The latest animated feature from auteur Tim Burton, the black and white "Frankenweenie" is, on its surface, a classic "boy and his dog" story. A tale of a tail, as it were. Sure, it's been done before -- many times. But eye-popping state of the art stop motion animation, combined with a loving homage to the great movie monsters of the past century, makes this film a unique joy to watch. Add into the mix a message about the importance of science education, a pitch in favor of under-appreciated teachers, and a healthy dose of schmaltz.
The story and characters were first developed for a 1984 short, directed by Burton and scripted by Leonard Ripps. This full-length version was co-written by John August and Burton, who directs and produces.
"Frankenweenie" opens with a "film within a film" as the Frankensteins watch appropriately cheesy home movies of son Victor (the voice of Charlie Tahan) and their devoted dog Sparky. They're viewing Super 8MM film -- the picture is set, roughly, in early 60s suburbia although deliberate anachronisms abound. A tragedy befalls the family and it's up to the boy to use his love of science to make things right.
The voice cast showcases talented newcomers and familiar icons. Charlie Tahan, most recently Zac Efron's little brother Sam in the tearjerker "Charlie St. Cloud," turns in an understated and heart-tugging performance as young Victor. Landau's Rzykruski is the audience-pleaser who brings down the house again and again. As the naif Elsa Van Helsing, Winona Ryder is the perfect schoolboy crush with her sweet innocence. Martin Short and Catherine O'Hara excel at several roles, including Victor's well-meaning but (of course) bumbling parents. In a worthy homage to Frankenstein's hunchbacked assistant, Atticus Shaffer (Brick of ABC's "The Middle") steals the show as Victor's classmate Edgar E. Gore.
As in many animated features, the characters were modeled after the actors voicing them. While in the recording booth, the performers mimed the action of the puppets, not only to give themselves some context, but also because it enhances the emotional believability of what ends up on screen.
If you haven't recently experienced the filmmaking method of puppetry with stop motion animation you'll be amazed at what can be done. Burton's attention to detail is legendary, and fully on display here.
Viewers may be familiar with the term "magic hour," typically the first and last hour of sunlight when just the right visual balance is achieved. Animation affords filmmakers certain luxuries. Magic hour can happen 24 hours a day. The interplay of light and shadow in "Frankenweenie" is wondrous.
Peter Sorg's cinematography features dramatic crane and dolly shots with a liberal amount of slow pans that effectively mimic a live action production. Co-editors Chris Lebenzon and Mark Solomon get special credit for seamlessly integrating poignant flashbacks and witty dream sequences at the most unexpected moments.
Audiences will immediately be aware of composer Danny Elfman's magnificent score. It flows superbly from opening to closing credits and serves as a critical element in advancing the narrative.
But the real fun is in spotting the homages...from early-mid 20th Century classics like "Frankenstein" (and his bride), "Dracula" (Martin Landau's depiction of science teacher Mr. Rzykruski is dedicated to Boris Karloff), and "Godzilla," to more recent faves "Gremlins" and...hmm...is that "The Mummy?" "ET?" Well, that's the point. Some see monsters that even Burton swears weren't intended. (I spotted more on my second viewing, truth be told.) Burton's latest foray into animation is truly a delight. It's a highly accessible entry-level feature into the world of a director whose previous work may have been a bit too quirky and mature for families with small children. "Frankenweenie" is an evocative experience for viewers of all ages.
The story and characters were first developed for a 1984 short, directed by Burton and scripted by Leonard Ripps. This full-length version was co-written by John August and Burton, who directs and produces.
"Frankenweenie" opens with a "film within a film" as the Frankensteins watch appropriately cheesy home movies of son Victor (the voice of Charlie Tahan) and their devoted dog Sparky. They're viewing Super 8MM film -- the picture is set, roughly, in early 60s suburbia although deliberate anachronisms abound. A tragedy befalls the family and it's up to the boy to use his love of science to make things right.
The voice cast showcases talented newcomers and familiar icons. Charlie Tahan, most recently Zac Efron's little brother Sam in the tearjerker "Charlie St. Cloud," turns in an understated and heart-tugging performance as young Victor. Landau's Rzykruski is the audience-pleaser who brings down the house again and again. As the naif Elsa Van Helsing, Winona Ryder is the perfect schoolboy crush with her sweet innocence. Martin Short and Catherine O'Hara excel at several roles, including Victor's well-meaning but (of course) bumbling parents. In a worthy homage to Frankenstein's hunchbacked assistant, Atticus Shaffer (Brick of ABC's "The Middle") steals the show as Victor's classmate Edgar E. Gore.
As in many animated features, the characters were modeled after the actors voicing them. While in the recording booth, the performers mimed the action of the puppets, not only to give themselves some context, but also because it enhances the emotional believability of what ends up on screen.
If you haven't recently experienced the filmmaking method of puppetry with stop motion animation you'll be amazed at what can be done. Burton's attention to detail is legendary, and fully on display here.
Viewers may be familiar with the term "magic hour," typically the first and last hour of sunlight when just the right visual balance is achieved. Animation affords filmmakers certain luxuries. Magic hour can happen 24 hours a day. The interplay of light and shadow in "Frankenweenie" is wondrous.
Peter Sorg's cinematography features dramatic crane and dolly shots with a liberal amount of slow pans that effectively mimic a live action production. Co-editors Chris Lebenzon and Mark Solomon get special credit for seamlessly integrating poignant flashbacks and witty dream sequences at the most unexpected moments.
Audiences will immediately be aware of composer Danny Elfman's magnificent score. It flows superbly from opening to closing credits and serves as a critical element in advancing the narrative.
But the real fun is in spotting the homages...from early-mid 20th Century classics like "Frankenstein" (and his bride), "Dracula" (Martin Landau's depiction of science teacher Mr. Rzykruski is dedicated to Boris Karloff), and "Godzilla," to more recent faves "Gremlins" and...hmm...is that "The Mummy?" "ET?" Well, that's the point. Some see monsters that even Burton swears weren't intended. (I spotted more on my second viewing, truth be told.) Burton's latest foray into animation is truly a delight. It's a highly accessible entry-level feature into the world of a director whose previous work may have been a bit too quirky and mature for families with small children. "Frankenweenie" is an evocative experience for viewers of all ages.