Cult Tim Burton Movies

The feature film that introduced us to the brilliant imagination of Burton is still one of the funniest children films ever made. And the most enjoyable search for a lost bicycle tale, of course.

The road movie storyline is as basic as you can get, and mainly serves as the framework for a series of sketches and character vignettes. Paul Reubens plays the eponymous child/man Pee-wee Herman and manages to be far less annoying than you'd expect. As he travels across America we are treated to gentle satire on various character cliches (escaped criminal, lovelorn waitress) and cartoon-like visuals, perfectly accompanied by Danny Elfman's fun score. Naturally, there's no message to this movie, but the humor is never condescending. Burton gently weaves in the sick and twisted attitude that would become one of his trademarks. The film also manages to mock Hollywood (the drive-in finale is priceless) and offers plenty of great visuals along the way.

As enjoyable as the movie is, the main interest is in spotting the outsider and alienation themes that would be handled much more maturely in Burton's later works.

Burton's second film improves on his memorable debut by creating a classic and extremely original ghost comedy.

Although the plot is slightly more in evidence than before, it still remains secondary to the characters and visuals. The film broke almost every rule of moviemaking to become a huge hit. Starting out as a gentle comedy it springs its first surprise by killing the main characters within five minutes. There is then a slow build-up of insanity in the afterlife until the Maitlands are forced to call in renegade bio-exorcist 'Betelguese' to deal with a crass family that have moved into the deceased's home.

Playing like a sick live-action version of a Warner Bros. cartoon, the film is so full of weirdness and visual invention it puts even Pee-wee to shame. Its main strength is surprise, but the script is also hilarious. Elfman's music is the perfect complement to the wonderfully cheesy effects, and there is always something interesting on-screen. Of course, none of this could work without a good cast, and the people assembled here are perfect.

Alec Baldwin and Geena Davis are extremely likeable as the troubled ghosts and Jeffrey Jones and Catherine O'Hara make suitably annoying New Yorkers. Winona Ryder, in one of her earliest screen roles, is also excellent as the gothic daughter Lydia. But all of them are outshined by Michael Keaton's performance. Manic, disgusting, hilarious and scary all at once, it is a classic comic performance, unrecognisable behind the familiar white-face make up used in most of Burton's films. As good as the previous afterlife scenes are, the film comes alive when Keaton is on screen. So why wasn't he nominated for an Oscar?

This is the film that defined Burton's style, and it still holds up very well to his later works. It's only a shame that too much time has passed for a sequel.

Burton's most financially successful film is also his least personal. As blockbusters go, it's still pretty good, even with its many flaws.

Taking its main influence from the Dark Knight Returns, the film brings the dark power and gothic mystery back to the Caped Crusader. The muddled plot follows Bruce Wayne as he romances Vicki Vale, tries to keep his secret identity under wraps and faces a new menace in The Joker, who is symbiotically linked to Batman in more ways than one.

The good points: Michael Keaton overcomes the doubts about his suitability and is excellent in his dual roles. The visuals are as stunning as expected (apart from some tacky model work) and Elfman provides yet another great score. The images of the Batwing swooping up in front of the moon, or Batman gazing down on the city are awesome. I enjoyed the 60s TV series, but it wasn't Batman. This was how it was meant to be done.

The bad points: The cast, aside from the two leads, is competent at best. Kim Basinger, who is only required to look pretty and scream, is very annoying. The storyline makes no sense, but that's a given. Prince's songs are a pointless intrusion, too. The fact that the film is weighted more towards the villain meant that Keaton's performance was criminally underrated. However, the Batman's big entrances are all the more impressive for being used sparingly. Jack Nicholson is never less than entertaining as The Joker, but he does lose some of his menace by capering around so much.

In conclusion, this hasn't aged as well as some blockbusters, but it's still an interesting counterpoint to Superman: The Movie.

Tim Burton's masterpiece is one of the most beautiful and original fairy tales put on screen. There is so much to be got out of this film that it's hard to describe it in one review. More than any of Burton's other films it improves with each viewing, as you discover more and more details.

Burton mixes classic fairytale themes to create an original and touching character in Edward. Taken from his gothic castle to a colourful and romanticised sixties suburban neighbourhood he changes the lives of the townsfolk forever. The first half of the film is very funny, full of subtle physical comedy and gentle satire on suburban life. Edward brings his artistic skill to the town and the people almost ignore his bizarre appearance. Then he begins a longing romance for Kim, the girl he lives with but who seems to want nothing to do with him. He eventually wins her love, but is exploited by and then violently turned out by the townspeople.

The film is made with a skill far exceeding Burton's previous works. The unforgettable images and Elfman's haunting score make this one of the all-time fantasy greats. Every performance is perfect. Johnny Depp brings a feeling of tortured emotion to his almost silent character that lingers long in the memory. I literally forgot who's playing the part. Dianne Wiest and Alan Arkin are, respectively, touching and amusing as the parents who adopt him. Winona Ryder brings warmth and beauty (in a blonde wig) to her supporting role as the object of Edward's affectations, who comes to love him for his artistic vision. Anthony Michael Hall is suitably menacing as the jealous jock who eventually gets his come-uppance, and Kathy Baker funny as the sex-starved, Tom Jones-listening housewife. Finally, Vincent Price, in his last feature film role, brings extra resonance as Edward's inventor.

Some criticisms of the film point out the supposed plot holes - such as why does he have scissors for hands and where did he get the ice? They are missing the point, as this fairytale bears no relation to the real world, except in its themes. You have to suspend your disbelief. That's why the timeless setting could be anywhere from the fifties to the present. Another criticism is that the violent ending was unnecessary, but without that the film would literally have no point. Edward is the most normal person in the movie and it is the twisted townsfolk who are the true monsters, resulting in his loss of innocence.

Semi-autobiographical themes are worked in by Burton and screenwriter Caroline Thompson, but not overdone. Edward represents, among other things: the unconditional love of an animal; a childlike sense of wonder; an adolescent's clumsiness and someone who longs to touch others without hurting them. The beautiful scene where Edward makes an ice-sculpture as Kim dances in the snow is the ultimate representation of the artist communicating his feelings through his work. This film is almost perfect in its own way, even with the unfortunately sad ending. Unlike most Christmas films, though, this is refreshingly free of schmaltz.

To sum up, I believe Burton will never make anything approaching the depth and emotion of this again. It's funny, sad and visually striking. What more could anyone want from a movie?