Guest Review: The Comedy

The Comedy is quite possibly the single most unfunny film I have ever seen. When I first saw the trailer for it a few weeks ago I was fascinated and somewhat intrigued, though I knew that it would be a harrowing experience to sit through. I was lucky in the sense that I was completely unfamiliar with Tim and Eric or LCD Soundsystem going into this film, so my perceptions of them didn't exist to be ruined. I didn't enjoy this movie on any level. This isn't to say, however, that I disliked it or didn't appreciate it. In the end, I can completely understand why people hate this movie. It just so happens that I do not.

Savage, intelligent, overbearing, cruel, irreverent...these are the words I’d pick when it comes to The Comedy. The opening sequences are horrifying, grating, disgusting, and nauseating. The creators aren't stupid. They want us to feel these things. They’re like kids with a magnifying glass popping ants on a hot summer day. The problem is – we’re the ants. Going into this film without knowing that beforehand will result in...an unpleasant experience, involving drinking Tabasco sauce being blown up from the inside out.

My sense of political correctness in this film.

The film is aimless. It’s a wandering narrative that follows an over-privileged white guy from Williamsburg, Brooklyn as he tromps around New York City, trying to aggravate people into making him feel something. Sounds odd, doesn't it? Sounds like Borat attempting to be something intelligent. Well, yes and no. It’s got the same “He’s not gonna...he didn't just...yes, yes he did” factor as Borat or Jackass, but instead of aiming to make us laugh, The Comedy aims to horrify us. It aims to shake us, to strike us, and demands our attention. The film is literally so angry that it’s seething. It’s foaming at the mouth.

Watching this film, I was aware of something happening. At first I couldn't put my finger on it – and maybe I still haven’t put my finger on it at all, and I’m seeing fool’s gold in the river – but I knew it was there. It lurked just behind the scenes, just behind the utter abandonment of any sensical plot or story. It leered at me, and at that image made the information click. What I was witnessing was something genius. I was witnessing the unformed essence of all humor.

Let’s rewind a moment here. I've written a few times that the root of all humor is sadness, violence or cruelty. If I am correct about that, then what The Comedy really is is a pseudo-documentary about the unformed stuff that eventually gets turned into humor. It’s like the crude oil of all things funny – it’s the pain, the anger, the indifference, the cruelty and the...well, the disgusting goo that powers comedy.

To comment on the normal qualities that make up a film would probably be impossible and futile when it comes to The Comedy. The movie has no plot, the acting is less about acting and more about portraying particularly disgruntled “selves”. There is a character arc...sort of…but in the end we don’t particularly know where these characters begin, let alone where they end, so how are we supposed to gauge what happens in between?

I know something important happened in this movie. I KNOW it.

I don’t have all the answers. I doubt I have any, actually. I am almost as baffled by this film as most of the people were who wrote the reviews that I read. I don’t quite know what happened except that this film didn't like me, and it didn't really like anyone else, either. As a result, most people didn't like it right back, but they at least appreciated the intelligence that went into it. I fall in with this group, I think – I appreciate this film and I found something important in it. I’m not quite sure what exactly I did find, but I know it was something. Like a gift wrapped in flypaper, this film gives me something that could be great, but I’m too offended and disgusted to open it up. For now, I’ll leave it on the shelf. Maybe later, I’ll come back and open it up. With scissors. Or a sword.

The Bottom Line: Abrasive, unpleasant, ugly and offensive, this film is worth a view. It makes unpleasant points, often about itself, but offers a real gift in terms of quality and photography.

Overall: 7.9/10

A Disturbance in the Force

Well.

By now the word has gotten pretty effectively distributed, so I can't really call this a news article. Maybe it's an editorial, or a diary entry, or just a monologue uttered on the windy plains of the cyber-frontier. I dunno. What I do know is that when I heard that Disney had bought Lucasfilm, I was pretty excited, but I know not everyone shares my enthusiasm. It seems like just yesterday Disney bought Marvel (something I never saw coming, not in a million years) and just before that, Pixar. Both times Disney bought another company, people were blown away. This most recent one has a lot of people utterly baffled – and one of my favorite comments I’ve yet read was “I sense a great disturbance in the force. Though for good or bad...I am not sure.”

