THE BLACK BESTIARY: An Alejandro Pardo Compendium

Okay, below is a list of the National Book Store branches where you can pick up a copy of The Black Bestiary: An Alejandro Pardo Compendium now!

Click to embiggen! ('Coz, you know, otherwise, it's teeny...)

Please feel free to repost the images or to link back here, so we can spread the word about The Black Bestiary: An Alejandro Pardo Compendium (the follow-up to The Lost Journal of Alejandro Pardo).
It contains a new batch of creature entries (written by Budjette Tan), and a whole lot more narrative stuff, written by yours truly, with illustrations by Kajo Baldisimo, Bow Guerrero, and Mervin Malonzo.
(A closer look at the Table of Contents can be found here.)

If you haven't picked it up, please do so.
And if you've already got a copy, please tell your friends and family to pick up their own copies as well! Get extra copies too, if you can!
Spreading the word about the book will not just help with the chances for more future Alejandro Pardo compendiums, but will also serve as a rallying cry for the printed word.
I don't know about you, but I definitely prefer a world where people aren't just reading tablets or their phones, but are actually holding books, with covers and pages (and that awesome new book smell!), in their hands.
Power to the Printed Word!*

For more on The Black Bestiary: An Alejandro Pardo Compendium, an article can be found here.

My complete and unedited answers to the Q&A used as a basis for the article can be found here.

A 15-second video can be found here.

Another article can be found here.

Brief glimpses of some of the new creature entries (art by Mervin) can be found here.

And, for those of you seeking out copies of The Lost Journal of Alejandro Pardo, these are the NBS branches that currently have the title in stock.

Happy hunting, and remember, if you don't see it on the shelves, please ask for it.
And please spread the word, people!
The sooner we get those copies flying off the shelves, the sooner Summit will look at getting another Alejandro Pardo compendium out there...

you can’t drink just six,

Dave

* Neil Gaiman makes some excellent points about printed books (and libraries) here.

PARANORMAN

(August 2012)

"Oh, man, that [old graveyard] is baaad news. It’s like, total slasher movie vibe. Why’d [Norman] go up there?”

Laika, the studio owned by Nike co-founder and Chairman Phil Knight and run by his son, Travis, brought us Henry Selick’s excellent adaptation of Neil Gaiman’s Coraline in 2009.

Coraline was nominated for Best Animated Feature Film at the 2010 Oscars* and now, Laika’s second stop-motion feature, Paranorman, is also an Oscar nominee in the same category.

Not a bad Oscar batting average, if I may say so myself.

Written by Chris Butler (who worked on storyboards for Coraline and Corpse Bride), and co-directed by Butler with Sam Fell (director of Flushed Away and The Tale of Despereaux), Paranorman is a crazy-awesome ride that horror fans should get a massive kick out of.

“It’s not supposed to be [historically accurate]! It’s supposed to sell postcards and key chains.”

Norman Babcock (Kodi Smit-McPhee) is the town freak, which is bad enough.

But when you live in a town like Blithe Hollow (“A Great Place to Hang!”), where a tragic death that happened centuries ago has become the core of its economy and tourism, and you’re someone who can actually see and speak with the dead, then it’s so.

Much.

Worse.

Blithe Hollow is a town with establishments like The Lucky Witch Casino, Trick or Trim, Hung and Dried, and Witchy Wieners, and whose denizens, sadly, look strangely at the weird kid.

And it’s a town that Norman reluctantly finds himself needing to save when the fit hits the shan.

“Son! Step away from the zombies!”

With a brilliantly stylized, off-kilter look to its world and characters and a great voice cast which includes John Goodman, Christopher Mintz-Plasse, and Casey Affleck, Paranorman is a funny and touching tale that is a warm, heartfelt love letter to horror fans and misfits everywhere.   

Thanx, Laika. Seriously.

This is putting all that Nike cash to awesome use.

“Perfect. Now the geeks are in charge.”

* Coraline was up against Wes Anderson’s brilliant Fantastic Mr. Fox, among others, but the 2010 Best Animated Feature Film Oscar was ultimately brought home by Pixar’s Up.

(Paranorman OS’ courtesy of impawards.com.)

¡Qué horror! 2012

Candidate # 21

THE WOMAN IN BLACK

(February 2012)

If you’re in the mood for some old school ghost story hijinx, you can’t really go wrong with James Watkins’ The Woman in Black.

