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I have a feeling they don’t know what to do with this film. Which could a very bad or very good thing.
Yeah I think it took this for it to really hit me. Looks stunning, I hope Burton sticks with Delbonnel a bit more. With good source material, a fresh cast and a Jane Goldman script I really think this will be a winner – shame Elfman won’t be along for the ride.
DannyBiker Wrote:
> I have a feeling they don’t know what to do with
> this film. Which could a very bad or very good
> thing.The same happened with Dark Shadows.
Trailer : https://www.youtube.com/watch?v=tV_IhWE4LP0&feature=em-uploademail
It’s definitive, no Elfman.There’s no new ground for Burton here but there is something kind of fresh about it? I dunno.
I’m a fan of the book and this looks like a surprisingly faithful adaption.
Well, it does feel like a safe zone for Burton on paper but the look of it makes me think more of Big Fish or Big Eyes than Dark Shadows. It looks very English actually.
For instance, they found the house here in Belgium and decided to use pretty much as it is. A younger Burton would have probably made it build from his sketches.
Pretty hard to know what to expect though, the trailer mostly hit the same “these kids are all freaks !” nail until suddenly Venom.
I’m okay with Elfman not scoring this. It wouldn’t be a challenge for him – and it does give Burton a chance to freshen up a bit. Without Depp, Bonham Carter and Elfman, the circle jerk is over – for now.
I’ve never understood why the circlejerk only applies to actors. No one ever goes “Not one of those Coen/Deakins movies again !”
https://www.youtube.com/watch?v=DN1uhnnKscY
This is going to be good…
X-men + Harry Potter + Percy whatever. I hope the film is more than just an attempt to launch a new franchise…
I saw the credits on the poster and noticed no Elfman.
I was really looking forward to this one musically.Fun movie but Elfman was sorely missed.
Sounds like much less talented people trying to be Elfman. Not a bad score by any stretch of the imagination but lacking Elfman’s talent for melody.
I haven’t seen the movie yet, which will more likely be a rental for me anyways, but I figured that would be the case with the score.
I thought the score was really good. It’s like a simpler Elfman score. It works for the movie, and yes, I saw the movie. It’s pretty good – better than Dark Shadows and Big Eyes.
I saw the movie again and enjoyed the score much more. Like ‘Ed Wood’ there’ll always be a ‘What if…’ attached to it but it really is quite nice. A bit weird hearing some RC/MV music in a Burton film but still.
I just ordered it from Lalaland – as well as Newman’s Less Than Zero.
I don’t know…I’ll try the album incase it was very badly mixed in the film, but I wasn’t overly impressed. I might be expecting too much, but Elfman always gives you a tune, or a rhythmic impulse, or at the very least an interesting texture or colour (like the marimbas in Big Eyes) that always grab you right away and don’t let go. I thought the main title was a real missed opportunity that Elfman would have really set the stage with, but I thought the rest of the score functioned fairly appropriately. I don’t think, considering they are two complete unknowns being handed a big film to work on that they really sold themselves much. An established composer might have given the film a bit more of an identity, even if it wasn’t in the Elfman vein.
A sweet film filled with many highlights, but also some 5-6 warts which has been the standard for Burton ever since after the marvelous BIG FISH. The warts include wooden acting (or possibly stale direction from Burton), a lack of energy in the first 2/3rds, a bit whimsical plot, some radical tone shifts (including an over-the-top finale) and — yes — the music. I’m a big fan of Margeson, especially after his stunning EDDIE THE EAGLE earlier this year, but except for a few Elfman-ian elements (celeste, female voices, organ), it’s far more conventional, relying on the ubiquitous ostinati and typical contemporary Hollywood action/suspense tropes. But loved the electronic celeste for the ‘loop’ areas. Maybe it works better on album, we’ll see.
On the plus side is a reliance on character interaction and less on CGI spectacle, a more subtle incorporation of Burton elements (like twisted figures, burlesque situations, play with dark and shadow, contrast between monochrome and stale everyday images etc.). Also some stunning static shots that I’ve never seen in Burton films before.
So variable in quality, but overall I would place it in the upper echelon of Burton’s output post-BIG FISH. And he has a super-brief cameo in it!
I got my (signed!) CD today. There are notes from Burton and the composers – seems to have been an all around postive experience. Burton says the composers started working on the movie during principal photography.
I’ve come to really like the score – in fact both the score and film are a big step-up from Big Eyes. Big Eyes and Dark Shadows (the movies) were far too on the nose for me, instead Miss Peregrine boasts the poetry of all the better Burton films. So many of the most important scenes are just the visuals and music, conversely Burton (and the screenwriters) needed to spell everything out for the audiences in Big Eyes and Dark Shadows. A step forward for Burton IMO.
It’s a shame Elfman wasn’t along for the ride.
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