Just so. Looking objectively at this, I’d say it’s 50/50.

The Pixar buyout resulted in a lot of Pixar’s keenest minds being integrated into Disney itself and subsequent Pixar films therefore falling short. I doubt it’s a coincidence that the Disney theme parks have seen a jump in quality over the past few years (they were always great, but they seem even better now) with John Lasseter as the Head Imagineer, but Pixar’s last couple of films have been...well, not up to par. This, regardless of the improvements I’ve seen around Main Street USA, makes me resentful.

Why...

Next came Marvel, and what a knockout that was. I remember seeing a newspaper with a Mickey Mouse in a Spider-Man suit, and listening to all the folks at work moan about how Marvel was going to be driven into the ground. I thought the prospect was exciting, but I too wondered how two ideologies, so markedly different, would mesh. With the recent release of The Avengers, I think we can rest assured that Disney’s backing of Marvel might be the best thing since sliced bread – so long as they continue to let Marvel do their own thing and fork over the funds to do so.

So, we’re at one positive change and one negative change. What’s it going to be with Lucasfilm? We already know that a new Star Wars is coming out (for those who haven’t heard, yes, Star Wars Episode 7 is coming in 2015 and bringing back the original heroes – Luke, Leia and Han Solo - with it.) and that George Lucas will be a “creative consultant," whatever that means.

Personally, I’m excited. I was skeptical when I first heard that they were revamping the Star Tours ride in Disney Hollywood Studios (I’m a traditionalist, what can I say) but when I went on it last fall, it was like the entire Star Wars universe had been reinvented before my very eyes. For those who haven’t ridden the new ride in Orlando, you really should. It’s fantastic. I remember being on that ride and wishing that someday we’d see a new Star Wars movie with a...ahem...fresher director at the helm. With this merger, we might get just that.

Disney and Star Wars have been very tight for a long while, and while the bond wasn't quite as close with Indiana Jones, it was still definitely there. The Indiana Jones Stunt Spectacular has been running in Disney World since I was knee high to a grasshopper. Same jokes, same stunts (though for some reason it closed in the middle for a while there. Never did figure why.) and same jam packed crowd every time. With this purchase, we might see a new Indiana Jones movie, too. Hopefully, the next one...well, let’s just hope the next one doesn't nuke the fridge.

What’s most encouraging in the end, I think, is that it seems like we are in an era of cinematic revitalization. What I mean is that we've seen a lot of re-envisionments lately, with Christopher Nolan re-inventing Batman and his nemesis, The Joker. We watched as Martin Campbell picked up James Bond, dusted him off, and turned him back into the gritty, murderous womanizing bastard that Ian Fleming intended for him to be.

Hell yeah.

Maybe Disney buying Lucasfilm was exactly what two great franchises (Star Wars, Indiana Jones) needed. Maybe instead of being a catastrophe, we could see these wonderful worlds re-envisioned, redesigned, reinvented to inspire us and entertain us and amaze us once again. That’s what we stand to gain, anyway. What with Hurricane Sandy and the election and the war...well, I like to think positive once in a while. Regardless, either way, it’s done.

Star Wars Episode 7 is on the way, by God.

May the force be with us.

Check out the Yahoo! article here.

Check out the Walt Disney Company statement here.

Pick Six- Tom Hanks

With this week’s release of Cloud Atlas, we figured it would be a good time to do a Pick Six for the great Tom Hanks. I was excited about this particular project, because unlike Tim Burton, I have loved Tom Hanks and the movies he was in for about as long as I can remember. I’m also fascinated by the man himself. I was delighted to learn, for instance, that he collects typewriters. Picking my top six Tom Hanks wasn't as difficult as I thought it might be – the hardest part, in the end, was deciding what films wouldn't make the final cut. Here are my top six favorite (favorite, not “best” or most Oscar toting) Tom Hanks movies.