Adapted from Susan Hill’s novel by she-of-the-flaming-red hair, Mrs. Jonathan Ross, Jane Goldman--who, as frequent Matthew Vaughn collaborator, has also adapted Neil Gaiman (Stardust) and Mark Millar (Kick-Ass), and brought the X-Men back to the swinging 60’s (X-Men: First Class)--this one has got a decrepit mansion surrounded by a vast, mucky marsh, suitably saddled with the unbearably charming name of “Eel Marsh House.” It’s a rotting domicile dominated by a black-garbed ghost, and chockful of cobwebs, creepy kids’ toys, and a rocking chair.

What more could you ask for in any self-respecting haunted house?

Sure, poor old Harry Potter (actually, Daniel Radcliffe, in period 'cut and garb) has no business galumphing around Eel Marsh House when he should be working, what, with his job in jeopardy, and yes, that damned dog disappears conveniently enough when he’s not needed to bark at unseen ghostly apparitions, but the creeps and the scares are so finely tuned, one can choose to overlook these slights.

The fact that this is such a different kind of film from Watkins’ feature debut, past ¡Qué Horror! title, Eden Lake, is simply another reason why this gets on this year’s Candidate List…

(The Woman in Black OS’ courtesy of shocktillyoudrop.com.)

AFTERTHOUGHTS (97)
EMPIRE’S! 50! GREATEST! COMIC! BOOK! CHARACTERS! [3 of 5]
THE SANDMAN EDITION

Well, we’re still waiting on what will reportedly be Neil Gaiman’s directorial debut with the Death film adaptation, for which he prepared by visiting Guillermo del Toro on the Hellboy 2 location shoot, to experience first-hand, the rigours of film-making.
Till we find out who gets to play the ultimate Goth girl though, here’re the two Endless who made Empire’s cut.


15 Death (aka Teleute)
It’s a strange one, this; mystifying, on the face of it.
Death’s own comic is just good, not brilliant; she doesn’t appear much in Sandman, and she’s not nearly as nuanced a character as Sandman himself, or their younger sister Delirium (formerly Delight).
But from the moment she appeared, she’s been wildly popular with fans, won over by this bright, cheery figure in place of the traditional skeletal Reaper.


Perhaps it’s because Death’s duties make such cheerfulness double-edged, and because she has an air of mystery about her that gives her incalculable depth.
What’s more, she’s the wise elder sister that everyone wishes they had, far more pulled together and at peace than any of the other Endless (except, perhaps, Destiny), and she gets to tie the whole series together come its final act.
A perfect demonstration that the best characters needn’t be overworked, and that the grim reaper doesn’t have to be grim.
FIRST APPEARED IN THE SANDMAN #8 (1989)
CREATED BY NEIL GAIMAN


6 Dream (aka: Morpheus, The Sandman, Oneiros, The Dream King, The Lord Shaper, Kai’ckul, etc…)
Ironically, Dream is not the most popular character in his own series (Death, already mentioned, takes that honour), but he is the best.
Neil Gaiman’s creation bore little resemblance to previous iterations, being a tall, pasty-faced Goth-type with unruly dark hair (usually—his appearance is subject to change without notice) rather than the hitherto-traditional white bearded sage.


Despite his near omnipotence, he is continually embroiled in schemes by his family (Destiny, Death, Desire, Despair, Destruction and Delirium) and the subjects of his dream kingdom, as well as having duties to protect (or destroy) humans with whom he comes into contact.
Over the course of his series, which takes him from prison to the ends of the universe, Dream truly learns and grows—which is rare enough on its own among comics to entirely justify his book’s reputation—but also takes us through mythology, history and pure, barmy, Gaiman invention.
As tragic heroes go, he is, quite literally, godlike.
FIRST APPEARED IN THE SANDMAN #1 (1989)
CREATED BY NEIL GAIMAN

Among the other characters to appear on Empire’s list, are two others who have connections to the Dream King: Swamp Thing (29) and John Constantine (3).
An Americanized version of the latter was played by Keanu Reeves in Francis Lawrence’s Constantine—a review of which can be found in the Archive.
(I initially toyed with the idea of calling this part “The Vertigo Edition” and covering all four of the characters, but the truth is, all these characters were created before the Vertigo imprint served to collect them all under one umbrella. Ultimately, this seemed the better approach.)

The above write-ups are from Empire’s list.
For more on the above characters, just click on their names; the entire list will be accessible from there.

In Part 4—Afterthoughts (98)—we note some characters from DC’s Batman franchise.

(Images courtesy of dccomics.com [Death, art by Dave McKean; Dream, art by Michael Zulli; The Endless, art by Frank Quitely] and vamp.org [panel from The Sandman 8, “The Sound of Her Wings,” art by Mike Dringenberg].)

