It has been a little while since I did this Tuesday feature, but there are two movies hitting Blu-ray today that bombed majorly at the box office and it was a real shame because they were both very good. First up is Dredd, a high-octane thrill ride that was surprisingly entertaining for a movie that was dumped into theaters in September. Dredd packs a stunning visual style which I’m sure will look great on your HD TV and features one hell of a performance from Karl Urban as the growling Judge Dredd. If you’re a comic book fan, the film is a must-see. One cool special feature is “Mega City Masters: 35 Years of Judge Dredd,” which will make the die hard fans wild with delight. After you’ve had your fill of Dredd‘s blood and guts action, lighten things up with Tim Burton’s Frankenweenie, which is one of the strongest animated films of the year. A return to form for Mr. Burton, Frankenweenie is a real treat for fans of the classic Universal Studios monsters and a heartwarming story for any pet owner. It also happens to be very funny, creepy, and relentlessly clever. As far as features go, check out the “Making Of” feature on Frankenweenie, which dives into how they brought those wonderful characters to life.
If you wish to check out Anti-Film School’s review of Dredd, click here, and if you wish to give Frankenweenie a read, click here. Otherwise, get those credit cards ready and add these awesome movies to your collection.
-Theater Management (Steve)
by Steve Habrat
I had never heard of director Tibor Takács’ 1987 demons-in-suburbia horror flick The Gate until a buddy at work recommended it and let me borrow his copy on DVD. Made in the heyday of stop-motion special effects and flashy explosions, The Gate is what you would get if you combined the rollicking adventures of The Goonies, the spacey wonder of E.T., and the funhouse scares of Poltergeist. Borrowing heavily from early Steven Spielberg, Takács crafts a solid little eighty-five minute sleepover distraction that will send the kiddies off with a few nightmares and the adult viewers away inebriated on drive-in nostalgia. In addition to all the goofy fun you’ll have, you’ll also marvel at how well the film has held up through the years. Only once or twice do the incredible effects look dated or slightly cheesy. Even more incredible is that the film was made for a measly $2 million, which makes it even more astonishing that it has barely aged a day. The Gate is also worth a look to check out the performance from a young Stephen Dorff as our pint-sized hero who has to face Hell on earth in mundane old suburbia. And you thought searching for lost pirate treasure was stressful!
The Gate introduces us to Glen (Played by Dorff), a nerdy suburban kid who passes the time with his heavy metal loving buddy Terry (Played by Louis Tripp). After Glen’s parents have a large tree dug out of their back yard, Glen and Terry find a mysterious rock in the hole that looks suspiciously like an egg. Meanwhile, Glen’s sister, Al (Played by Christa Denton), is busy trying to convince their parents that she is old enough to babysit Glen while they are away for the weekend. After a lot of pleading and begging, Al is allowed to look after Glen but as soon as their parents leave, she kicks off a big party for her friends. What the kids assume will be a fun-filled weekend takes a sinister turn when they find a rotten corpse buried in the walls of their house, suffer from bizarre hallucinations, and are stalked by miniature demonic creatures that crawl out of the hole in the backyard. As the paranormal activity increases, Terry and Glen begin to suspect that the hole in the backyard is really a gateway to Hell and if it isn’t closed soon, the world will be reduced to ashes.
The Gate does start out a bit choppy in its opening moments, with awkward editing and lots of silly dissolves. It doesn’t help that the acting has trouble finding its groove but things start to click when the special effects kick in. Once the little demonic critters start wrecking havoc all over the house, things start to be a little more fun and surprisingly eerie. The Gate also has a number of hallucinatory moments that are capable of scaring the crap out of both younger and older viewers. A scene in which Terry comes face to face with his deceased mother is a major creep-out as is the one where Glen embraces a demonic form of his father, only to pull his head off and gouge his eyes out. There is also an eyeball in the palm of Glen’s hand, bedroom walls bending in on themselves, and a demonic version of Terry emerging from a closet and trying to take a bite out of Glen’s hand. It’s through these otherworldly moments that The Gate achieves a fairly creepy atmosphere that lingers until the final frame of the film. The creature effects add more of an action element to all the insanity and I have to say that they have held up better than you think. If you think the alien-like demons that scamper around are spooky, wait until you get a look at the rat like creature that bursts through Glen and Al’s living room. It’s actually better than most of the computerized monsters that Hollywood comes up with today.