Directed by: Robert Zemeckis, Rated: PG-13, 143 minutes

It should illuminate the love I have for Tom Hanks that the number six movie I have on my list is Cast Away. This movie has been one of my favorites since the very first time I was transported by it in theaters. In a funny twist of fate, I first saw Cast Away while living in Bakersfield, California. For those with lackluster memories or those who have not yet seen the film, there’s a scene where a porter-potty door washes up on the beach of Tom Hanks’ private island. As incentive for those who are not catching on, let’s just say the audience started cheering at this scene. Tom Hanks is marvelous in this film, being the sole character on the screen for the vast majority of the running time. His portrayal of a man stranded on an island is unforgettable, and the story is such that by the time the movie ends we’re crying over a volleyball.

Directed by: Nora Ephron, Rated: PG, 105 minutes

Sleepless in Seattle was a film that I avoided for far too long. I’d heard a few times that the film was “weird,” and disagreeably so. As a result, I didn't see it until I was 22, sitting alone in my college apartment. Maybe it was the wine, or maybe it was the blanket, but regardless, this movie made me cry and laugh in equal turn. Tom Hanks plays a man haunted by the loss of his wife with remarkable dexterity, all the while keeping his trademark humor. The collision of American cities in the background give this film a remarkable flavor, blending bits of Chicago, Seattle, Baltimore and even the top of the Empire Building. Touching, funny, Sleepless in Seattle is my second favorite romance film, right after Casablanca.

Directed by: Steven Spielberg, Rated: R, 169 minutes

Saving Private Ryan is the war movie that redefined war movies. The attack on Normandy beach single-handedly readjusted the lens on World War II in a way that, really, was never undone. Gone are the days of simple good versus bad, of John Wayne clutching a Thompson Submachine gun. Gone are the days of slow motion derring do (indeed, movies like Behind Enemy Lines, while still cool end up feeling forced). Saving Private Ryan focuses on a rescue operation aimed at saving a certain Private Ryan, whose other brothers were killed in the war. The pursuit reveals to us an excruciatingly personal look at World War II, with Tom Hanks as the uncomfortable and believable leader of the outfit. If there was ever a person unfamiliar with the genre of “war movie” this is the one I would tell them to start with.

Directed by: Mike Nichols, Rated: R, 102 minutes


Between the brilliant dialogue written by Aaron Sorkin, top notch acting put forward by Philip Seymour Hoffman, Julia Roberts and Tom Hanks, and the incredibly pertinent subject matter, Charlie Wilson's War is a must see film. This is the true story about a United States Congressman, Charlie Wilson, who coordinated an undercover war against the communists through the Afghans. Especially given the current situation in the Middle East, films like Charlie Wilson’s War make essential viewing, not only for people who want to be thoroughly entertained, but for people who are curious about how we ended up where we currently are.

Directed by: Robert Zemeckis, Rated: PG-13, 142 minutes

Clocking in at number two is Forrest Gump, that wonderful biography of 1960‘s America as seen through the eyes of Forrest, one of the most unforgettable characters to come across the screen...well, ever. This movie is like five different movies in one, each helmed by Tom Hanks in arguably his best dramatic role since his portrayal of Andrew Beckett in the 1993 film Philadelphia. One scene in particular, wherein Forrest learns of an unexpected addition to his family, Hanks absolutely floors me with his ability to use his face to express emotions. Profoundly moving, funny and important, Forrest Gump is one of my all time favorite movies, and earns its place as number two on my list.

Directed by: John Lasseter, Rated: G, 81 minutes 

At long last, we arrive at my very favorite Tom Hanks movie. Toy Story is the kind of film that, honestly, I don’t even know what to say when I talk about it. I love Toy Story. I love how it brings people together. The Toy Story Trilogy is, quite literally, a chronological record of my childhood. I was one of the kids that for the longest time would stay awake late into the night hoping to see my toys come to life. They never did (not while I was looking, anyway) but it was because of Toy Story that I still, to this day, have a Woody doll that sits on a shelf over the kitchen sink. I think it’s indicative that people from my generation don’t judge me for this fact, but instead understand why I've still got a Woody doll. In fact, most of them have Woody or Buzz or Jesse dolls of their own. I love Toy Story.

Honorable Mentions:

Philadelphia: This is a great film. Tom Hanks (in particular) put on his best performance. I couldn't bring myself to put this on my top six because...well, I just didn't like the movie that much. I think the message (especially for when they released it) is important, but the movie left me not as impressed as I wanted to be. So cry foul, but this one didn't break in. Even though Tom Hanks was incredible in it.

