Les Noces funèbres

I liked this a lot, and a large part of the reason is that it is pure a Burton film as we are likely to find.

And when I say Burton, I mean that oddly successful collaboration between him and Elfman colored by commercial realities.

The big picture is that there are very few filmmakers with the skills and courage to be unique, to make movies that only they could. This goes beyond style into the nature of the soul.

If you do not have an interesting soul, you cannot be an artist. If you do not have the courage and ability to reveal that soul in some way to us, you cannot either. So hurrahs for the few in the world of film that do.

In a way, this film is a notion expanded around Ub Iwerks' (yes, that's a real name) "Skeleton Dance" done for Disney and quoted in a couple more hip Betty Boop cartoons. In another way, it is a simple date movie: boy gets girl, boy loses girl by misunderstanding, boy gets girl back and the thing ends in a wedding.

And also in a way, it is a love poem to his girl friend. I'm fascinated by these things, where a talented director (usually a man) can shape the image of the woman he loves. Films DO influence how we think of love, but this is more genuine and powerful than any of them, this real love that shines through purely cinematic means. Just think about casting the woman you love as a corpse! She is as alluring here as she has even been.

But beyond that is something that is more lasting, the business between Depp and Burton. Johnny is a fine actor, but many fine actors don't get the opportunity to explore new and unknown corners of darkness. He has and is better off for it. And so are we, though whenever this happens we end up with a new character template that inevitably becomes a stereotype. Depp already mines that stereotype in his Pirate movies.

But what concerns us here is how Burton/Elfman deepens what he has with Depp. He introduces the character as a pianist, and does so with a piano piece. That piece is a skillful blend of Chopin and pop, but more on the Chopin side. For many, Chopin is the most nakedly emotional yet dark soul they will encounter. No humor, only intimacy and passion.

So two clever things were done with this. The first is that the Depp persona (though an animated avatar here) was made deeper by reference to our deepest pianist. The second is that a few musical scenes and effects are set up, all of which reference the scene in some way. There's a sweet musical duet with Helena where they do fall in love. There may be few things more lovely than making love via music played to each other -- with each other.

Ted's Evaluation -- 3 of 3: Worth watching.

i just saw this movie at the Toronto film festival. Tim Burton, as with most of his movies, makes the setting and visuals the most important part. And what a beautiful movie it was, the animation was astounding. You could tell that each frame was tirelessly worked on in order to make each little piece have its own distinct look. The plot is unimportant, and cliché, but that doesn't matter. This movie shouldn't be watched for the storyline. The voice acting was very convincing, especially the lead, Johnny Depp, who does a great job as the shy, clumsy Victor. The only character i really didn't think was needed was the worm, who was just included just for some childish comedic relief, which took away from the dark mood of the picture. Though not as enjoyable as "Nightmare Before Christmas" it still was a very good animated movie. 8.5/10

This is not my favourite Tim Burton movie by a long shot, but I did find myself enjoying it. The animation is absolutely amazing with the dark bold colours and inspired visual ideas. The music is good too, it adds very well to the atmosphere. The four songs are pretty decent, if nothing special. Remains of the Day was the one I liked best. The script is witty and deliciously dark in places, while the story is clever and fairly original, even if it drags slightly occasionally. The characters are wonderfully quirky and the voice work from the likes of Johnny Depp and Helena Bonham Carter is top notch. All in all, a beautifully crafted film, if not quite Burton's finest hour. 8/10 Bethany Cox

People say that Corpse Bride was horribly boring, etc. HOWEVER, that is because they are comparing this nonstop motion picture with Nightmare Before Christmas. Those who were really upset after the movie, saying that 'it's definitely not Nightmare', you are absolutely right. It is not Nightmare. It's Corpse Bride, a completely different movie. Everything was comparison, Nightmare to Corpse Bride, and yes, I'll admit, I enjoyed Nightmare more. However, when going to see this movie, you cannot compare Corpse Bride to Nightmare because then yes, you will be upset. If they had done another Nightmare, they would have done it years ago. But this is a different movie with a beautiful plot when you think more closely about it. It's a very strong plot of love, betrayal, hate, death, etc and you see that very strongly if you listen closely to Danny Elfman's wonderful music, vocal and instrumental. Basically, go into the theaters with an open mind and enjoy and pay attention to the movie because it truly has strong, very strong, meanings. If truly watching and comprehending, at parts you cry and at others you smile. It's very clear that it is beautifully created and the actors match their parts well, but the storyline is simply beautiful. Do not think about Nightmare because that movie has been finished years ago, but enjoy Corpse Bride. I will not give anything away, so I leave my review at that. Enjoy Corpse Bride people! And for others who think I am Anti-Nightmare or something, I am seriously not. I loved and still love that movie, but just enjoy Corpse Bride without judgement until after the movie.

Burton takes another playful swipe at his stop-motion heroes with this nicely-done treat.

Victor Van Dort (Johnny Depp) is a milquetoast. A bumbling, unlucky dreamer. To make things worse, his parents (multi-talented Paul Whitehouse and Tracey Ullman) are forcing him into the classic "arranged marriage", which is more like a contract with the cash-strapped but aristocratic Everglots (Albert Finney & Joanna Lumley). Things turn around, however, when he meets his intended, Victoria Everglot (Emily Watson) who is actually very attractive, inside and out.

The ceremony is as arranged as the marriage, unfortunately, and the frustrated minister (Christopher Lee) demands that Victor take time out to PRACTICE HIS VOWS. This too, is awkward, as in the midst of his rehearsal, Victor places a ring upon a corpse's poking finger (just the place to rehearse a wedding, a cemetery) thus rousing the title character (Helena Bonham Carter), who leads Victor on a voyage through life and death and an unwitting quest to figure out what he really wants.

Exquisite, yes, and enjoyable, but not without a few flaws. Most of the songs, while well written, feel out of place, and potentially powerful villain, Barkis Bittern (post-Doctor Who Richard E. Grant) doesn't seem to be allowed to do enough. But the good far outweighs the bad--moviegoers who get past the title will find a light-hearted romp that is rife with parody and spoof, from the Harryhausen brand piano to the diminutive character Bonesapart (played by the diminutive Deep Roy). A cameo by Jack Skellington would have been cool (O.K., Disney) but Danny Elfman's Bonejangles does pull off an eye-popping number. Even the unsettling, Peter-Lorre-channeling maggot residing in the Bride's skull threatens to steal the show. Good cast (with many Burton stalwarts, incidentally), with the philosophy that less is more make for a good time.

Like it or not, it is well-worth noting that this film delivers many firsts to film-making, including new-style digital camera-work on refined stop-motion. To animators and film students, this offering comes highly recommended.