Tag Archives: Tim Burton

Rocks In The Attic #646: John Williams – ‘Indiana Jones And The Temple Of Doom’ (1984)

RITA#646The other night, after a hard week at work, I sat down to watch Kingsman: The Golden Circle with my wife. I wasn’t expecting much – I hadn’t heard good things – but I wasn’t prepared for how stunningly average it was. Would I say it is a bad film? No, not really. It was technically well made, by a more than competent director (Matthew Vaughn), but it was instantly forgettable.

When I grew up through the 1980s, there seemed to be fantastic genre films coming out all the time, dotted with the occasional howler (Superman IV: The Quest For Peace, Jaws IV: The Revenge – possibly anything with “IV” in the title, although Rocky IV was a banger). These days, the howlers are relatively easy to avoid. Production of big marquee films tends to be spread across multiple studios sharing the risk of a multi-million dollar budget, and as a result they don’t seem to let a franchise die at the hands of a bad script or a deluded director.

Hollywood’s destructive habit in the last decade is movie-making by numbers; a manifesto of mediocrity. The sheer amount of unremarkable genre films it has produced is testament to the absence of risk that directors and producers are willing to take in order to make something that stands out.

I remember reading an interview with Marvel Studios president Kevin Feige back in 2009, where he outlined his plans for the Marvel Cinematic Universe (MCU). His strategy of an overloaded release schedule – 4 or 5 films a year – seemed too good to be true. That’ll never happen, I thought. But it now feels like there’s a new Marvel film out every other month.

The other unbelievable aspect of his strategy was talk of bringing Captain America, Iron Man, Thor and the Hulk together for an Avengers movie. That will definitely never happen, I thought. The Hulk and Iron Man had been revitalised in film by Marvel already, and I just couldn’t see Robert Downey Jr. and Ed Norton sharing a film together with whatever big names they had lined up to play Captain America and Thor. In a way I was right, as they eventually replaced Norton with a different (cheaper?) actor in Mark Ruffalo, but Feige’s vision ultimately proved true. Ensemble genre films are a dime a dozen these days, and it’s rare for a superhero film to be limited to only one or two key roles. This week saw the release of the trailer for the third (?) Avengers film, introducing the Guardians Of The Galaxy into the earth-bound world of the Avengers. Around and around it goes. Pop will eat itself.

But when Feige sits down in his old age – in his superhero-sized mansion – and tells his privileged grandchildren about his life’s work, how will he feel? For the – by my count – seventeen (!) MCU films that have seen the light of day since 2008, I can really only put my finger on one or two that I would hold up as being great films. Iron Man (2008) and The Avengers (2012) stand head and shoulders above the rest, and while there have been great moments among the others, in general they’re all junk; popcorn escapism for the masses.

The rot set in early on, with 2010’s Iron Man 2. How could they get the sequel so wrong, when they got the first Iron Man so right? I spoke to a fan of the series upon its release, and he couldn’t see any difference between the two. That’s the problem with casual film viewers. They just want what they expect, and they’ll happily visit the cinema every time for that hit of familiarity – Coca-cola in their veins, popcorn in their arteries, and the anticipation of safe storytelling that’s not going to push any boundaries and make them feel uncomfortable. Narrative left-turns in cinema these days are met with whispered conversations in the dark as couples explain to each other what is happening on screen.

Marvel’s now-misguided strategy to steady the ship was to deliver a third iteration in the Iron Man series (2013) which was so incredibly poor, that they should have developed a new category at the Academy Awards to recognise it. ‘And the ‘Best Mediocre Picture’ Oscar goes to…’

If Marvel’s attempts at serious filmmaking are to be laughed at, I’m not sure what we’re supposed to think of their rivals’ efforts at DC. Christopher Nolan reinvigorated the modern superhero film with Batman Begins in 2005, and so you’d think his successors might have learnt a thing or two from him. But as soon as he stepped away from the director’s chair, the DC Extended Universe (DCEU) kicked off with one of the dullest superhero films ever committed to celluloid (Man Of Steel, 2013).