AFTERTHOUGHTS (91)
OUR IMMORTAL BELOVED

ew.com has put forward a list of favourite immortal characters in popular culture, and among them are…


Adam Monroe/Takezo Kensei (David Anders), in Heroes


Dream/Morpheus/Sandman, in Neil Gaiman’s The Sandman


Legolas (Orlando Bloom), in Peter Jackson’s Lord of the Rings trilogy


Pinhead (Doug Bradley), in the Hellraiser films, based on Clive Barker’s The Hellbound Heart


Tomas/Tommy/Tom Creo (Hugh Jackman), in Darren Aronofsky’s The Fountain

Also on the list, Tilda Swinton’s Orlando, Laurence Olivier’s Zeus, Alanis Morissette’s God (though I would have much preferred Emma Thompson in the role), South Park’s Satan, and The Matrix’s Oracle.
You can check out the entire list by clicking on any of the immortals above…

(The Absolute Sandman Volume Three wallpaper courtesy of dccomics.com; all other images courtesy of ew.com.)

AFTERTHOUGHTS (83)
THE NEW KID ON THE ANIMATION BLOCK

A film that I’ve been waiting on for quite a while now has finally been scheduled. Hoorah!
I’ve been waiting for it since it was bringing together two terribly talented fellows, Neil Gaiman and Henry Selick.
That film, if you haven’t already guessed, is Coraline.
I mean, one of Gaiman’s darkest pieces disguised as book for all ages, adapted for the big screen by the man who directed not just The Nightmare Before Christmas, but also the underrated James and the Giant Peach and Monkeybone.
Where do I sign up?

Scheduled for an Oscar-qualifying run late this year, Coraline will get a wide theatrical release on February 6, 2009.
It will be the first feature for Laika, an animation studio based in Portland, Oregon, which specializes in both CG and stop-motion feature films.
Laika (for which Selick is supervising director) is backed by Nike founder Phil Knight, who is estimated to be a billionaire nearly eight times over.
That much green is fueling not just Coraline, but also a number of other potential titles, including Here Be Monsters!, based on the Alan Snow books; Paranorman, by Coraline story chief Chris Butler, whose logline involves, “…a small town under a secret curse. Only a 13-year-old boy can keep the town from being overrun by zombies, but no one will listen to him”; and another original story concerning the origins of Halloween, by Selick and Open Season writer/producer, John Carls.


According to Laika VP of development acquisitions, Fiona Kenshole, Laika’s position in the burgeoning field of animated features puts it “…to the left of Pixar and to the right of Nightmare Before Christmas.”
That sounds like just the shot in the arm animation needs with the frightening preponderance of CG cartoons featuring cutesy talking animals gamboling about in achingly familiar fish-out-of-water plots.
Best of luck, Laika!
May the Nike swoosh be with you…

Parting shot: Among the voice talents for Coraline are Dakota Fanning, Teri Hatcher, Ian McShane, and the brilliant Jennifer Saunders and Dawn French as Miss Forcible and Miss Spink.
I say again, “Hurrah!”

(Coraline OS’s courtesy of moviesbythebook.com and dakotafanning.free.fr.)

AFTERTHOUGHTS (77)
NEIL’S NEW CLASSIC MONSTERS

Amidst all the “New Classic” craziness currently going on at ew.com, Neil Gaiman has a list of his choices for 10 New Classic Monsters. (And by “New Classic,” they mean anything that saw the light of day from 1983 till the present.)
Among Neil’s choices:

9. The Pale Man from Guillermo del Toro’s El Laberinto Del Fauno (Pan’s Labyrinth)

7. The Nightbreed, from Clive Barker’s Nightbreed

6. Eugene Tooms, from The X-Files episodes “Squeeze” and “Tooms”

5. Grendel, in Gaiman’s words, “The first and the best,” seen most recently in Robert Zemeckis’ Beowulf (which Neil co-scripted)

4. Hannibal Lecter (though Gaiman specifies the Lecter from Thomas Harris’ novels Red Dragon and The Silence of the Lambs, “… back when he wasn’t quite human and was all the scarier for it.”)

2. Max Schreck, as portrayed by Willem Dafoe in E. Elias Merhige’s Shadow of the Vampire

And at the top spot…

Swamp Thing. As Neil puts it, “The 1984-87 Alan Moore/Steve Bissette/John Totleben revival. The best muck-encrusted monster in the best comics.”

You can find the entire list here.

Parting shot: Reviews of El Laberinto Del Fauno, Beowulf, and Shadow of the Vampire, can be found in the Archive.