Considering that The Gate is a kiddie horror flick, our protagonists are all below the age of seventeen. The young Dorff is passable as rocket-obsessed Glen but he does very little to really blow us away. When combined with Tripp, the two convey a legitimate friendship that is heartwarming, especially since Tripp’s Terry is nursing a broken heart. I’d honestly have to go with Tripp’s performance over Dorff’s since there is a bit more depth there. Then there is Denton’s Al, who is handed lots of 80’s slang that is sure to nab more than a few unintentional laughs from those who didn’t grow up then. If her slang doesn’t get you, her style and variety of friends will certainly have you chuckling. Deborah Grover and Scot Denton drop in briefly as Glen and Al’s worried but loving parents. There is a very fine scene that finds Glen and his father discussing Terry and how he is coping with the loss of his mother. It is a scene that actually made me want to see more from their father but if he remained in the picture, we wouldn’t have all the funhouse horror that we do.
While The Gate has some mighty fine monsters and some surprisingly disturbing images, the film is the victim of its own plot cheese. I supposed that if The Goonies and Poltergeist never were made, The Gate would have had a bigger impact than it actually had. Still, if your someone who really enjoys a good stop-motion special effect over rubbery CGI, you’re going to go wild for this one. Even if all this madness shouldn’t work, I’m still a huge sucker for these types of films, the ones where extraordinary events break the peaceful tranquility of the idyllic American suburb. These films are almost like comfort food, especially since I can remember checking out films like The Goonies and E.T. when I was just a squirt. It’s the rollicking adventure that wins out and makes The Gate a fun Friday night barging bin watch. Overall, the kids will find it scarier than the adults, but The Gate still keeps the entertainment light and accessible, something that you just can’t argue with. A forgotten B-movie gem that will do the trick when you’ve exhausted all the other horror classics the video store has to offer.
The Gate is available on DVD.
by Steve Habrat
What a wonderful, wacky, and downright weird world that goth auteur Tim Burton crafts in the marvelous retelling of Charlie and the Chocolate Factory, which stays furiously faithful to the 1964 children’s book by Roald Dahl. Making a kaleidoscope trip into a world of neon candy and Busby Berkely-esque musical numbers, Charlie and the Chocolate Factory features tart laughs and sugary sweet lessons for the kiddies, all while bursting at the smokestack with imagination and (as usual) vision from Uncle Tim. In the wake of Johnny Depp’s breakout role as boozy pirate Captain Jack Sparrow in Pirates of the Caribbean: The Curse of the Black Pearl, Warner Brothers and Burton allow Depp to go straight bonkers with his portrayal of famed chocolate maker Willy Wonka, a grinning and (of course) misunderstood creep who talks like a valley girl and shudders at the mere sight of a child. Unlike Gene Wilder’s performance as Wonka in the 1971 original Willy Wonka & the Chocolate Factory, Depp’s version is much more bubbly and, dare I say, memorable than Wilder’s dry and conservative performance, which is a performance I do have quite a bit of respect for. But Depp’s Wonka had me in stitches far more than Wilder’s and I enjoyed getting a glimpse into the emotional wounds that Depp’s Wonka hides from the world behind giant bug-eyed sunglasses.
