After sending Pee-Wee on a big adventure, raising Beetlejuice from the dead, and flying Batman into Gotham City (twice), Tim Burton was heralded as one of America’s most original and commercially viable directors. So, what did he decide to do as a follow-up to his successful late ‘80s/early ‘90s run? Why, he made a quirky little film about Ed Wood, a man often referred to as “the worst movie director of all time.”
It’s easy to imagine why Burton was drawn to the life and career of this notoriously wacky filmmaker, who also had a penchant for wearing woman’s apparel. Clothing fetish aside, both directors take (or “took,” in Wood’s case) an inventive, handcrafted approach to filmmaking and always exhibit a deep affection for their misfit, on-screen characters. The biggest difference between the two, however, is that, Wood only succeeded in making a few so-bad-they’re-good cult films, while Burton can’t seem to make a truly bad one. My review of the Blu-ray after the jump.
This week on The Collision, we talk about horror movies: what defines them, their past, their present, and their future. What comes after found footage movies? Are horror movies required to scare us? How have classic horror films like the Universal Monsters movies changed over the years? This all leads us into a discussion of Tim Burton‘s Frankenweenie, which proudly pays homage to classic monster movies. And as always, we finish up with our recommendations.
Click here to listen to the new episode of The Collision, click here for the previous episode (“Summer 2012 and Lawless“), click here to add the podcast to your RSS, and click here to find us on iTunes. To keep up to date with The Collision, you can follow us on Twitter at @MattGoldberg, @AdamChitwood, and @DrClawMD (Dave Trumbore). Hit the jump to check out the trailers for this week’s recommendations.
This week on Blu-ray is an embarrassment of riches with all four Indiana Jones films, the new horror classic The Cabin in the Woods, a Criterion Collection edition of David Fincher’s The Game, Tim Burton’s wonderfully offbeat drama Ed Wood, and much more. Briefly:
Hit the jump for details on all the aforementioned new Blu-ray releases.
In case you hadn’t heard, one of the biggest rising stars in the world of screenprints and posters is Mark Englert (the guy whose work we singled out as a “Thing Worth Getting Excited About” in our first-ever edition of Limited Paper). Over the past few months, Englert’s dropped some majorly in-demand pieces on posters collectors, including a Walking Dead-themed print (This is My Farm…I’ll Die Here) that sold out in a matter of minutes and a SDCC-exclusive print based on Ridley Scott’s Alien (titled You Are My Lucky Star) that sold with a similarly breathtaking quickness.
Just before his blockbuster appearance at last week’s Comic-Con, I sat down with Englert to ask a few annoying questions. What’d he have to say for himself? Find out after the jump, folks.
Tim Burton’s tendency to work with the same collaborators has long been acknowledged (and viciously lampooned), though this is one relationship that the director hasn’t tapped in a while. The screenwriting team of Scott Alexander and Larry Karaszewski penned 1994s Ed Wood, which many (er, this writer) would argue serves as Burton’s directorial peak. It appears that Burton is keen to get the band back together, for a pair of projects.
The first is a 3D stop-motion adaptation of The Addams Family. Burton has been attached to direct for months now: Alexander and Karaszewski have now signed on as the primary scribes. Karaszewski promises, “We’ve come up with an approach that nobody has ever done before… We want the tone to be as darkly funny and subversive as the Addams drawings.” Hit the jump for details on the second project, Big Eyes, based on the artistic struggles of Margaret Keane.
Artist “Hexagonall” has designed minimalist posters [via The Awesomer] for all of Tim Burton’s movies, plus his short films Vincent, Frankenweenie, and The Adventures of Stainboy (although The Nightmare Before Christmas was actually directed by Henry Selick). For those who don’t know “Hexagonall”, he/she’s the gent/lady who designed the Lost/Saul Bass mash-up back in March. If you like Tim Burton’s movies and minimalist artwork, hit the jump to check out these posters. You can click here if you want to buy them.