Indeed (probably the most used word in the film right there), it is time for the give-or-take bi-annual traditional Tim Burton/Johnny Depp collaboration of the weird and wonderful that we've become very much used to in the last decade. Again, the pair have worked together to create a re-imagining of a previous production, in the mould of Charlie and the Chocolate Factory, Sweeney Todd and Alice In Wonderland, Dark Shadows is the re-working of a cult American 60s-70s gothic horror soap opera of the same name. So you all know basically what to expect, right? Some whimsical opening sequence with lots of swirls and skeletons and whatnot, or perhaps a trippy hallucinogenic intro to the story? Actually no, this time we're just thrown right in there, for a quick ten minute round up of Depp's character, Barnabas Collins, who moves from Liverpool to Maine in 1760, grows up, spurns the love of a witch, who then kills his parents, his lover, curses him to the existence of a vampire and buries him in a chained coffin for nearly 200 years. Got it? Spiffing.
The concept of the film is fairly simple; set in the 1970s, the current Collins resident at the family estate are on hard times, as their fishing industry is falling to the shallow waters of a local competitor, upon Barnabas' escape, he wishes to rejoin the family and help them escape their plight. The bumps along the road to success are equally as simple to breakdown, because I don't know about you, but the witch who cursed Barnabas looks an awful lot like the owner of the company running the Collins' into the ground, don't you think? So cue a rivalry between main attractions, Depp and Eva Green.
A huge piece of the enjoyment you get from the film stems from the charm of the first hour or so of Barnabas' attempts at grappling with the cultural changes of nearly two centuries. There's a lot to be said for the comic timing and delivery of Mr Depp, with particular favourite moments of mine coming through the mixture of 18th century dialect thrown into 20th century living. You know what you're going to get with Depp, and yes, his accent is basically just a Ichabod Crane-Jack Sparrow-Sweeney Todd mash-up, but there's a nice vampirey twang to it now as well. Furthermore, there is great chemistry between he and Green, who manages to be both genuinely funny and loathsome at the same time, sort of a Burtonified version of Annie Wilkes from Misery.
Of course, what would a Tim Burton movie be without the Tim Burton cast? Not only do we have Depp in the lead role, but we have another staple of the Burton tradition, Helena Bonham Carter starring as the funny, slightly unhinged supporting role; this time she is Dr Julia Hoffman, an alcoholic psychiatrist determined to stay young for as long as possible, who develops something of an unhealthy fascination with Barnabas. And yes, you know she's going to be good at the role, because she's done it a good few times, but it's still enjoyable stuff. Michelle Pfeiffer is also back in a Burton movie, this time as the current Collins matriarch, Elizabeth Collins Stoddard. In all honesty, her character is barely developed at any point in the film, despite featuring an awful lot - Pfeiffer does a decent job of making you half-remember a character who is almost totally forgotten in the overall plot of things. There's even a cameo for lord of all that is silver screen, Sir Christopher Lee, who I'm beginning to think might actually be evil now, and not acting, he's been doing it so long - you don't need me to tell you if he's any good, he's Christopher DRACULA SARUMAN SUMMERISLE Lee. Honourable mentions should also go to Jackie Earle Haley as Willie Loomis, the slightly dim-witted caretaker, who gives a funny, if a little cheesy-in-places supporting performance, and future headliner Chloe Grace Moretz, who gives a brilliant and almost unnerving showing of weirdy teenage angst in the form of sister Carolyn Stoddard.
As is the standard of a Burton movie, this one looks spectacular. Every scene uses colour to perfect effect; it's just the right kind of dark and weird for the spooky scenes, and it's the exact purple and hippy for the full-on 1970s snapshots. The effects are pretty good too, particularly the climactic sequence between Depp and Green, where the latter's skin takes on an egg-shell quality. The music used is very cleverly done too, capturing the 70s feel in a fitting manner, but definitely through the eyes of Burton, with contributions from the likes of Iggy Pop and The Moody Blues; and naturally, Danny Elfman is the man behind another Burton score.
However, the film just seems to lack some final special quality. Yes, it's entertaining enough, but by the time the final half an hour of the film kicks into action, you begin to realise that the story is extremely condensed in places. As mentioned, Pfeiffer's character fades into the background disappointingly; much is initially made of the want-away low-life dad Roger Collins, before he too (and quite literally) leaves the story altogether; and the climax of the movie just seems to throw in some quirks for two minutes of screen time to the characters that will have assumingly been present in the original series. It all just seems a little rushed after a promising start. It would appear that Burton wanted to make an homage to a show he loved, had fun with the comedy aspects of the set-up, but seemed to lose control of direction towards the end. I hate to say it, as I'm a huge fan of some of his work, but this is becoming something of a trend in Burton's films, particularly those with Depp involved, as I felt, Sweeney Todd, Charlie and the Chocolate Factory, Alice In Wonderland and Corpse Bride all suffered from the same exact same symptoms.
2/5 - You'll seriously enjoy the first half of the film, you really will. However, a growing sense of cheesiness, bordering on laziness and same-old-Burton-story seems to creep up on you. Strange, not a total disaster, but it could have been so much better.
It has some real moments that made me laugh and had me enjoyed, but Burton starts to lose himself by the end, therefore, he lost me. Could have been so much better and the only reason it is as good as it is, is because of Depp’s insane performance. Good review Stephen.
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