Catch Me if You Can: I love this movie. A lot. But I don’t love it more than Cast Away, which was at the bottom of the Pick Six.

Apollo 13: This one suffered from Catch Me if You Can Syndrome. Loved it, loved it, loved it. But not more than Cast Away. And not more than anything above Cast Away on the list.

The Green Mile: Based on a Stephen King story, this was another one of the movies that I had to wince as I kept it off the list. In the end, I love this movie, but had to keep it off the final collection.

Nick's Pick Six for Tom Hanks: (no order)

Catch Me if You Can

Castaway

Saving Private Ryan

Toy Story

Forrest Gump

Road to Perdition

Guest Review: The Master

"A striking portrait of drifters and seekers in post World War II America, Paul Thomas Anderson's The Master unfolds the journey of a Naval veteran (Joaquin Phoenix) who arrives home from war unsettled and uncertain of his future - until he is tantalized by The Cause and its charismatic leader (Philip Seymour Hoffman)."

Directed by: Paul Thomas Anderson, Rated: R, 137 minutes

When I first saw the trailer for Paul Thomas Anderson’s The Master, I was as confused as I was mesmerized. Those two words – confused and mesmerized – more or less summarize my final reactions to this film, which garnered a fair bit of buzz for being, you guessed it – confusing and mesmerizing. Ultimately, I don’t know that the film is worth the performances of its two leads, but if I were in charge of an acting class, school or camp, I would make this film required viewing for those performances alone.

Yes. They're that good.

The Master is the kind of movie that does what it wants, and to hell with the rest of us. At times that approach really works and at others it really, really doesn't  Unfortunately, there's more of the latter going on in this film. I was a little biased going into this movie, as I’m a fan of Paul Thomas Anderson’s works, namely his recent tour de force There Will Be Blood, wherein Daniel Day Lewis’ portrayal of Daniel Plainview earned him an Oscar for Best Actor and a place in the “Holy F*cking Sh*t That Was Acting” Hall of Fame. Anderson has a way of drawing character from actors in a way that's nearly unrivaled among other directors. It helps that he has the ability to make any scene intensely threatening, no matter how well lit or seemingly innocuous.

The Master does this a lot.

To ask me what the movie is about is, first of all, an immensely difficult question to answer, and second of all, kind of a pointless one. The power of this film lies entirely in the performances by Philip Seymour Hoffman and Joaquin Phoenix. I've heard early buzz about Daniel Day Lewis’ act in the upcoming Spielberg biopic Lincoln, so I’ll withhold early judgment on that for now, but barring that performance (which, seeing as it’s Daniel Day Lewis, will no doubt be spectacular) I've yet to see anything else this year that can hold a candle to the character Phoenix has brought to life here.

How to rave enough about Joaquin Phoenix's performance without wasting time…first, I think half the reason his portrayal of Freddie Quell is so compelling is because he himself is more than a little crazy. So I suppose the case could be made that the character of Freddie Quell is less a creation and more a “I’m being myself on screen” sort of situation, but I honestly can’t chalk it up to that. Sure, Phoenix has been a little kooky as of late, but nothing like this. Freddie Quell is a simian, erratic, frightening individual – as prone to explosions of violence as he is to anything else.

"I will rip out your teeth."

On top of that, you've got Philip Seymour Hoffman in absolute top form, portraying a character named Lancaster Dodd. Dodd is based on the controversial Scientology founder, L. Ron Hubbard. I've always been a fan of Hoffman – the first role he was in that absolutely blew me away was actually Mission Impossible III. He was also wonderful in Synechdoche, New York, Capote and Before the Devil Knows You’re Dead, though if pressed I’d say my favorite role of his would be that of Gust in Charlie Wilson’s War. I name the movies in an effort to highlight the man’s versatility. He’s one of our best living actors, and in The Master he really shines.

"I know I left my ability to do bad acting out here somewhere."

