(A short article exhumed from the darkness of my unfinished drafts)
Lost in his own ambitions (Sweeney Todd and his incessant shouting) and projects jawbreakers uncontrolled, Tim Burton made the mouth since 2003 and a Big Fish buying it just prior to the ignominy and opening his cross. In fact, it has totally lost the copyright to the meanders of the 2000s: If we can recognize a little courage befitting a teen he was traumatized, the films have little to do with the personality of troubled author. Between Planet of the Apes (remake of the studio), an adaptation of a classic tale ( Charlie and the Chocolate ) and the musical, if the scope is more extensive, the result is even more appalling when we grew up with the gothic romance of Edward Scissorhands .
And while the Museum of Modern Art (MoMA) in New York earlier this year presented a retrospective exhibition on the author, one can legitimately ask whether we can talk about Tim Burton in the past.
Actually, the guy is still standing and if, in Hollywood land, it takes far less to go to the door, Burton is still there thanks to his fandom more alive than ever and even Renewed: With the facelift Charlie and the Chocolate helping all kids have taken on the bandwagon by touting a new hero. Addressing another classic of English literature, Burton takes his tics and flaws we conventionally to tell the story of a girl more alert than the average, sinking suddenly full of fairy tale.
If his singular choice, Tim Burton is constantly evolving and embracing finally here the 100% digital (the opposite of its original movies, so), he could add the services of persons of good taste that could better guide. For the man who celebrated the Z series of the past ( Ed Wood) and made an emotional tribute to the Hammer films, another British institution, with Sleepy Hollow, had committed a rape in good standing of our retinas with a Willy Wonka braillers and braille and outrageous, before renewing the experience with Sweeney Todd and added all-digital post-production.
Continuing in the momentum, a priori, there is no incentive to trust the digital exploding at every corner of plane in Alice. With its jumble of colors and details seem to exist only to fill the frame until the explosion, the film threatens to collapse at any moment and did not return above the splendor of the first handmade Film Burbank little genius: with too much stuff with this technology, Burton loses just the plastic beauty and wonder that made his leg.
Damn, looking back, one begins to realize that the same guy probably has more bad films to his credit as well. Of questioning as we would have less often.
With his adaptation of Roald Dahl's novel (where it is allowed to dip into Charlie and the Great Glass Elevator, novel-suite), Tim Burton seems ready to tackle the monument of Lewis Carroll popularized more by the animated Disney Studios (1951!). And naturally, as the man plunged his hand into the novel successor to Alice, Through the Looking Glass, to find a resurgence of entertainment: as the first beauty to finally see Alice live movie is seen quickly erased by succession of adventures that are already known.
And where the pleasure of seeing a traditional film extricate himself from all cases was a pleasure almost enjoyable, it can quickly grow tired of hiding some digital stunts misery. Between the events now added his usual falls and other additions for dusting the myth that adds nothing exciting, nothing attractive. Too much indulging in lust a gigantic budget, the 2010 version of Alice immediately lose all my heart to work.
But where the project is catching up is definitely in its cast, and if we can move quickly on Johnny Depp, grime excessively winded and ensuring the show, the revelation of the film is Mia Wasikowska, a perfect debutante. Bright, Alice Burton has this mix of logic and common sense, this charming naivete that makes us dive head first into the burrow. The film rests entirely on her and her character, torn by its conventional obligations girl, and what dictates the situation completely wacky in which she finds herself trapped.
Ultimately, the film is held by it and relies on its charming stubbornness to go beyond appearances. As a backdrop rises gradually a semblance of conventional narrative pattern but actually taking where our hero will face his demons and take the appropriate responsibilities. The brutal reality is that whatever makes Burton, we end up completely contrefoutre issues going to focus only on Alice, a character filled with a humanity that radiates shattering the screen.
Going to ape his movies and not anxious to renew at casting, Burton hired him as usual his wife as queen of heart (inflate the head of Helena Bonham Carter, a dicey bet) and gives it a role perfectly nasty in the standard of what to expect: abject, neither more nor less. Anne Hathaway, she distanced himself from his small role in a pirouette in perfect running gag, and increased its role pastiche of white queen while casual candor ...
Officer characters resuscitated by the modern 3D, the film unfolds its issues with the usual heavy-handed but sometimes touches the singular success thanks the story of Lewis Carroll classic, rearranged in the background with this question readjusting the points of view: What if Alice had been here before, but had forgotten his visit?
really matter, ultimately, the ins and outs of the thing. By his relentless bustle, Tim Burton, filmmaker not really convincing, wonderful touches he tries to resurrect from many movies. Completely overwhelmed by the 3D which he uses only as a technical demo for the fun and throwing things in the face of his audience, the film loses its depth by incessant need to show off the view (the majority of characters are unfortunately just ugly) but succeeds in extremis to box despite the beautiful scenes from all-too clicking (the final scene, Narnia-esque as hell yet saved). It is paradoxically in its cons-productivity arises some details, some nice things to save.
It is clear from the sitting leached, tired of having taken so much without really enjoyed the trip. And above all, convinced that he attended a carnival of bad taste, but with the strange sensation of having had a good time.
