Can a Batman movie be directed by anybody? Not necessarily. Let's travel through the lens to break down the artistic chops director Matt Reeves will need for his take on The Batman.
Nineteen-year-old Alice returns to the magical world from her childhood adventure, where she reunites with her old friends and learns of her true destiny: to end the Red Queen's reign of terror.
Director:
Tim Burton
Stars:
Mia Wasikowska,
Johnny Depp,
Helena Bonham Carter
A newly recruited night security guard at the Museum of Natural History discovers that an ancient curse causes the animals and exhibits on display to come to life and wreak havoc.
An ancient prophecy seems to be coming true when a mysterious presence begins stalking the corridors of a school of magic and leaving its victims paralyzed.
Director:
Chris Columbus
Stars:
Daniel Radcliffe,
Rupert Grint,
Emma Watson
As Harry Potter begins his sixth year at Hogwarts, he discovers an old book marked as "the property of the Half-Blood Prince" and begins to learn more about Lord Voldemort's dark past.
Director:
David Yates
Stars:
Daniel Radcliffe,
Emma Watson,
Rupert Grint
It's Harry's third year at Hogwarts; not only does he have a new "Defense Against the Dark Arts" teacher, but there is also trouble brewing. Convicted murderer Sirius Black has escaped the Wizards' Prison and is coming after Harry.
Director:
Alfonso Cuarón
Stars:
Daniel Radcliffe,
Emma Watson,
Rupert Grint
With their warning about Lord Voldemort's return scoffed at, Harry and Dumbledore are targeted by the Wizard authorities as an authoritarian bureaucrat slowly seizes power at Hogwarts.
Director:
David Yates
Stars:
Daniel Radcliffe,
Emma Watson,
Rupert Grint
An orphaned boy enrolls in a school of wizardry, where he learns the truth about himself, his family and the terrible evil that haunts the magical world.
Director:
Chris Columbus
Stars:
Daniel Radcliffe,
Rupert Grint,
Richard Harris
The Pevensie siblings return to Narnia, where they are enlisted to once again help ward off an evil king and restore the rightful heir to the land's throne, Prince Caspian.
When a shy groom practices his wedding vows in the inadvertent presence of a deceased young woman, she rises from the grave assuming he has married her.
Directors:
Tim Burton,
Mike Johnson
Stars:
Johnny Depp,
Helena Bonham Carter,
Emily Watson
When Willy Wonka decides to let five children into his chocolate factory, he decides to release five golden tickets in five separate chocolate bars, causing complete mayhem. The tickets start to be found, with the fifth going to a very special boy, called Charlie Bucket. With his Grandpa, Charlie joins the rest of the children to experience the most amazing factory ever. But not everything goes to plan within the factory.Written by
FilmFanUK
When Wonka first introduces himself he says "Good Morning Starshine" which is a nod to the 1967 musical Hair with a song being called that. See more »
Goofs
When they are showing the winners of the 3rd and 4th golden ticket winners, there are 4 shots of Charlie watching the TV. In the first and third shot, grandma Georgina's head is upward off the pillow. In the second and fourth shots, her head is resting on the pillow laying down. See more »
Quotes
[first lines]
Narrator:
This is a story of an ordinary little boy named Charlie Bucket. He was not faster, or stronger, or more clever than other children. His family was not rich or powerful or well-connected; in fact, they barely had enough to eat. Charlie Bucket was the luckiest boy in the entire world. He just didn't know it yet.
See more »
Crazy Credits
At the very end of the movie the WB logo comes up followed by the Oompa Loompas' giggling. See more »
Alternate Versions
The HD-DVD and PAL Blu-Ray versions are slightly extended. This version is also rumored to have been shown on television. These scenes are extra dialogue between Mr. Teavee and Mr. Salt, Mike Teavee saying "Back off, you little freaks!" to an Oompa-Loompa, and an extra verse in Augustus Gloop's Oompa-Loompa song. See more »
I have seen Charlie & The Chocolate Factory last night and though I usually don't care very much in giving my opinion, the journey M. Burton and his team made me cross deserves an homage. Especially with all that criticism rising around the film before it has been released.