(Images courtesy of bloody-disgusting.com [El Laberinto Del Fauno and Shadow of the Vampire]; amazon.com [Clive Barker’s The Nightbreed Chronicles cover art]; fredfarm.com [The X-Files]; and dccomics.com [Swamp Thing Vol. 1: Saga of the Swamp Thing cover art].)

BEOWULF
(Review)

I once thanked Neil Gaiman for helping keep myth alive in our modern age. Rather humbly (and perhaps feeling I was overblowing the sentiment), Mr. Gaiman replied that myth was doing rather well on its own without his help.
Well, regardless of whether Mr. Gaiman is keeping myth alive or simply prodding it enough so it might run the treadmill and do some cardio more often in its old age, Beowulf, much like the beastial Grendel, is certainly a curious and interesting hybrid.
It utilizes the modern technology of mo-cap (or motion capture), to retell an ancient tale, so as to give 21st century audiences a tragic saga of how a father’s sins comes back, not just to haunt the son, but entire kingdoms as well. More potently, it’s also a tale about the humanity of heroes and monsters, and how that can, sadly enough, be their ultimate downfall.

I quite liked Beowulf, let’s be clear about that.
It does have its failings though, and perhaps tellingly, its flaws are rooted in the “modern technology” half of its cinematic DNA.
While mo-cap is the closest computer graphics can come to emulate humanity, it’s still a ways off from conveying genuine emotion. CGI characters can have the prettiest, silkiest hair in the world, but when you need them to emote, you may as well be asking a mannequin to deliver Shakespeare.
The simulated facial muscles still aren’t up to snuff to garner any Oscar acting nods. It’s a criminal waste, when even a great vocal delivery can come off like a Tara Reid performance when the construct on screen zombies its way through the role.
And their eyes…
Admittedly, the dead eye was far creepier in Robert Zemeckis’ earlier mo-cap effort, The Polar Express, but it’s still noticeable here in Beowulf.

In fact, the only performance that manages to punch its way through the pixels is Brendan Gleeson’s Wiglaf. His stubborn refusal to acknowledge anything that might tarnish the idea of Beowulf the Hero is just heart-breaking.
And while Sir Anthony Hopkins’ vocal delivery is fine, there‘s just something about the character of Hrothgar on screen that doesn’t quite capture the sad tragedy of the aged and broken king. The role of John Malkovich’s Unferth meanwhile, is kept to a woeful minimum.
Beyond that trio, nearly all the other actors are pretty much sabotaged by the limitations of mo-cap. And I say “nearly all” since, again rather tellingly, Ray Winstone and Angelina Jolie have some of the more questionable vocal deliveries*; Winstone because he sometimes eats his words, occasionally leaving us with a growling mess where he sounds like a WWE superstar, while Jolie’s strange accent (was Grendel’s mother Romanian?) can’t quite mask the fact that it’s Angelina Jolie.
What can I say? So all-pervasive is its power that we can feel the Hollywood Star Syndrome as far back as the 6th century. (And apparently, women’s fashion is just as powerful, as Grendel’s mum seems quite taken with high heels, enough to shapeshift her feet into them…)
Of course, part of that fault also lies in the decision to make Grendel’s mum look exactly like Angelina Jolie.

I mean, when you’ve got the tools to play around with physiognomies—look at Beowulf, ‘cause that body certainly doesn’t belong to Ray Winstone—why keep to the real thing? And why keep to it when there’s the real possibility of a disconnect that endangers the suspension of disbelief? (Even Hrothgar is not immune to the Syndrome, since, damn, but doesn’t he look like Sir Anthony Hopkins?)
Why use this technology if you aren’t really going to fully play around with it? Why not just do it live-action, that way, you get the full benefit of the actors’ performances. Or, there’s always the Sky Captain and the World of Tomorrow/300 greenscreen gambit.
It’s kind of frustrating when all Zemeckis seems content to use the presumably liberating freedom of mo-cap for is to do some fancy “camera” work, something he was already toying around with as far back as Contact. (Sure, the sea monster battle was a doozy, but there were a hell of a lot more “ooh, let’s follow this rat, which gets pinched by a bird, then soar dizzyingly through the air, till we reach the poor monster with the acute hearing so far, far away” sort of shots.)