Where Richard Donner’s Superman: The Movie (1978) was a glorious piece of wondrous entertainment, setting a high bar that wasn’t really challenged until Tim Burton’s Batman (1989), Zack Snyder’s Man Of Steel is a turgid mess. I seem to remember a fight sequence at the end that lasted around three hours. I didn’t care about any of the characters, and I secretly hoped that mankind would have been wiped off the screen just so that it would have put me out of my misery.

I might have watched Donner’s Superman and Richard Lester’s Superman II close to a hundred times each. I wouldn’t watch Man Of Steel again if my life depended on it.

Which brings me to Indiana Jones And The Temple Of Doom. Now, Steven Spielberg knew how to make a good genre film back in the ‘80s. Easily the weakest of the original trilogy – although not according to my old buddy Quentin Tarantino, who sees it as the strongest of the three – it’s still an infinitely more enjoyable film than the unremarkable dross dealt out to us by Hollywood in the twenty-first century.

Hit: Anything Goes

Hidden Gem: Finale And End Credits

Rocks In The Attic #363: Prince – ‘Batman (O.S.T.)’ (1989)

RITA#363This was the first album I remember owning on CD. I think my brother bought it me for what would have been my eleventh birthday in 1989. Having owned it at such an impressionable age, the album resonates with me probably more than it should. I used to think the world of it, now I just hear a big mess – although that’s probably just Prince, isn’t it?

One thing’s for certain – this soundtrack is so ingrained with the style of Tim Burton, I can’t really imagine the film without it. Strangely, it fits perfectly with Danny Elfman’s score too. Imagine Prince’s soundtrack over Christopher Nolan’s first Batman film, Batman Begins – it just doesn’t fit. As much as I love the Nolan trilogy – there’s not a great deal of humour in them, so you can’t exactly imagine something like Partyman playing out over scenes of Heath Ledger as the Joker.

The messiest song on the album is definitely Batdance, yet I loved every second of this when it was released. To my eleven year old ears, it just sounded so unworldly. Try watching the music video of it on YouTube now, it’s just horrible. Man, I didn’t have a great deal of taste when I was eleven (some would say I still don’t).

The bad thing about the Nolan trilogy being so good is that it makes the Tim Burton films look so weak in comparison. It’s an unfair comparison though. That first Burton film was the first decent superhero film in a long time, possible since Superman II – that’s a staggering nine years. These days, there seems to be nine superhero movies every year – calm down Kevin Fiege, it should be about quality, not quantity…

Hit: Partyman

Hidden Gem: Trust

Rocks In The Attic #159: Danny Elfman – ‘Batman (O.S.T.)’ (1989)

This is a very busy score – but then again so is everything that Danny Elfman does. His theme for The Simpsons is all over the place, and there’s not really a better composer suited to score the madness that Tim Burton injects into his films.

I’ve never been a big Tim Burton fan – early on I spotted his inability to create a truly three-dimensional world. Beetlejuice made me laugh, but Edward Scissorhands left me feeling cold, and I’ve felt that way ever since about most of the stuff he churns out. 1989’s Batman however, is another matter.

I was very much into Batman at the time it was released, having just got back from a holiday in the USA where I had started to read comic books. So I eagerly awaited the release of the film, and I even remember going to see it on opening night, probably with my Dad. Since Superman II, there hadn’t really been a decent superhero film, so I literally couldn’t wait to see this. My impatience was demostrated by the fact that I read the graphic novel of the film, before I watched the film itself – a huge mistake I learned to never make again.

In hindsight, it isn’t a fantastic film – especially now that Christopher Nolan has shown how a Batman film should be made – but I still have fond memories of it. Part of the nostalgia I have for the film, is the music, which proved that a superhero score could be composed by somebody other than John Williams. The Batman Theme is great, and although it’s nowhere near as majestic as Williams’ Superman Theme, it seems to suit Batman as it’s darker, moodier, and more fitting to the whole Dark Knight ethos.

This score is a perfect companion piece to Prince’s Batman soundtrack (which I also have on vinyl). Where this is dark and full of shadows, Prince’s offering is more light-hearted and almost futuristic in its sound. Let’s broaden our minds…

Hit: The Batman Theme

Hidden Gem: Descent Into Mystery