I have been a Tim Burton fan for more than a decade now; I grew up with his films. But what I have been through yesterday his really unique. I actually never thought he would offer us such a film one day. Fans of his first period, with all the lonely and desperate characters won't like it for sure. Since Mars Attacks !, and more specifically since Big Fish, Burton decided to tell things differently. His vision of the world slightly changed in every of his films : now, the rejected freak comes down to the world and stays. A world that remains frightening and weird even thought we call it "reality" but a world worth living in. And that's what Charlie & The Chocolate Factory is all about It all begins with a main title sequence that may be one of the main weaknesses of the film. The sequence is very entertaining and visually ambitious but they decided to go with CGI and it looks like it was a decision they made in last minute. Since the film was proudly made with "real" sets, "real" Oompas Loompas, "real" squirrels, the main title looks inappropriate. It's not that important but it's a Tim Burton film and we know how much he usually works on his main title. Hopefully, Danny Elfman is there with a crazy mix of the Edward Scissorhands and Spider-Man (the music when the title of the film appears gave me shivers), a true musical roller-coaster that gives a hint on what his score will sound like through the film.
After that, it's just emotions. All kinds of them: laughs (many the audience laughed almost every thirty seconds), tears of joy (we all know Charlie's gonna find that ticket but when he does, you just can't refrain your heart to beat faster), mercy (the way Burton depicts the social misery of the Bucket's family is really touching), amazement (the Wonka Factory and its many rooms is true wonder, one the most achieved design Burton ever offered us) and many mores. Very much like the book, even though it seems simple and childish, you would like to stop for a second to collect those feelings and try to analyze them but you don't have the time. It just never stops (I realize it might be a flaw for some people in fact). Burton never has been so generous in terms of human warmness.
Johnny Depp proposes another inventive and completely wacky interpretation here. I won't compare with Gene Wilder since I don't know the first film very well (pretty unknown flick here in Europe) and those comparisons should stop anyway. Depp makes of Wonka a tormented and unadapted character who doesn't know much about common courtesy and doesn't really care anyway. He built up his own universe in response to his authoritarian father and he's pretty proud of it. He just doesn't want those "weird" (a word he likes you've all seen the TV spots) and boring parents with their despicable children to ruin what is life is based on. Yet So Depp's Wonka is actually very moving and pathetic in his attempts to entertain his visitors. As Burton does everything he can to make you hate Augustus, Vercua, Violet and Mike at the moment you first see them, you get instantly closer to Wonka when you noticed he feels the same. In addition to that, John August's vision of Wonka's past (including an always perfect cameo by Christopher Lee) offers the character a real depth you didn't expect.
Danny Elfman is also one of the main attractions of the film. While his score is already classic Burton/Elfman work with some interesting experiments (the main themes are splendid), the songs he wrote for the Oompas Loompas are just so funny. Hugh laughs in the audience for some musical choices. Those songs don't intend to stay with you for months (it would have been hard as they're based on Dahl's lyrics that doesn't allow Broadway impulses), they're just off-beat numbers playing with many references in so many styles. Oingo Boingo fans have to buy the soundtrack when it'll come out, it'll bring them back 15 years ago.
What can I tell you more ? McDowell's sets are amazing, Pescucci's work is impressive as well as Rousselot's beautiful cinematography. Some Oscar Nominations should fall here.
As for the ending, without revealing it, August's additions are really touching and fit perfectly to Burton's new approach. Even though the final shot tempers the "family" theme that he developed through the film (it's still Burton, not Disney), Burton makes you feel good because he feels good (and what I'm writing here will ring a bell when you'll see the movie). I don't know for you but after so many distressed and pessimistic films, it really moved to see that he found a certain peace. Charlie and The Chocolate Factory is a step forward in the direction he gave to his career with Big Fish. He lost his father, he became one, he's getting older and all those questions and doubts are expressed in many important and very complex images and scenes he imagined for the film. That's why I could call this film the "Edward Scissorhands" of his new period. Those films are very different but gave me both some very essential emotions.
Thank you, M.Burton. Thank you very much
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I have seen Charlie & The Chocolate Factory last night and though I usually don't care very much in giving my opinion, the journey M. Burton and his team made me cross deserves an homage. Especially with all that criticism rising around the film before it has been released.