But to be fair to Zemeckis, like I said, I quite liked Beowulf.
Some sequences just work. Like Grendel’s first attack on the mead hall, strobelit courtesy of some mystic fire. That stretch successfully conveys the danger and savagery of a mythic time of monsters, when there was clearly much to fear beyond the light of the roaring camp fire. (On that note though, Grendel might have done well if he’d just opened a club somewhere. Hire a killer DJ, and the gold would’ve come rolling in.)
The battle between Beowulf and Grendel also kicked some bare a$$. Not only was it a commendable sequence, but the synthetic Beowulf also gave Viggo Mortensen some competition for Best Buck Nekked Fight for the Year 2007. (I fought valiantly to stop myself from using the word “stiff” in that sentence. Sorry.)

See? I’m being snarky. If Beowulf had done its job properly, the snark would be kept to a minimum.
Still, and this stands to be repeated: I quite liked Beowulf.
Once we hit the point where the shared deception of Beowulf and Hrothgar is acknowledged, and the subsequent madness comes to pass, I for one, stepped fully into the story. And the reason for that, I think, is two-fold.
One: at that point, the narrative enters fascinating territory.
And two: enough running time had passed that I’d acclimated myself to the limitations of current mo-cap tech, so I could adjust my expectations accordingly.

In the end though, I’m quite happy that after Stardust, there’s another film Mr. Gaiman worked on that I can say I enjoyed. (For Mirrormask lovers, see my Stardust review in the Archive.)
Mo-cap may not have been entirely successful in breathing proper life into the legend, but in this 21st century of ours, it’s allowed a creaky old myth to flex its pixellated muscles just enough to make it look viable—and gosh darn it, pretty cool!—to scores of PS3- and Xbox-attuned eyes.

* Actually, even Crispin Glover’s vocal delivery of Grendel is troublesome as his words are so garbled sometimes as to be nearly unintelligible. I’ll be so thankful for the subtitles when the DVD is unleashed upon the land…
On the plus side, good on Winstone! I mean, from voicing Narnia’s Mr. Beaver to Beowulf…
Talk about a step up.

Parting shot: Though I didn’t mention him at all in the review, Roger Avary co-wrote Beowulf’s script with Neil Gaiman. My apologies.
Unless you had anything to do with Grendel’s mum’s high heels, in which case, you should probably be grateful, as I’d rather not be mentioned at all, than be mentioned in relation to a bit of anachronistic women’s fashion.
To quote Bryan Fuller in an all-together different context: Let the snark reign!

(Beowulf OS courtesy of impawards.com; images courtesy of shocktillyoudrop.com.)

AFTERTHOUGHTS (21)

21.1 First, some good news.
This took me a while, but I’d just like to congratulate the following, for winning at this year’s Scream Awards:

28 Weeks Later: Best Horror Movie
300: The Ultimate Scream; Best Comic-to-Screen Adaptation
Kate Beckinsale: Scream Queen (for Vacancy)
Grindhouse: Most Memorable Mutilation (Dismembered In Car Crash); Best Director (Quentin Tarantino & Robert Rodriguez); Best Scream-Play (Robert Rodriguez, Quentin Tarantino, Jeff Rendell, Eli Roth, Edgar Wright, & Rob Zombie)
Heroes: Best TV Show
Shia LaBeouf: Sci-Fi Star (for Transformers); Scream King (for Disturbia)
El Laberinto Del Fauno: Best Fantasy Movie; Best Foreign Movie (Spain)
Hayden Panettiere: Breakout Performance (for Heroes)

Harrison Ford and Neil Gaiman were also honoured, with The Hero Award and the Comic-Con Icon Award, respectively.

Again, to one and all, congratulations.

(Reviews of 28 Weeks Later, 300, Death Proof, Disturbia, El Laberinto Del Fauno, Planet Terror, Transformers, and Vacancy can be found in the Archive.)

21.2 Now, some bad news.
The WGA strike that many have feared has come to pass. Depending on how long this strike turns out to be, its effects could still be felt as far ahead as next year’s fall television season. (If the impending Directors Guild and Screen Actors Guild strikes next year also go into effect, it’ll make matters all the worse.)
It’s my understanding that Heroes should have new episodes all the way up to the December break, so we should get to see all 11 episodes of Volume Two. After that, all bets are off, particularly if the WGA strike stretches out over the next few months.
As for the other shows I keep track of here at the Iguana, I’m uncertain where they are in terms of their production schedule for their current seasons.
And as far as series kicking off their new seasons next year (like Lost and Battlestar Galactica), their start dates could conceivably be pushed farther away, should this strike prove to be a protracted one.

Apparently an early casualty of the weeks leading up to the strike, the spin-off Heroes: Origins, which I’ve talked about here at the Iguana, has been shelved by NBC.
It’s been pulled off the schedule at the moment (it was set to air at the end of Heroes’ current sophomore season), though I certainly hope it’s not entirely dead. Maybe when the WGA strike has been settled, and provided next year’s impending strikes can be averted, NBC can resuscitate production on Origins.