Charlie and the Chocolate Factory introduces us to the poor but sweet Charlie Bucket (Played by Freddie Highmore), who happens to be a fanatic of mysertious candy maker Willy Wonka (Played by Johnny Depp). Charlie gets one chocolate bar a year from his warm mother (Played by Helena Bonham Carter) and father (Played by Noah Taylor), a treat that he heavily looks forward to. He shares the small chocolate bar with his live-in grandparents and while they munch, his Grandpa Joe (Played by David Kelly) shares stories about when he worked in Willy Wonka’s chocolate factory. The cloistered Wonka suddenly makes an announcement to the world, declaring that he will allow five children into his world famous chocolate factory. To gain entry, they need to find a Golden Ticket hidden within the chocolate bars that fly off the shelf at an alarming rate. As the children who found tickets are revealed, they turn out to be spoiled rotten brats and know-it-alls who are far from deserving to have a tour of Wonka’s factory. After multiple attempts, Charlie finally gets his hands on a Golden Ticket and is accompanied to the factory by his Grandpa Joe. After a bizarre introduction to Willy Wonka, the group begins their tour of the astonishing factory, with the promise of a very special prize to one lucky child.
Much like Willy Wonka & the Chocolate Factory, Burton’s Charlie and the Chocolate Factory is jam packed with room after room of unrestrained imagination that acts as candy for the eyes. In each of these rooms, Wonka’s tiny employees called Oompa-Loompas treat us to tasty musical numbers. These musical numbers, which are taken from Dahl’s book, are brought to the screen by frequent Burton composer Danny Elfman and boy, are they a fiesta for the ear buds. They also turn out to be the one aspect of the film that is majorly flawed. Acting as a far-out ball of electronic, rock, swing, jazz, and literally every other musical genre you can think of and then some, Elfman’s execution of these songs features voice alteration of the Oompa-Loompas, all played by Deep Roy. At times, the lyrics are difficult to understand, the clarity buried under multiple effects and squealing instruments. Two numbers in particular will have you reaching for the remote to switch on subtitles or flipping through your copy of Dahl’s book.
In addition to trippy visuals, Depp’s Wonka is a real sight to behold. Acting as a creepy mix of valley girl and man-child, Depp’s Wonka does make you feel slightly uncomfortable, much like he does the parents of the children who are visiting his factory. He cringes when a child touches him and has no clue how to connect with one of the little sprouts. A sequence in which he discusses cannibalism with them is one of the highlights of the entire film. Depp’s Wonka also conceals a fractured relationship with his father, one that has caused them to sever contact with each other. Through flashbacks that are triggered by comments that the children make throughout their trip through the candy factory, we see how the relationship between the stern dentist Wilbur Wonka (Played by the booming Christopher Lee) and little Willy Wonka went sour. These scenes are effectively emotional, watching Wilbur forbid Willy to enjoy a sugary treat. Depp’s Wonka is a sympathetic misfit, especially when we learn why he has opened his factory doors to these children and that he does have a heart buried beneath all of his bitterness.
Charlie and the Chocolate Factory would be nothing without its child actors who for the most part do a good job. Highmore is the true star as the kind and generous Charlie Bucket, who always thinks of others before himself. He is really incredible when he plays off of Depp, the two of them sharing interactions that are both funny and touching. Other standouts are Jordan Fry as Mike Teavee, who scowls through the entire tour of the factory and Julia Winter as the wealthy spoiled brat Veruca Salt, who wants everything she lays her peepers on. Philip Wiegratz as Agustus Gloop seems a bit coached by Burton, huffing and puffing through he dialogue but seeming like he is holding back a bit. AnnaSophia Robb as the overachieving smart-aleck Violet Beauregarde is effective in annoying the hell out of you but also seems a bit coached. The rest of the players, who are mostly there as the children’s parents, do a fine job at playing horrified when something happens to their child. The best is Adam Godley as the exasperated Mr. Teavee, who seems more puzzled by his own child rather than the spaced-out Wonka.