I have been a Tim Burton fan for more than a decade now; I grew up with his films. But what I have been through yesterday his really unique. I actually never thought he would offer us such a film one day. Fans of his first period, with all the lonely and desperate characters won't like it for sure. Since Mars Attacks !, and more specifically since Big Fish, Burton decided to tell things differently. His vision of the world slightly changed in every of his films : now, the rejected freak comes down to the world and stays. A world that remains frightening and weird even thought we call it "reality" but a world worth living in. And that's what Charlie & The Chocolate Factory is all about It all begins with a main title sequence that may be one of the main weaknesses of the film. The sequence is very entertaining and visually ambitious but they decided to go with CGI and it looks like it was a decision they made in last minute. Since the film was proudly made with "real" sets, "real" Oompas Loompas, "real" squirrels, the main title looks inappropriate. It's not that important but it's a Tim Burton film and we know how much he usually works on his main title. Hopefully, Danny Elfman is there with a crazy mix of the Edward Scissorhands and Spider-Man (the music when the title of the film appears gave me shivers), a true musical roller-coaster that gives a hint on what his score will sound like through the film.
After that, it's just emotions. All kinds of them: laughs (many the audience laughed almost every thirty seconds), tears of joy (we all know Charlie's gonna find that ticket but when he does, you just can't refrain your heart to beat faster), mercy (the way Burton depicts the social misery of the Bucket's family is really touching), amazement (the Wonka Factory and its many rooms is true wonder, one the most achieved design Burton ever offered us) and many mores. Very much like the book, even though it seems simple and childish, you would like to stop for a second to collect those feelings and try to analyze them but you don't have the time. It just never stops (I realize it might be a flaw for some people in fact). Burton never has been so generous in terms of human warmness.
Johnny Depp proposes another inventive and completely wacky interpretation here. I won't compare with Gene Wilder since I don't know the first film very well (pretty unknown flick here in Europe) and those comparisons should stop anyway. Depp makes of Wonka a tormented and unadapted character who doesn't know much about common courtesy and doesn't really care anyway. He built up his own universe in response to his authoritarian father and he's pretty proud of it. He just doesn't want those "weird" (a word he likes you've all seen the TV spots) and boring parents with their despicable children to ruin what is life is based on. Yet So Depp's Wonka is actually very moving and pathetic in his attempts to entertain his visitors. As Burton does everything he can to make you hate Augustus, Vercua, Violet and Mike at the moment you first see them, you get instantly closer to Wonka when you noticed he feels the same. In addition to that, John August's vision of Wonka's past (including an always perfect cameo by Christopher Lee) offers the character a real depth you didn't expect.
Danny Elfman is also one of the main attractions of the film. While his score is already classic Burton/Elfman work with some interesting experiments (the main themes are splendid), the songs he wrote for the Oompas Loompas are just so funny. Hugh laughs in the audience for some musical choices. Those songs don't intend to stay with you for months (it would have been hard as they're based on Dahl's lyrics that doesn't allow Broadway impulses), they're just off-beat numbers playing with many references in so many styles. Oingo Boingo fans have to buy the soundtrack when it'll come out, it'll bring them back 15 years ago.
What can I tell you more ? McDowell's sets are amazing, Pescucci's work is impressive as well as Rousselot's beautiful cinematography. Some Oscar Nominations should fall here.
As for the ending, without revealing it, August's additions are really touching and fit perfectly to Burton's new approach. Even though the final shot tempers the "family" theme that he developed through the film (it's still Burton, not Disney), Burton makes you feel good because he feels good (and what I'm writing here will ring a bell when you'll see the movie). I don't know for you but after so many distressed and pessimistic films, it really moved to see that he found a certain peace. Charlie and The Chocolate Factory is a step forward in the direction he gave to his career with Big Fish. He lost his father, he became one, he's getting older and all those questions and doubts are expressed in many important and very complex images and scenes he imagined for the film. That's why I could call this film the "Edward Scissorhands" of his new period. Those films are very different but gave me both some very essential emotions.
Thank you, M.Burton. Thank you very much