Meanwhile, film studios were busy for most of this year gearing up for the possibility of a writers’ strike, and went into hyperdrive on a whole slew of pre-strike priority projects, like the Justice League live-action film—which I talked about in Afterthoughts (19) and (20)—in preparation for next year’s strike possibilities. Scripts for high-profile projects scheduled to shoot next year for a 2009 release (like the aforementioned Justice League) were also stockpiled by the studios.
While some projects are getting fast-tracked though, others could get shelved or side-tracked, depending on where they are in the development phase.
We’ll also be seeing some of the films originally scheduled for a 2007 release (like Michael Dougherty’s Trick ‘R Treat and David Moreau and Xavier Palud‘s redux of The Eye) hit cinemas next year.

There are a whole lot of other ramifications and intricacies to the WGA strike that go well beyond what I’ve mentioned here, so if you want to know more, get on over to variety.com, which has a host of articles covering the strike.
And let’s hope this one gets resolved soon.

(Images courtesy of bloody-disgusting.com [Scream Awards 2007 and Michael Dougherty] and yahoo.com [Heroes].)

STARDUST
(Review)

Being a Neil Gaiman admirer of long standing (since Black Orchid and Sandman first hit the comic book shelves oh-so-long-ago), I’ve been patiently waiting for his work in film to catch up.
His English translation of Hayao Miyazaki’s Mononoke-hime (Princess Mononoke) didn’t have enough of a Gaimanesque feel to satisfy (and thus, I’ve always preferred watching it in the original Japanese), and Dave McKean’s Mirrormask was one of those films I wish I loved more than I actually do.
Now though, there’s Matthew Vaughn’s adaptation of Stardust, and I’m quite happy now, thank you very much.

For what Stardust, in a not-so-small nutshell, is all about, I turn to Neil Gaiman himself, from his Guardian article, “Happily Ever After”:

“I wanted a young man who would set out on a quest - in this case a romantic quest, for the heart of Victoria Forester, the loveliest girl in his village. The village was somewhere in England, and was called Wall, after the wall that runs beside it, a dull-looking wall in a normal-looking meadow. And on the other side of the wall was Faerie - Faerie as a place or as a quality, rather than as a posh way of spelling fairy. Our hero would promise to bring back a fallen star, one that had fallen on the far side of the wall.

"And the star, I knew, would not, when he found it, be a lump of metallic rock. It would be a young woman with a broken leg, in a poor temper, with no desire to be dragged halfway across the world and presented to anyone’s girlfriend.

"On the way, we would encounter wicked witches, who would seek the star's heart to give back their youth, and seven lords (some living, some ghosts) who seek the star to confirm their inheritance. There would be obstacles of all kinds, and assistance from odd quarters. And the hero would win through, in the manner of heroes, not because he was especially wise or strong or brave, but because he had a good heart, and because it was his story.”

For anyone familiar with his writing, this should sound like vintage Gaiman, and Vaughn manages to capture a brilliant mixture of enchantment, humour, and suspense, to highlight Stardust’s traditional narrative of a boy’s passage into adulthood, of his coming into the man he was always meant to be.
Though it admittedly lacks some of Gaiman’s poetic language, the script by Jane Goldman and Vaughn nonetheless targets Stardust’s heart spot-on, giving modern audiences the sort of fairy tale even adults shouldn’t be ashamed to adore.

It’s all here, from the black nastiness of the ancient witch Lamia (Michelle Pfeiffer), to the transformation of Tristan (Dot The I’s Charlie Cox) from lovestruck fool to honourable, upstanding hero, to the narration by none other than genre icon Sir Ian McKellen.
The story is then ably supported by some fine performances, particularly from Cox, whose innocent and quiet exuberance gives us a Tristan who is never less than convincing, and constantly identifiable. His brash professions of love for Victoria (tabloid regular Sienna Miller, who’d worked previously with Vaughn on his directorial debut Layer Cake, and with Cox in Lasse Hallstrom’s Casanova) early in the tale play off quite nicely against his later actions to defend the star Yvaine (Claire Danes) from the sinister forces that hound her.
It’s clear this is still the same Tristan as before, and yet, it isn’t.
And it’s not just the wardrobe change. That’s the exterior mirroring the internal growth the character has experienced, and Cox conveys that well.