Overall, Burton’s film hits a few waves (the vocals in the music are the biggest disappointment and a few of the special effects could have used touching up) but this boat floats along quite smoothly on Wonka’s chocolate river. It’s a joy to watch Depp really allow his freak flag to fly (in many respects, I think he is having more fun as Wonka than he did as Jack Sparrow) and give you the willies. Charlie and the Chocolate Factory also works because the terrific Highmore, who is always perfect while he gently guides the film along. The film has multiple nods to pop culture, ranging from The Beatles, Alfred Hitchcock’s Psycho, Busby Berkeley, and 2001: A Space Odyssey. There is no question that Burton’s Charlie and the Chocolate Factory is one of the weirder children’s movies you will ever see but it has only the best of intentions. It has a lasting warmth that comforts you like a blanket and has humor that will have you away for days. Charlie and the Chocolate Factory may not contain much depth, but it has a soul as sweet as sugar and frankly that is enough for me.
Charlie and the Chocolate Factory is now available on Blu-ray and DVD.
by Corinne Rizzo
Totally sophisticated in most of his characteristics, Mr. Fox finds himself living in nature’s version of the suburbs after spending the majority of his foxhood stealing poultry and looting cider from the local farmers, Boggis, Bunce and Bean. In an effort to move up in the world and out of the fox hole his family began in, Mr. Fox buys a tree trunk for the family to move into—right across the valley from his old chicken thieving stomping grounds—and his old ways begin to haunt his instincts. The hardship of instinct versus the inclination to do what is right puts Mr. Fox, his family, and his friends in some compromising positions and Wes Anderson’s sixth film, Fantastic Mr. Fox (based on the original children’s text by Roald Dahl), not only tells the story of the secret lives of foxes, but builds yet another invitation only universe in which to entertain the endless details that create a classic Wes Anderson film.
So, Fox meets farmer, farmer has chickens, chickens get stolen, farmers get mad, Fox gets caught, farmer traces Fox to his residence, farmer does everything in his power to kill Fox.
This is the basic plot of Fantastic Mr. Fox, though if Wes Anderson has anything to do with it, the plot can be considered a bit more complex than that. In fact, Anderson makes it a habit in his films to show how complicated things can really become either by giving a character an inclination toward drawing maps or continually document, or expose early on in his films the tribulation that each of his characters bear. In The Royal Tenenbaums, for example, the audience is introduced to each character by Alec Baldwin’s monologue. The survey of personality traits gives the viewer all of the information that is needed to anticipate any combination of conflict between the characters, while in The Fantastic Mr. Fox, Anderson shows Mr. Fox himself as quite dexterous in the making of “master plans”.
The viewer is at that point given the essential plot out line and has become familiar with the players, leaving the imagination to begin piecing possibilities together, though you never can quite tell what Anderson has in store, even when the director gives you that essential information.
On that note, Fantastic Mr. Fox is complicated in plot and runs a good eighty-seven minutes, which is a whole lot longer than most want to sit through an animated film. Anderson’s twist on the story and the choice to use stop animation, though, is what drives the film. Voices like George Clooney, Owen Wilson, Bill Murray and Jason Schwartzman bring the familiar cynical tone to the characters that are popular in Anderson’s films, adding to the sophistication of the characters.
Important also to the film is the sense of humor these actors can bring to the characters. Often a scene that seems too sentimental or serious is broken by the true animalistic nature of each forest beast. Mr. Fox, wearing a suit with his hair all groomed does not hesitate to break a chicken’s neck with his teeth or growl and scratch when he doesn’t get along with someone. This is true for all of the characters and each one seems to have one of those moments in the film where they kind of just lose it and show what Mr. Fox calls the truth about himself, which is the fact that he is a wild animal.
The stop motion is incredible and crafty. Each creature has his own personae: Beaver, Beaver and Badger are attorneys, Kylie (an opossum) is kind of like a superintendent, and so the list continues. But what is so stunning that the puppets are dressed to the nines, all throughout the film. Ash, Mr. Fox’s son, even wears layers and layers of clothes, all modified with holes for his tail and ears. The imagery is seamless and clean and the expressions of the characters are meaningful and distinct.