Also of note is a startling performance by Amy Adams as Lancaster Dodd’s cold, distant wife. I think in some capacity her character is the heartbeat of this film. She is beautiful, inaccessible, unforgiving, cold and loyal to an idea we never feel privy to. She is a walking embodiment of the film itself - transfixing, condescending and utterly convinced of what she has to say even if we, the hapless viewers, never quite figure out what that is. She shows off her ability to really act in this film, throwing us off kilter by showing us a very different side of the Amy Adams we think we know by putting on an extraordinarily mature – indeed, sometimes disturbing – performance. If you have any images of innocent-Amy you want to preserve, steer clear of this film.   

This isn't Amy Adams. This is her doppelganger (and friends) watching The Master.

So why am I not raving about this movie? Well, because it’s kind of a mess. I’m sure director Paul Thomas Anderson had a reasoning for laying the film out the way he did, but reason or not, the result leaves the audience more confused than compelled, and not for the right reasons. The chronology is often confusing, certain elements of the film feel unnecessarily obscure, namely why the film exists at all. Come film’s end, I had no idea what the movie was actually trying to tell me. I don’t think I’m a particularly unintelligent film-goer, I like high minded flicks as much as the next person, but The Master never offered much in the way of actual narrative. It had no real resolution (or indeed, problem to be resolved) and in the end had way more nudity than could ever be necessary.

The soundtrack, too, was utterly forgettable, as were most of the scenes in the middle and in the end. I found myself glancing at my watch on more than one occasion while watching this flick (something few artists want to hear) and that pained me. Like I said, I’m an enormous fan of Paul Thomas Anderson, but this just wasn't his best work. It was even more disappointing because it was built around such truly astonishing performances. It felt like there should have been more meat around the bone. A lot more meat. There never was, however, and in the end I walked away feeling like I knew less about the film than I did when I went in. While clearly in the same vein as There Will Be Blood, this film just didn't rise up to the standard.

Still drinkin' the Milkshake.

Ultimately, The Master is worth a look to see the performances of its two leads (and indeed, its quiet, ever-present Amy Adams) but should be approached with the knowledge that it will probably leave you feeling unfulfilled. It’s rare that I tell people to go see a movie that is disjointed, nonsensical and frustrating – but this is one of those movies. See it for the performances, hate it for its ambiguities, and wait with baited breath to see if Joaquin Phoenix gets the Oscar he probably should have won for his haunting portrayal of Commodus in Gladiator.

Better late than never.

THE BOTTOM LINE: Go for the performances. Sit in awe. Get confused. Watch the Avengers to restore balance to the Cinematic Force.

OSCAR POSSIBILITIES:

Best Actor - Joaquin Phoenix

Best Supporting Actor - Philip Seymour Hoffman

Best Supporting Actress - Amy Adams

Overall Score:  8/10

 

Pick Six- The Essential Tim Burton

Good morning, HAL. Ries here, checking in to tackle a Pick Six on this beautiful Saturday morning. Nick and I were talking last night about what could be a fun Pick Six for me to try and type up, and we decided that it was long past due that I tackled a director who incurs my wrath (and admiration) in about 50% of all my film-talks. In an effort to really challenge myself, I'm gonna go ahead and do a Pick Six of my Favorite Tim Burton Films.

I myself have always had a love-hate relationship with the man's work, and was pretty excited to actually devote some time to picking out my favorites of his films. On a more personal note, this will be my first time publishing here on the Katz as myself. It's a momentous occasion. Here's to hoping I don't set a pixel-fire that burns down the site in one heinously written post.

And now, as Hannibal Lecter once said - "Okie dokie. Here we go."

SIX: Batman Returns

Nick recently recently wrote a review on the strange (mostly shrouded in childhood myth) film Batman. It's not a very good movie. Neither is Batman Returns, the film's sequel. However, it warrants a place on my list because it is one of my favorites. Childhood films have a horrible knack of falling in quality when we revisit them in later years. This is a perfect example of that. Batman Returns inspired me (like I imagine it inspired a lot of dark-imagined children) at an age when Batman was not the best hero, he was the only hero. As a child, I didn't find the bizarre humor off-putting at all, and was instead delighted and terrified by DeVito's Penguin. Actually, the scene where Penguin dies coughing up (ink?) black fluids has got to be one of the top 10 Most Traumatizing Scenes from my younger years. That's right, kids. The Death of the Penguin, the Fall of Shadow (Homeward Bound) and the death of Mufasa (The Lion King) on the same list. Only...I still can't watch the death of Mufasa. Or the Fall of Shadow, for that matter.

