Dark Shadows

Burton fizzled out and there was nothing left but a bunch of make up, pretty sets and once emotive themes. More than anything else, the character of Barnabas is an unintentional authorial self-reflection by a filmmaker who, since Sweeney Todd, has been copying himself and chasing the ghosts of the past. (05/10/2012)

Apart from about two scenes that were already teetering heavily on the edge of awkwardness, this was two very enjoyable hours in the company of brilliant actors, wacky humor, and a rather unconventional soundtrack by Danny Elfman. Of course, Dark Shadows can't measure up to Burton's masterpieces, but it seems to satisfy Burton's (slightly tolerant) fan base as it combines tried and tested techniques from his previous films and the director's signature is still discernible here (on the other hand, something like Sweeney Todd is still a class higher). It's a different Tim Burton than the one we as fans (I include myself among that number) are accustomed to – he's getting more and more wacky, less poetic and imaginative, but still original in his own way. But it in no way deters me from watching his other work closely. (05/20/2012)

Irresistible costumes, makeup and vivid colors create a cute floral seventies atmosphere (with great opening credits). There are a few cute references and allusions, but you would expect more from Johnny Depp’s ancient vampire’s interactions with the modern world. Dark Shadows is an eccentric film that attempts to pay homage to all kinds of things Burton likes, but it’s surprisingly not very funny and the characters are just iconic figures in a story that won’t absorb you. It’s a stylish farce that looks good but has no heart or emotion. Tim Burton seems to be drying up, which is a shame. It reminded me of Death Becomes Her. (05/07/2012)

Dark Shadows, the 2012 version, is an absolute delight. The natural evolution of the Burton/Elfman/Depp collaboration rides on the wave of popular fandom that began in 1966 and continued as a daytime soap for five years, followed by two films. There were several failed comebacks over the next few years, with only the 1991 revival series actually succeeding. And now Barnabas is back and can once again connect a new generation of viewers to his story. The short prologue from the second half of the 18th century is wonderfully straightforward and decadent, and I love the setting and atmosphere. But Barnabas back in 1972 is better than ever. There’s a great clash with the post-flower generation, perfect clashes with Angelique (both hateful and loving) who has so far gone from witch to respected citizen of the city in a few generations. Johnny Depp makes the most of his vampire, Eva Green is the ultimate hedonist in every way, Michelle Pfeiffer is still very sexy, combining the best of her Selina Kyle and Lamia, and Helena Bonham Carter has the chops to showcase the vampire again next time. So far, it's been a perfect study of the titular vampire and the Bathory Syndrome. Among the others, we have Christopher Lee in a tiny role and Alice Cooper fans will definitely be pleased. The cameos of the original actors from the series also hold a special place. The 1970s are exactly as they deserve to be recorded here. The combination of gothic comedy is a genre I've been missing and it came just in time. (05/13/2012)

Congratulations to Tim Burton for once again managing to make a bad film. And this time he tried really hard. Not a bit of darkness. Under the surface, another annoying wannabe stylish crap with a heavily made-up Johnny in the main role and an elite cast that has nothing to do under Burton’s direction. Awful, the only good thing is the soundtrack. (09/01/2012)