Writers: Linda Woolverton (screenplay), Lewis Carroll (novel)
Stars: Mia Wasikowska, Johnny Depp, Helena Bonham Carter, Anne Hathaway
Release date: May 27th, 2016
Distributor: Walt Disney Studios Motion Pictures
Running time: 113 minutes
Best part: Sacha Baron Cohen.
Worst part: Johnny Depp.
A-lister extraordinaire Johnny Depp has had, even by his standards, a bizarre past twelve months. On top of hilarious run-ins with foreign governments, the actor was forced to confront his mother’s passing, a costly divorce to Amber Heard, allegations of domestic abuse, a dwindling worldwide fanbase, and a string of critical and commercial flops. His latest misadventure, Alice Through the Looking Glass, has done nothing to part the dark clouds hanging over his current predicament.
In amongst misfires like The Lone Ranger, Transcendence, The Tourist, Dark Shadows, and Mortdecai, 2010’s woeful Alice in Wonderland and its sequel add to the actor’s ever-growing list of crushing cinematic hiccups. Part of 2016’s collection of sequels nobody asked for, this installment continues ‘acclaimed’ filmmaker Tim Burton’s bright, shiny, unwarranted vision. This time around, Alice (Mia Wasikowska) is an accomplished ship captain coming home after over a year on the high seas. Cast out by her bitter ex-fiance (Leo Bill), she falls back into Underland with a thud. With help from the White Queen (Anne Hathaway), Absolem (Alan Rickman), Cheshire Cat (Stephen Fry), White Rabbit (Michael Sheen), Bloodhound (Timothy Spall) and Tweedledum and Tweedledee (Matt Lucas) among others, Alice seek to cure the Mad Hatter(Johnny Depp)’s sadness.
Alice Through the Looking Glass is an unnecessary and underwhelming homage to Alice in Wonderland‘s legacy. Based very loosely on Lewis Carroll’s seminal works, the movie delivers few original ideas or twists. Plot-points including the Hatter’s long-lost family and the Red Queen’s backstory fail to justify this sequel’s existence. Although covered in Burton’s grimy fingerprints, director James Bobin (The Muppets) is left to pick up the scraps. This time around, the Red Queen (Helena Bonham Carter) returns from exile with a new antagonist – Time himself (Sacha Baron Cohen). So that’s…something. Despite said talented cast and crew, everything about this production – From the typecasting to its overwhelming reliance of style over substance – comes off as pure self-indulgence.
Alice Through the Looking Glass haphazardly toys with several intriguing ideas. Time’s dungeon-like domain is operated with textbook precision. Each person’s soul is encapsulated by a stopwatch, with human life determined by Time’s current mood. Leaping between his own motivations and Underland’s well-being, the character – supported by Cohen’s Werner Herzog/Arnold Schwarzenegger impression – provides a welcome spark of life. Sadly, the movie delivers a mind-numbing assault on the senses. Packed with unconvincing green-screen vistas and brash CGI characters, the experience is more tiresome than entertaining. In this day and age, over-the-top performances from Depp, Carter, and Hathaway are no longer interesting. Meanwhile, talented actors including Rhys Ifans, Lindsay Duncan, and Geraldine James are underutilised.
Like many of 2016’s new releases, this fantasy-adventure reeks of sequelitis’ unbearable stench. Dragging a talented cast and crew through the mud, the uninspired direction and leaden screenplay make this yet another strike against Depp’s once-glowing reputation.
Stars: Johnny Depp, Eva Green, Michelle Pfeiffer, Chloe Grace Moretz
Release date: May 11th, 2012
Distributors: Warner Bros. Pictures, Roadshow Entertainment
Running time: 113 minutes
Best part: Johnny Depp.
Worst part: The underdeveloped characters.
This tale from the crypt proves once and for all that Tim Burton has directorally run out of steam. His use of the same narrative tricks and visual motifs over and over again may please the die-hard Burton geeks, but non- believers may wish to steer clear of his latest white-faced, gothic adventure-comedy Dark Shadows.
Based on the 1960/70s soap opera of the same name, the film begins in 1782 with the Collins’s; a wealthy family leaving Britain for the new world. Barnabas Collins (Johnny Depp) is the bright son of the Collin’s family and their new fortunes in the newly built Collinsport, feeling so powerful he rejects the maid of the Collin’s estate, Angelique Bouchard (Eva Green), who has a craving for both which-craft and revenge. She sickeningly murders his family and new love while cursing him forever as a vampire. Awakened in 1972 with a thirst for blood and a fresh start with his once great wealth, Barnabas must contend with the manor’s new inhabitants; his wacky ancestors. With a stuck up head of the family (Michelle Pfeiffer), a rebellious teen girl (Chloe Grace Moretz), a drunkard (Jackie Earle Haley), a hired live-in Psychiatrist (Helena Bonham Carter) and a strange little boy (Guliver McGrath), Barnabus must deal with clashing personalities, a vastly different time in history, a sexy yet vindictive Collinsport hotshot and alluring new visitor to the manor, Victoria Winters (Bella Heathcote).
The real name of Dark Shadows should be ‘Tim Burton on auto-pilot’. Everything you think a Burton film involves is here in some sort of slithering form or another. Johnny Depp and Helena Bonham Carter show up in important roles, white, sour faces cover the characters in every frame, beautiful set and costume designs and one underused yet significant actor after another. With Burton’s recent slate of uninspiring and unnecessary remakes and interpretations such as Alice in Wonderland, Planet of the Apes and Charlie and the Chocolate Factory, he can now add this adaptation of the infamous gothic yet satirical soap opera to the list. The story problems stem from Burton’s blatant disinterest in the unfolding of beautiful yet scary events. Much like his other remakes, the story begins with a whisper of promise. The prologue illustrating Barnabas’ violent fall from uptown grace by dark forces, starts Dark Shadowsoff in a necessarily dark fashion. Soon after however, the film heads to the 1970’s, where one obvious joke on the styles and stereotypes of the 70s, and ironic vampire humour, rise from the grave.
“I have already prepared my counter-proposal. It reads thusly: You may strategically place your wonderful lips upon my posterior and kiss it repeatedly!” (Barnabus Collins (Johnny Depp), Dark Shadows).
The hip soundtrack, featuring a blatantly pointless concert performance from Alice Cooper, rings throughout this fish-out-of-water tale, while clashing ideologies between Barnabus and the 70s itself surprisingly click in several of the slow dialogue moments. Several talented actors are forced into small, underused roles. Moretz, famous for her ass-kicking, potty mouth portrayal of Hit Girl, is creepily forced to grow up too fast in her portrayal of a slightly filthy teenager in the era of free love. Bonham Carter is only used to bring colour to many dull moments of character based dialogue. Aussie newcomer Heathcote is charming as the other new introduction to the Collin’s family, while Earle Haley is sadly wasted in a role entirely based on silly slapstick comedy, a real shame after his brilliant and sickeningly disturbed portrayal of the anti hero Rorschach in Watchmen. Burton’s typical auteur symbols do manage to keep the film together. Depp provides his usual charismatic and intensifying abilities as yet another indistinguishable and supernatural character from Burton’s disturbed mind. While Burton’s contrasting style of bright colours and soul sucking darkness in every scene portrays a fitting representation of this supernatural yarn.
Burton, once considered the breakthrough auteur of Hollywood cinema, has transitioned from Edward Scissorhands to a parody of himself. With Johnny Depp and Helena Bonham Carter holding him down, Dark Shadows solidifies his journey from greatness to messiness.