Jake (Asa Butterfield ), the only one suspicious enough (or peculiar enough?) to avenge his grandfather’s death.

Once Jake discovers the time loop and the peculiars, Tim Burton is in his element. He’s excellent at creating worlds, giving them texture and meaning and magic, and populating them with loads and loads of white people. Oh, haven’t you heard? Tim Burton’s a racist now. Well, not so much “now” as always, it’s just that only now are we really paying attention. Tim Burton is visionary; he can conjure ghosts in cheap suits, demon barbers and talking caterpillars – but cast a person of colour as one of his peculiars? That would just be weird. That is too much of a stretch of Burton’s imagination.

If it was just the Peculiar Children who suffer from his pale proclivities, we might forgive him, but a cursory glance over his IMDB list has me horrified. Samuel L. Jackson is the firstperegrins-gallery9 black man he’s cast in a leading role EVER, and you know he’s playing a villain. Jackson aside, Tim Burton’s casting takes on a very pale shade of white. His sets may be designed in technicolour but Tim Burton himself only dreams in caucasian. And it’s not really Tim Burton’s fault. We’re the dummies who have accepted this unthinkingly for years. He’s had huge ensemble casts with not even a tan among them and I for one haven’t even thought to question it.

We’re awake now, though, and the cat’s not getting back into the bag, no matter how many claw marks Tim Burton accrues trying to stuff the fucker back in. His words, you see, have proven even more damning than his pasty casting choices. “Things either call for things, or they don’t” he’s said, meaning, if a script says “African American”, he’ll cast an African American. But if a script says “person”, Burton reads it as “white person.” And that’s exactly the kind of inherent bias we most especially have to watch for. White tends to be the default far too often in Hollywood (and in life). But audiences are not. Audiences are made up of real people, a whole rainbow’s worth. And in 2016, we demand to see that reflected on the screen.

Tim Burton is just another old white dude defending the old guard. He wants things to stay the same. Dude with scissors for hands? Sure. Obsessive candy man? Why not. Orphan in a rubber suit playing god? As long as he’s not black, have at it!

“I remember back when I was a child watching “The Brady Bunch”and they started to get all politically correct, like, OK, let’s have an Asian child and a black — I used to get more offended by that than just — I grew up watching blaxploitation movies, right? And I said, that’s great. I didn’t go like, OK, there should be more white people in these movies.”

-Tim Burton, ladies and gentelmen

Of course his ignorant comments have done nothing but confirm the need for the very thing he’s eschewing. The truth is, for as long as this white default exists, we need to fight it consciously by countering it at every turn. If a script doesn’t demand it, society should. There is no room for lazy racism like Burton’s in 2016; it’s time to stop casting movies like they’re segregated.

Never mind that Blaxploitation movies were born in response to systemic racism and preached empowerment. Let’s just take his statement for what it is: white privilege, white ignorance, and an embarrassing amount of #alllivesmatter racist thinking. Tim Burton needs to pull his white head out of his white ass, and we all need to hold him accountable. And maybe while he’s at it he might also make a movie not so nakedly derivative of his old work. 😉

Frightfest 2015

We all watch movies with our earphones on in our office but you can always tell when someone is watching a scary movie. We yelp, we jump, we scream, we swear. Sometimes the “scary movie” is one of the trailers before the movie starts or even just an episode of Homeland. Yes, Jay and I work in an office of scaredy cats, ourselves included. I once startled the room by crying out in terror during an episode of Twin Peaks.

So, welcome to our horror fest, one designed specifically for the squeamish. I can’t guarantee that our selections won’t startle you, revolt you, or terrify you. But that’s what Halloween is about, isn’t it? Venturing into the unknown and confronting the spooky, the twisted, and the horrifying in a fun and safe place. And if you’re working in our office, remember that there’ll always be one or two other trained counsellors standing by if it gets to be too much for you. Oh, and also help yourself to some spooky cereal as you watch.

The Frightfest 2015 selections are as follows…

The Babadook– The more you deny him, the stronger he gets.

Beetlejuice– Beware Jeffrey Jones, the creepiest character featured at the Festival.

The Blair Witch Project– Everyone knows by now that it’s not real, right?

The Corpse Bride– I give them an eternity.

Dead Snow 2: Red vs. Dead–  The anti-Semitic Zombie Movie!!

Double Feature: The Shining with Room 237– If Jack Nicholson isn’t crazy enough for you, check out the fans of the Shining.