Moving on, before I think about it and weep.

Favorite Quote: "The heat's getting to me. I'll murder you momentarily." - The Penguin

FIVE: Planet of the Apes

I enjoyed Planet of the Apes. I didn't think it was necessarily as good or unforgettable as the original film, of course (You blew it up!) but I did like it. I thought it was interesting to see Tim Burton handle such a large budget and a genre utterly unlike what we've come to expect from him. He did the Sci-Fi turn well, I thought, and his work with makeup here was really something great. Though the film has more than a few flaws, it earned a place on my list for its action, its tone and its awesome fight scenes. It also paved the way for that infinitely better film, Rise of the Planet of the Apes.

The soundtrack is great too - and Tim Roth is genuinely threatening in a monkey costume. The late Michael Clarke Duncan is wonderful, as always, and whenever I see a movie with him in it I get a little sad that he's no longer with us. But he was a gentle giant, capable of terrifying us with his size and inspiring us with his genuine character. When you can exude likability as a giant warchief ape, you know you're a complete and total bad*ss.

Favorite Quote: "BOW YOUR HEADS!" - Attar

FOUR: Ed Wood

Ed Wood is a film dedicated to film. Movies like this make me happy, mostly because they offer a real insight into the mind of the director in question. We see through this film at least a glimmer of how Burton's mind works. We see through his perception an portrayal of infamous director Ed Wood what Burton admires most in a fellow filmmaker. Johnny Depp's performance is unforgettable and refreshing. It's nice to see him act in a role that isn't down the "Mad Hatter" route.

I love movies about movie magic. Ed Wood is a great homage to Hollywood while being honest about the hardships a lot of filmmakers face when trying to survive there. One story-line in particular (involving morphine addictions and rehab) provides a real-life-spooky undertone to the film. It sounds odd to say this film is inspiring, but it is - in a backwards way. Plan 9 From Outer Space is widely considered the worst film ever made, and watching it come into existence is a hilarious and somewhat motivating experience.

The best part of Ed Wood is the characters that surround the titular character. The acting that went into portraying this eccentric, fantastic, lovable and at times hilarious cast of characters is spot on. I had fun seeing this movie, but a lot of times I found my attention wandering. That's the sole reason this film didn't break into my top 3 on this list - but it's a close fourth. (Also - the black and white noir feel works so well here it's scary.)

In the end, Ed Wood is not so much a tribute to a man as it is a tribute to an idea and to an era of films that we long for. We miss Hollywood at its most outrageous and bizarre - we miss the dogged determination of men like Ed Wood, who clawed their way into infamy with the conviction that what they were doing was important. The film is one of Burton's most visually "simple" and is definitely worth a look.

Favorite Quote: "Visions are worth fighting for. Why spend your time making someone else's dreams?" - Orson Welles

THREE: Sweeney Todd

It was hard to decide between Sweeney Todd and Big Fish, but I guess I'll cop out and say these two share a pedestal in my mind. I put Big Fish as number two because it has a beautiful message and leaves me feeling hopeful about life when I finish watching it. Sweeney Todd is sort of like Big Fish's dark brother. It's an unforgettable film adaptation of the character first presented in The String of Pearls, a Victorian penny dreadful from the 1800's and later made accessible by Steven Sondheim's bloody wonderful musical.

Sweeney Todd leaves me feeling crushed. It leaves me slightly queasy (in fact, I once watched this film with a fellow who had to lie down after the film) greasy and horrified. The film is uneasy, the blood is absurd enough to allow for a sense of disconnect yet real enough to make me distinctly uncomfortable. The death scenes are brutal and hard to watch, yet we cannot look away. The film is beautifully filmed, the musical numbers adapted almost perfectly. I heard complaints about Johnny Depp's singing, which I found passable at worst, and Helena Bonham Carter is wonderful here as always.