Everything from a toothy fox grin to the twitchy radar ears of a scavenger, Anderson and his stop motion team have taken a children’s story and mastered it into a film enjoyable to all ages. The tendency toward foul language is replaced simply by the word “cuss” and the only sign of alcohol or drug abuse is that of the Bean security rat living in a cider cellar, which is the cleanest we have seen Anderson yet, but also displaying some of his strongest creative moments.
Top Five Reasons to Watch Fantastic Mr. Fox:
1) Bill Murray plays a badger.
2) You get a run through of every character’s latin animal names…so it’s educational.
3) Really the whole film is about eating.
4) The Beach Boys dominate the soundtrack.
5) The film can be used as a gateway to exposing your family and friends to other Anderson films.
by Steve Habrat
While Disney-Pixar’s computer animated offerings always leave me in awe over the creativity poured into each film, it’s the hand-drawn works that really showcase the artistic abilities of those who punch the clock at Disney. Take for instance Winnie the Pooh, the newest hand drawn gem from the animation factory that really takes your imagination by the hand. To many, he may seem dated and the urge to watch garbage like Cars 2 may seem like the more entertaining option, but I say give this adventure a go.
Pooh (Voiced by Jim Cummings) and his merry gang of loyal friends go on the hunt to find Christopher Robin (Voiced by Jack Boulter), who they believe has been captured by a mysterious beast called a “Backsoon”. They are also desperately trying to locate sad sack Eeyore’s (Voiced by Bud Luckey) tail, which has also gone missing. The first one to find the tail wins a jar of honey, which Pooh desperately wants due to a shortage at his homestead.
The entire gang makes an appearance in Winnie the Pooh. We have Piglet (Voiced by Travis Oates), Tigger (Voiced by Jim Cummings), Owl (Voiced by Craig Ferguson), Kanga (Voiced by Kristen Anderson-Lopez), Roo (Voiced by Wyatt Dean Hall), and Rabbit (Voiced by Tom Kenny), all along to catch and trap the dread “Backsoon”. Some stick-in-the-mud adults may find the brief 63 minute runtime to be entirely too long to tell the tale of Pooh but children should be glued to it.
Adults will enjoy the smiley croon of Zooey Deschanel (Elf, New Girl), who sings a number of toe-tapping little numbers sprinkled throughout. The characters themselves break out into a number of memorable songs that pay tribute to classic Pooh adventures. The best song is a tie between Pooh’s hallucinatory accolade to honey called “Everything is Honey” and Tigger’s directions that “Get You Tiggerized”. I should also acknowledge the blink-and-you’ll-miss-it wink to Raiders of the Lost Ark, which is a charmer.
Sure to slap a big smile on the faces of those who will level with it, Winnie the Pooh encourages a vivid imagination in every viewer. It stirs up the child in the adult viewers and it will get the kiddies riled up to venture outside and organize their own search party for the “Backsoon”. Winnie the Pooh is harmless with a sunny disposition and just as sweet as honey.
Winnie the Pooh is now available on Blu-ray and DVD.
by Corinne Rizzo
As the holiday grows nearer, so does the madness. People tearing retailers apart to get the perfect gift for their loved ones, bumper to bumper traffic anywhere near a shopping center, and lost baggage. The madness can lead to a lack luster attitude and sometimes even depression if you’re caught off your mental guard too quickly. Unfortunately for kids of Mars, depression and motivational issues are rampant even without the impending holiday season. They won’t eat their meal pills and the young Martians are glued to their television sets watching Earth channels that show them nothing but the cheer and excitement of Christmas and the arrival of Santa Clause.
Well, Kimar, the Martian king, or some sort of master authority figure on the red planet, is tired of the lackadaisical behaviors and consults his cohorts as well as an acient oracle on the planet, deciding that Santa Clause will save the children of Mars.