If there’s anywhere that Stardust may not quite hold up though, it’s in Dane’s performance, which may lack a certain level of enchantment for some; it’s not bad by any means, but save for one particular scene where she professes her own feelings for Tristan after she’s fed him some cheese, her Yvaine isn’t quite the blindingly glowing star the character is meant to be.
And then there’s the frankly repetitive score by Ilan Eshkeri (Vaughn’s composer on Layer Cake). Yes, it gets the job done, but does it have to sound so uniform?

Thankfully, Stardust makes up for some of its shortcomings by boasting the added treat of having actors like Robert De Niro (as notorious pirate of the skies Captain Shakespeare), Ricky Gervais of Seona Dancing and The Office fame (as Ferdy The Fence), Vaughn/Guy Ritchie cohort Jason Flemyng, and Madonna cohort Rupert Everett (as two of the lords, now princes in the film), picking up some of the slack.
Vaughn and company are also wise enough to know that good supporting performances should never steal the show, so we see just enough of the actors to want some more, while keeping the focus squarely on the narrative.

With Peter Jackson having wrapped up his epic Lord of the Rings trilogy in 2003, it’s been nearly four years since anything this earnest and magickal has hit the cinemas. The unabashed respect Stardust has for this kind of storytelling, the principal trait it shares with Jackson’s Rings (definitely no snarky, postmodern winks here), bodes well for the future of the fantasy film.
I can only hope Chris Weitz‘s adaptation of Philip Pullman’s The Golden Compass—not to mention Robert Zemeckis’ Beowulf, whose script Gaiman co-wrote, and Vaughn’s next project, a film adaptation of Marvel’s Thor—continues in this vein.

(Stardust OS courtesy of wildaboutmovies.com; images courtesy of aintitcool.com.)

THE DIRECTOR’S CHAIR (2)

TIM BURTON in
“THE BEST OF BURTON (In the Shadows of Mainstream Cinema)”

"Tim's kind of an interesting, eccentric sort-- although I don't know him too well as a person. He's the kind of guy you could talk to for three hours and still not know what he's all about. I think Tim is an intrinsically shy person, very closed, and won't open up to a stranger."
-- Bob Kane, creator of Batman (1992)

To a devoted film fanatic, the name "Tim Burton" evokes a very specific mood and atmosphere: the baroque finery of the gothic; the agony and ecstasy of the deviant; the elegance and beauty of the dark and sinister—all distilled through the mind of a Goth Peter Pan who happens to be an ex-Disney animator.
Taking a look at his body of work, it quickly becomes clear that the best of Burton's films display a strong underpinning of absurdist humor, which cohabits well with the often dark surroundings; a quirky sensibility that can be both ghoulishly macabre and hilarious at the same time. And though Burton stumbled with the lamentably horrid Planet of the Apes, he returned to the dark fairy tale whimsy of his earlier work with the moving Big Fish, which helped pave the way for his take on Charlie and the Chocolate Factory, the stop-motion animated feature, Corpse Bride (co-directed with Mike Johnson), and the upcoming (and long-long-long awaited) film adaptation of Sweeney Todd: The Demon Barber of Fleet Street.

It is in the light of this latest collaboration with his cinematic alter-ego, Johnny Depp, that this article looks back to view, through a looking-glass darkly, the best of Tim Burton's ouvre.

1) Edward Scissorhands (1990): a loving, moving paean to the life of the outsider, Johnny Depp's unfinished, leather-clad Pinnochio is every single one of us, incomplete and fractured, merely looking for someplace where we can belong

2) Batman/Batman Returns (1989/1992): quite possibly the most subversive of all the superhero movies made thus far; in what is, ostensibly, PG-13 kiddie fare, Burton injects strains of insanity, disfigurement, child abuse and abduction, attempted infanticide, and duality. Aided and abetted by scripts filled to the brim with zingy one-liners and double entendres, Burton targets dead-on, what Batman is all about: sex and psychology

3) Ed Wood (1994): based on the true-to-life story of the man responsible for what is largely considered the worst film ever made (Plan 9 from Outer Space), Ed Wood is another moving tribute, this time, to the misunderstood artist, the low-brow visionary whose self-belief serves as armor against the banal mundanity of life and society; with an Oscar-recognized performance by Martin Landau (as washed-up horror icon Bela Lugosi)

4) Big Fish (2003): the winsome, Technicolor fantasia of this adaptation of the Daniel Wallace novel is a brilliant return to Burton’s brand of moving, magical film making; the often tumultuous relationship of fathers and sons is explored within the context of a tale about stories and storytellers, with the ultimate postmodern turn of the storyteller becoming his own story in the end

Truth to tell, nearly all of Burton's films are worth seeing (the exception being Planet of the Apes), though Sleepy Hollow is pure eye candy with a rather lame and predictable script topped by a Scooby Doo ending.
(And lest anyone go up in arms over my choices, The Nightmare Before Christmas was based on a story by Burton, and produced by him, but directed by Henry Selick, who went on to direct the equally interesting James and the Giant Peach, and the underappreciated Monkeybone, as well as providing stop motion animation for Wes Anderson’s The Life Aquatic with Steve Zissou, and who is currently wrapping up the film adaptation of Neil Gaiman’s Coraline. Since Nightmare wasn't directed by Burton, it was ineligible for the list.)