Frankenweenie– Not as pornographic as it sounds.

Halloween– How does Jamie Lee Curtis still have a voice?

Housebound– The only thing worse than being stuck in a haunted house is being there with your mother.

A Nightmare on Elm Street– See Johnny Depp before Tim Burton turned him into a cartoon character.

ParaNorman– How parents just don’t understand.

Scream– The movie that convinced us all that we need Caller ID.

What We Do in the Shadows– Vampires are people too.

Zombeavers– Exactly what it sounds like.

 

Capital Pop Up Cinema Presents…

We are very fortunate to live in the beautiful capital city of our country, and to have constant opportunity to do fun and exciting things. The good folks at Capital Pop Up Cinema have brought us a whole season of random, outdoor movie screenings, but this summer being packed full of travel and adventure, we only caught the last couple of offerings.

Last week, in the heart of the bustling Byward Market, hundreds of people brought lawn chairs, cozy blankets and hot chocolate to brave the cool temps for a viewing of The Nightmare Before Christmas. There were more than a few Jack Skellingtons in attendance, and the audience was in a festive and excitable mood as the sun set and the Capital Pop Up’s inflatable screen came to life. The market is the heart of our fair city, choc-full of restaurants, retailers, art galleries, night clubs, and stands selling beaver tails. Not to mention the extra-wide, pedestrian-friendly streets to accomodate the fabulous, year-round outdoor farmer’s markets that sell seasonal produce, everything from cranberries and parsnips to eggs and goat’s milk ice cream – not forgetting our world-maple syrup, of course! So imagine, if you will, this vivacious part of town, the constant stream of happy and satiated people, the occasional tour bus, the frenquent brides posing for photos, the sidewalk chalk artists, the parents pushing ginormous strollers, vendors with their gerbera daisies, and in the middle of it all, an impromptu outdoor cinema! I thought it might be distracting but actually it was good fun, and there were plenty of passerby (and maybe a homeless guy or two) who stopped to appreciate the movie and the intoxicating scent of popcorn in the air.

The Nightmare Before Christmas: a visually arresting work of stop-motion animation that blew everyone’s socks off in 1993, and legions of fans still know every musical number by heart (I can attest to that, having unintentionally sat beside some die-hards). Henry Selick directed but the film is popularly known to be Tim Burton’s, who wrote and produced the film but was simply too busy to direct. The film is about Jack Skellington, a denizen of Halloweentown who accidentally follows a portal to Christmastown, and decides that others back home should be able to celebrate this new and wonderful holiday as well – to darkly comic results. Danny Elfman, Catherine O’Hara, and PeeWee Herman all contribute voice work.

The week before, Capital Pop Up Cinema screened The Cabinet of Dr. Caligari, a 1920 German silent horror film that was brought to life with live musicians. It played to a smaller but enthusiastic crowd in the parking lot of Das Lokal, a kitchen and bar at 190 Dalhousie where chef Robert Fuchs serves up delicious European fare with a German twist. The charcuterie and das schnitzel are particularly recommended, and the cocktailed called Zugspitze (vodka, elderflower liqueur, cranberry juice) is an inspired choice from the bar.

The Cabinet of Dr. Caligari: directed by Robert Wiene and written by Hans Janotwitz and Carl Mayer, it’s considered to be not only the quintessential work of German expressionist film, but also among the first true horror films. It tells the tale of an insane hypnotist (wide-eyed Werner Krauss) who uses a sleepwalker (Conrad Viedt) to commit murder. The screen writers, both pacificts, wrote the story in the wake of WW1, showing a people’s need for brutal and irrational authority; Dr. Caligari represents the German war government, and Cesare is symbolic of the common man conditioned, like soldiers, to kill. Some say the movie reflects Germany’s particular need of a tyrant, but that seems facile in the shadow of Hitler. The film’s visual style is graphic and jarring, with deliberate distortion to give the impression of insanity and instability. Honestly, the art work is to die for and you could honestly treat this film as a trip to a museum and that alone will ensure your rapt entertainment. This film has a huge legacy that I am ill-equipped to discuss at length, but lucky for me I’ve come across a really great post by fellow blogger David at Movie Morlocks that will do the dirty work for me.