So, Kimar and his troop of poorly outfitted Martians head to hearth to kidnap Santa.
When Santa is captured, he is quickly turned into a slave for the planet, mass producing toys and working late hours, while sleeping on a compound where he is monitored.
When watching Santa Clause Conquers the Martians, especially after seeing Christmas on Mars, you cannot help but draw similarities. While Santa Clause Conquers is directed toward kids, who might be more forgiving of the terrible costumes and green face paint, Christmas on Mars is directed toward an older audience, where the green paint and kitschy outfits are appreciated for their effort.
Santa Clause Conquers the Martians is a film that was produced solely for entertainment purposes and geared toward kids, though as adult watching it, it offered nothing except a temporary cure for insomnia. Finally finishing the film after three attempts, the best thing that comes out of the film is that it might have just inspired the fantastical freak out film that is Christmas on Mars.
The viewer, watching these films in comparison will see the where Coyne could have watched the film and stripped down the ideas he liked and disregarded the ones he didn’t. Both films share the idea that Santa Clause is a symbol of generosity and joy, though in Santa Clause Conquers the Martians, Santa is used purely to produce material items as gifts to promote happiness on the planet where as Christmas on Mars’ Santa brings hope and understanding to the crew through other ways.
Other similarities exist between the two films, though through some research there is no true and previously existing connection to be made between Wayne Coyne and Nicholas Webster (the director of Santa Conquers the Martians).
If nothing else, the film is important because it shows that hope and generosity are ideas that originate within the human condition, regardless of whether the humans have been relocated or kidnapped. Santa Clause doesn’t necessarily conquer the Martians in this film, though he does find a replacement and through that, shows that the hope and pure intentions innate within the human condition are contagious, if we choose for them to be.
Check out both movies and compare them. The viewer will feel as though they are getting into the head of Wayne Coyne, regardless of whether the film was an inspiration to him.
Santa Clause Conquers The Martians is available on Instant Watch, but can also be downloaded for free on IMDb. Christmas on Mars can be downloaded via The Flaming Lips’ website or it can be ordered for a small fee and delivered to your home.
For anyone who doesn’t celebrate Christmas in traditional ways, these two films are a great way to start a new tradition.
Top Five Reasons To Watch Santa Clause Conquers The Martians
1) It cures sleeplessness.
2) It is unintentionally hilarious.
3) They never asked any of the actors to shave…they just put green paint in their beards too.
4) Because you’ve probably never seen anything as hokey.
5) Santa Clause laughs a lot for no good reason, which to the kids in the movie is good, but for the viewer might insight some sort of “What the hell?” response.
by Steve Habrat
Before Jack Skellington and Sally were mall goth heroes, they were a magical pair of claymation figures who just wanted to experience the joy and wonder of Christmas. Before all the heavy metal covers and the 3D conversions, their world was even more tempting, never needing an update and forever remaining timeless. The best of the claymation bunch, The Nightmare Before Christmas was a childhood favorite of mine, favored more around the time when Jolly Old Saint Nicholas plops down the chimney than my other favorite holiday. I always thought this film does capture the hypnotizing quality of Christmas, the one that makes us feel like children again. It really gels when Jack finds himself is Christmas Town, gaping at snowmen, elves, Christmas lights, and children snuggled in their beds. It painstakingly tries to re-establish that Christmas is about awe, not about the material fixation that now comes with the most wonderful time of the year. The film, which is the brainchild of producer Tim Burton (No, he did NOT direct this!) and director Henry Selick, is teeming with some of the most creative and bizarre animated characters ever captured on camera, and they do not feel like they are stretched or insipid.
