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Frankenweenie (2012)

7.0
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Ratings: 7.0/10 from 55,596 users   Metascore: 74/100
Reviews: 150 user | 346 critic | 38 from Metacritic.com

Young Victor conducts a science experiment to bring his beloved dog Sparky back to life, only to face unintended, sometimes monstrous, consequences.

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, (original idea), 1 more credit »
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Nominated for 1 Oscar. Another 13 wins & 33 nominations. See more awards »

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Cast

Complete credited cast:
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Mr. Rzykruski (voice)
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Edgar 'E' Gore (voice)
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Bob (voice)
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Toshiaki (voice)
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Bob's Mom (voice)
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Storyline

When young Victor's pet dog Sparky (who stars in Victor's home-made monster movies) is hit by a car, Victor decides to bring him back to life the only way he knows how. But when the bolt-necked "monster" wreaks havoc and terror in the hearts of Victor's neighbors, he has to convince them (and his parents) that despite his appearance, Sparky's still the good loyal friend he's always been. Written by Kathy Li

Plot Summary | Plot Synopsis

Plot Keywords:

science | dog | monster | fair | science fair | See more »

Taglines:

The electrifying dog is back from beyond the grave


Motion Picture Rating (MPAA)

Rated PG for thematic elements, scary images and action | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

| |  »

Country:

Language:

Release Date:

5 October 2012 (USA)  »

Also Known As:

Chó Ma Frankenweenie  »

Box Office

Budget:

$39,000,000 (estimated)

Opening Weekend:

$11,412,213 (USA) (5 October 2012)

Gross:

$35,287,788 (USA) (22 February 2013)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

|

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Nassor is strongly similar in appearance and speech to original 1931 Frankenstein's monster while his hamster is a Mummy. Both Frankenstein (1931) and The Mummy (1932) where played by the actor Boris Karloff. See more »

Goofs

Victor raises Sparky onto the roof with a swing set he attached to the attic skylight. When he let the kites go on his roof in the same scene, the swing set is gone. See more »

Quotes

Mr. Rzykruski: Science is not good or bad, Victor. But it can be used both ways. That is why you must always be careful.
See more »

Crazy Credits

Towards the end of the traditional theme music, the Disney logo during the opening credits turns black and white and lightning strikes around the castle. See more »

Connections

References Gremlins (1984) See more »

Soundtracks

Savage Episode
Written by Len Stevens
Courtesy of APM Music
See more »

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User Reviews

 
Burton's horror sketchbooks
25 December 2012 | by (Greece) – See all my reviews

Burton is a cartoonist. I don't mean this as a putdown. He is at his best in short sketches, and his main talents flow from that: imaginative as a toymaker and has a knack for comedy, both short-term effects, both a matter of tinkering in the small, but he puts his heart to it.

I pass on his big 'storybooks' like Big Fish because layered long-term narrative is another thing altogether. In Burton's case, it is something he stumbled over as the only financially viable format to convey his sketches, so he treats narrative as only the canvas instead of as itself the sculpting matter.

Some of his other cartoons fail to reach me pure, because they are still big and polished studio-work and that all but defeats the intention. This is just the right size, an appendix of sorts to Ed Wood. It is a sketch, his first ever, this time reworked into a feature. And naked enough (no Depp, no Hollywood excess) to see the wirings and so appreciate what he loves about his work.

As you flip through this sketchbook, you will find the following:

The film opens with footage of a young Ed Wood's homemovie shot in his backyard—a giant monster movie, the kind that a kid (who we can presume is Burton) growing up in the 1950's can be expected to admire.

A teacher who looks like Vincent Price and inspires him to perfect his 'science', in the film it is supposed to be real science, but is actually viewed in the context of 1930's horror and Shelley before, a kind of cinematic magic.

This kicks off the Frankenstein story proper with the dog, which includes additional references to both Bride and Son, Mummy and Invisible Man, and the fiery windmill conclusion of the Karloff original. (also reused in Sleepy Hollows)

Eventually, this leads to an actual giant monster movie, where different classmates, essentially using the same 'science' of cinematic magic, bring to life different monsters: one is a Godzilla-type creature (kaiju fans will know it is really Gamera), there are Gremlin- type critters, and a cat-bat creature that I couldn't pinpoint.

So, there you have it: 1930's Universal horror, 1950's sci-fi, 1980's pop Hollywood, all of it sketched here that influenced the man's career.

Typical for Burton: the story goes nowhere, the ending is Disneyfied like the first time, it is fun in short spurts, and he has nicely sketched the world of his childhood, which is my favorite bit here—a clean and modernistic 1950's suburbia as was advertised to housewives of the time, it is amazing some of the textures and light they managed to capture. Stop-motion trumps cg animation in my mind, physical presence carries energy into the eye—this looks so real, it feels like it is taking place down the street from Ed Wood.

Overall, I don't know if releasing this confirms the nagging suspicion that Burton is over and done with as a creative voice and is really scrapping for material, but it is nice to watch, and reminds why he was at one time an interesting guy. What will it take for him to bounce back?


33 of 49 people found this review helpful.  Was this review helpful to you?

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Pretentious ? Stretfordian
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