Whatever violence lurks just behind most Burton films is splayed out in spectacular fashion here and bleeds from a slashed jugular all over the screen. There's something wildly disconcerting about seeing someone sing a beautiful song while cutting someone's throat. While I was staying in Boston one summer, I had the fantastic misfortune of having a straight edge shave scheduled an hour or two after I saw this film (best move ever on my part, right?). As you can imagine, that was a fun experience.

Favorite Quote: " 'Don't I know you?' she said . . . " - Sweeney Todd

TWO: Big Fish

Movies like Big Fish are the reason I can't find it in my heart to forgive Tim Burton. I say forgive because Big Fish (as well as Sweeney Todd and Edward Scissorhands) are physical proof that the man can create films that are truly and utterly spectacular. Based loosely on a collection of short stories by Daniel Wallace, Big Fish is not only one of my top 3 Tim Burton Films, it's probably also on my top 15 films of all time. This is a film that highlights everything I wish Tim Burton would do more often. It's a movie that is strange, it's bizarre, it's weird, and it's absolutely magical.

There's a sense of delicate wonder in a film like Big Fish, not to mention a real story with real characters facing real problems. This isn't to say that I don't like silly films. This is to say that somehow in this flick, Burton navigated the waters between the absurd and the gritty with a flawless sense of purpose. Big Fish feels less like a masquerade of make-up and silly acting and more like memories of childhood make-believe brought alive on the screen.

The darkness that flits around in most of Burton's films is apparent here, as is the comedy. What moves me most about Big Fish, however, is the emotional side of the story. This film was made with an at times overwhelming sense of love. The love of parents, of story, the love of courageous people who harbor the defiant belief that imagination can preserve and protect us - these messages are what make Big Fish such a powerful film. Two scenes in particular replay in my head long after the flick is over - one involving sheets on a clothesline and the other involving a congregation at a river. It's the kind of film I simply can't watch with a dry eye or leave uninspired by.

Favorite Quote: "Everybody's there, and I mean everybody. And the strange thing is, there's not a sad face to be found. Everyone's just so happy to see you." - Will Bloom

ONE: Edward Scissorhands

At long last, we arrive.

The essential Tim Burton wouldn't be complete without the most essential of his films. Edward Scissorhands earns the top spot on this hack-dash list by being the most fantastic blend of Big Fish, Sweeney Todd and even showing signs of The Nightmare Before Christmas. The result is Tim Burton's best film, one that I could easily devote pages to its praises. Heart breaking, funny, magical and mysterious, Edward Scissorhands is a fairy tale brought to life and empowered by a nervy undercurrent of suburban horror. The movie brushes with adult themes (the quasi-rape scene, anyone?) and asks unpleasant questions about unpleasant people.

Johnny Depp is at his top form here, his Edward the best thing this side the Caribbean. His character is tender, loving, loyal and frightened, like a lamb with knives for fingers. The film's soundtrack by Danny Elfman is also worth mentioning, as it puts forward Ice Dance, arguably one of the most haunting themes in any film anywhere. I first came across Edward Scissorhands very late - I was a freshman in college, on a movie marathon that lasted for...well, weeks on end. I remember when I finished watching the film, I went outside and watched the snow fall for a few minutes.

It's not a perfect movie, but it's my favorite of the Tim Burton's. If you haven't seen it, do. If you have, perhaps the day is just right for another reviewing.

Favorite Quote: "I can't." - Edward

HONORABLE MENTIONS:

Here are a couple flicks that Burton was involved in that didn't make the list.

Sleepy Hollow - A fun movie. Not great, but fun. It's incredibly violent (at times, disturbing) and yet never takes itself too seriously. I wish there were more movies with this style of horror; the Sleepy Hollowesque American legends need more screen time, but only done if well. I wish someone would adopt this story into film in better fashion, but this was a fun way to waste a couple of hours.

The Nightmare Before Christmas - One of my favorite Christmas/Halloween movies. Probably the quintessential holiday movie, one that my kids will definitely be raised on. Unfortunately, Tim Burton didn't direct this film. Phooey.

James and the Giant Peach - Another childhood favorite. A wonderful film, but again, not directed by Burton.

The Fox and the Hound - Double take. Wait - Tim Burton was involved in this flick? Why yes, yes he was. (Mind. Blown.)

Vincent - Were this only a feature length film. Available online, and very brief, it's definitely worth a peek.