The Nightmare Before Christmas ushers us to Halloween Town, a place where all the typical Halloween ghouls reside and emerge every year to give us the willies. Halloween Town finds a leader in the bony Jack Skellington, the Pumpkin King who is growing weary of the same old traditions every year. With his ghost dog Zero, Jack wanders off into the woods and stumbles upon a portal to another holiday dimension: Christmas Town. Bursting with excitement and inspiration, Jack hurries back to Halloween Town and fills in the locals about what he has seen. Jack and the monsters vow that they will give “Sandy Claws” a break for the year and they will put on Christmas. As Jack’s plans slowly fall apart and his idea grows more and more dangerous, it’s up to the lonely Sally, a ragdoll zapped to life by a mad scientist, to try to convince Jack to leave Christmas to the residents of Christmas Town. Across Halloween Town, the sinister Oogie Boogie has plans of his own for Santa Claus.
The Nightmare Before Christmas is a true work of art, one that works simply because it carries off the viewers imagination. It did mine when I was young and I still smile today when I see the film. The 3D conversion the film underwent was rewarding because we get to see the fine details to Halloween Town. The film was the brainchild of Burton and watching the film is like stepping into the mind of Burton himself. The inspired characters also make the visit to Halloween Town beyond memorable. There are mummies, a trio of glammed up vampires, a two-face politician, witches, the boogieman, and a band of devious and merry trick-or-treaters. There are nods to the classic Universal Movie Monsters while also opening the door to a brand new world. Seriously, the film commences with a door being opened and ghosts coaxing us into the darkness. It’s really quite exciting.
As far as musicals go, The Nightmare Before Christmas is a stand out as far as I’m concerned. This film gives us some of the most ingenious, cleverly written musical numbers you will see in an animated film. Just get a load of that opening introduction as the monsters all introduce themselves. It’s a horror fans dream come true and anyone who appreciates the value of lyrics will be head over heels with delight. You will be tapping your toes along with it. The song, “This Is Halloween”, is now a goth anthem, even getting a makeover from heavy metal artist Marilyn Manson a few years back. Other standouts include the dreary “Sally’s Song”, Jack’s inquisitive “What’s This”, and the trick-or-treater’s bickering “Kidnap the Sandy Claws”.
There are some minor flaws to be found in this film. The love story between Sally and Jack is a bit wobbly. It never really gets off the ground and we mostly see the love from Sally’s side. Jack seems relatively unconcerned with her and barely notices her presence at times. The film is a bit short, abruptly wrapping up just when things are really starting to grip us. Oogie Boogie only really shows up at the end, a character that is the very definition if cool. What aids us in overlooking the minor bumps is that the characters are just so nifty. Jack has become an iconic animated hero and you’ll be overloaded on cute when you meet his playful pup Zero. The Mayor of Halloween Town will keep the kiddies chuckling, especially when his mood alters and his face changes. Santa Claws is also quite creative, a huge red blob of a man, a version of him that only Burton could think up. Sally is a hopeless romantic and we feel her sorrow. The most astonishing aspect is the complexities in Jack. He’s a control freak and at times a bit domineering, yet we root for him to see the error of his ways. Perhaps that is meant to force us to reflect on our own approach to Christmas. Have we missed the point of this Holiday? Are we any different than Jack? According to Burton and Selick, not really.
The Nightmare Before Christmas may prove to be a bit too eerie for some young viewers, but with films like Corpse Bride and Coraline (Also directed by Selick) on the market, that’s up for you to decide. It’s a shame that goth kids have marked it as their own, as there really is something for everyone to enjoy within the film. I think that Jack stands for much more than as the leader of the gothic nation. He represents our ignorance, our fascination with all things magical, and is the face of a truly poignant redemption story. He even symbolically rises from ashes near the end of this film. I think he represents more than the kids who shop at Hot Topic think. This film also cast its spell over me as a kid and I’m glad I had the chance to see it before the recent surge of popularity. Eye opening and intricate, with treasures abound, The Nightmare Before Christmas sweeps us off our feet, much like the season it is a testament to. An undeniable family classic.
The Nightmare Before Christmas is now available on Blu-ray and DVD.