 

 

Big Eyes

This movie failed me on many levels. I want to tell you that it’s still a movie worth watching, it’s not horrendous, and it’s a fascinating story. I want to tell you that, and I suppose I have, but I also can’t help but tell you the rest.big_eyes_movie_poster_2

First: Christoph Waltz. So miscast. He runs through the movie like a bull in a china shop. It’s like he decided to approach this role as a Jim-Carrey-in-The-Mask impersonation, with a peekaboo German accent, and maybe whiffs of Jack Nicholson in The Shining, just for kicks. When he was on screen, and he almost always was, I could barely suppress my urge to yell “Cut!” Where was director Tim Burton in all of this? Has Burton spent too long in kooky, make believe worlds that he can’t even tell what’s real anymore? It certainly felt to me like he was out of his depth. Waltz’s portrayal of Walter Keane was artless and unrestrained. Yes, he plays a schmoozy con man who takes credit for his wife’s art for years, but this was also a real man and Waltz does not convey for one second that he has a single genuine, authentic bone in his entire body.

Amy Adams as the quashed artist Margaret Keane didn’t quite satisfy either. I kept hearing in the script Margaret fighting back a little with bitterness and sarcasm, but Adams couldn’t carry them off. She’s too mousey and breathy.

My biggest problem, though, is this. The movie is about a woman who is passively (and then maybe not so passively) abused for years. Her husband steals from her, takes away the thing of which she is most proud, and intimidates her into silence, forcing her to live in secret, isolation, and near-sweatshop conditions. And the era in which she lives doesn’t provide a whole lot of viable alternatives. But the movie itself is another act of subjugation. She’s not really the star of her own story. It’s Christoph Waltz who dominates the screen. He’s allowed to steal the scenes. Amy Adams can never inject her character with enough backbone to compete. He walks all over her. This turns out to not be the story of her stolen art, but about his swindle.  You  need only look at the movie poster for proof.

So that’s how you ruin a mediocre movie. You take a powerful story and you tell it from the entirely wrong perspective. It’s as if the movie itself hasn’t learned its own lesson, and in 2015, that’s a heartbreak.

Corpse Bride

Victor (Johnny Depp) is the son of nouveau-riche fish merchants and Victoria (Emily Watson) is the daughter of aristocrats who are down corpseto their last dollar. Their upcoming marriage will give legitimacy to Victor’s parents while savings Victoria’s from the indignity of poverty. But Victor and Victoria have yet to meet – and neither are keen on marrying a stranger. All that changes when they finally do clap eyes on each other, instantly falling head over heels.

True love doesn’t make Victor any more facile with words, so when he fumbles his way through the rehearsal, he’s admonished to the woods to practise until perfect. Unfortuimagesnately, he unknowingly recites his vows to the corpse of a woman murdered on the night she was to elope, and Emily (Helena Bonham Carter) rises from the dead to claim him as her husband, and drag him down to the Land of the Dead.

Victor is mortified, as he should be – will he ever make it back up to the Land of the Living to reclaim the woman who holds his heart?

Tim Burton breathed his magic into this 19th century Russian folk tale, co-directing on the tails of Big Fish, and simultaneously with Charlie and the Chocolate Factory. He held the vision, and co-director Mike Johnson followed up with the crew, making sure the tone and emotion were realized.

A beautiful example of stop-motion, the puppets themselves, built by Mackinnon and Saunders, were about 17 inches tall and 46532-stop-motion-ch5-1-fig0503animated on sets built three to four feet off the ground with trap doors allowing animators access to the sets’ surfaces to manipulate the puppets. Victor, Victoria and Emily were outfitted with heads the size of golf balls that contained special gearing to allow the animators to manipulate individual parts of the puppets’ faces.

Burton, on casting Johnny Depp in both movies he was working on at once: “It was weird because we were doing both at the same time. He was Willy Wonka by day and Victor by night so it might have been a little schizophrenic for him. But he’s great. It’s the first animated movie he’s done and he’s always into a challenge. We just treat it like fun and a creative proceEmily_upset_with_Victorss. Again, that’s the joy of working with him. He’s kind of up for anything. He just always adds something to it. The amazing thing is all the actors never worked [together]. They were never in a room together, so they were all doing their voices, except for Albert [Finney] and Joanna [Lumley] did a few scenes together, everybody else was separate. They were all kind of working in a vacuum, which was interesting. That’s the thing that I felt ended up so beautifully, that their performances really meshed together. So he was very canny, as they all were, about trying to find the right tone and making it work while not being in the same room with each other.”

Like the best of Burton, this is macabre yet whimsical, and the visuals here are still arresting today. It’s definitely worth digging out for Halloween, and for whenever.