So, for those of you who prefer walking the darker shadows of mainstream cinema, hearken to the works of Tim Burton, who, at his best, understands the universal truths that lie hidden in childhood bogeymen and fairy tales, and who, with a curious, innocent optimism, invites us to tread the twisted and tangled paths of the haunted forests of our own less-than-perfect existences.
And in so doing, in telling his quirky, fractured tales, he is, perhaps, opening up to millions of strangers worldwide, in the best way he knows how.

(The above article is a revised version of its identically-titled predecessor.)

(Tim Burton image courtesy of façade.com; Edward Scissorhands, Batman Returns, and Big Fish OS’s courtesy of impawards.com; Ed Wood DVD cover art courtesy of amazon.com.)

AFTERTHOUGHTS (11)

11.1 They’re like the coolest comic book team-ups ever! Seriously.
I mean, Guillermo Del Toro and Clive Barker?! Guillermo Del Toro and Neil Gaiman?! Awesomeness!
Awesomeness on a level so high, this wasn’t even on my most fevered wish list.
Awesomeness…
Oh. Right. Sorry.

Pause.
Rewind.
Play.

Like directors Luc Besson and Michael Bay, Guillermo Del Toro has, of late, made himself mighty conspicuous on the producing end of things, with films like Cronicas (Chronicles) and El Orfanato (The Orphanage).
Now, among the film projects Del Toro is currently producing are two of particular note.

The first, the long-awaited film adaptation of Neil Gaiman’s Death: The High Cost of Living.
Having languished in what Gaiman calls “… a kind of weird `getting-it-made’ hell” for quite a while now, this one’s gradually coming together at long last, and will reportedly contain scenes Gaiman had to cut out of the comic book due to the limited page count. Shia LaBeouf is also reportedly in the running to play Sexton Furnival, in what will be Gaiman’s feature film directorial debut.

The second, Daniel Simpson’s Born, a horror film starring Jennifer Connelly and Paul Bettany, with Del Toro and Barker in two of the producing chairs; Barker also co-wrote the script.
It’s about a stop-motion animator whose creations begin to live out some horrific nightmare in the real world.

What did I say?
Awesomeness.

11.2 And while we’re talking about Clive Barker, there’re some more Barkerian projects coming down the pike.

First up is the currently filming Midnight Meat Train (based on the Books of Blood short story of the same name), starring Bradley Cooper (Will Tippin from Alias) and Bullet Tooth Tony himself, Vinnie Jones. Also in the cast are Brooke Shields, Roger Bart (hilarious in The Producers and Frank Oz’s The Stepford Wives, and I’m guessing not so hilarious in Hostel: Part II), and Popular’s Leslie Bibb (soon to be seen in Trick ‘r Treat and Iron Man).
This one’s got the excellent cinematographer Jonathan Sela (John Moore’s The Omen remake and Martin Weisz’s Rohtenburg: review in Achive: June 2007) on-board, and is being directed by Ryuhei Kitamura (who helmed the bizarre gangsters and zombies flick, Versus).

Also in development are two other Books of Blood tales, Pig Blood Blues and The Book of Blood.
Additionally, Barker has penned the script for the upcoming Hellraiser remake.
There’s also the long-in-gestation The Thief of Always, which has been knocking about for a yonk’s age. It was recently reported that Shrek 2 and Spirit: Stallion of the Cimarron helmer Kelly Asbury, was taking the director’s chair.

Meanwhile, I honestly have no idea as to the status of Barker’s Tortured Souls, which seems to have fallen into the same “`getting-it-made’ hell” The High Cost of Living was in till recently.

Ah, well. There’s Midnight Meat Train to look forward to first.
And Born.
Sweet.

(Images courtesy of telegraph.co.uk [Guillermo Del Toro]; www-news.uchicago.edu [Neil Gaiman]; locusmag.com [Clive Barker]; clearvisionmpg.com [Born OS]; and shocktillyoudrop.com [Midnight Meat Train image of Vinnie Jones as Mahogany].)