Over the last four decades,Tim Burtonhas established a curious career, which is fitting for a filmmaker so invested in the unusual. Once the preeminent auteur of gothic outsider angst, Burton’s signature stylistic indulgence became both the calling card for his “brand”, so to speak, and its greatest weakness. Burton has always functioned at a somewhat singular middle ground, right on the line of mainstream and niche (hence his Hot Topic popularity), and that unique sensibility has led to a one-of-a-kind career that has established him as a brilliant but inconsistent filmmaker.
The inconsistency can be infuriating and make easy to take the brilliance for granted, but Burton’s work is spellbinding as often as it’s grating, and there’s no way around the fact that he has a singular mind responsible for some of the most inspired, original cinematic landscapes of all time. How can you discount the man who gave us a world as schlock-soaked and unprecedented asBeetlejuice,a film as insanely inventive asPee-Wee’s Big Adventure, or a character as sweetly macabre asEdward Scissorhands? While it’s true that Burton has helmed some real duds in his time, he’s also crafted a handful of truly great films. When Burton is firing on all cylinders, he is a furious force of creativity and vision and there’s simply no one else out there that can do what he does as well as he does it. So let’s take a look back on that iconoclastic career through all the highs and lows, with Burton’s films ranked worst to best below.
20’Alice in Wonderland' (2010)
Starring Mia Wasikowska, Johnny Depp and Helena Bonham Carter
Woof. What a drag. What to say aboutAlice in Wonderland?Lewis Carroll’s classic children’s tale should be a natural fit for Burton’s fantastical sensibilities and fondness for adolescent outcasts, but somehow the film misses the mark to an astounding extent. Perhaps it’s the soulless CGI wash or the utter disregard for narrative coherence, or perhaps Burton simply isn’t as fitted to the material as logic would suggest, but the final result is a limp adaptation that almost turns the extraordinary into the mundane. Despite hints of inspiration,the so-called Wonderland is strikingly short on wonders.
Which is not to say the film doesn’t deliver dazzling visuals, they just don’t add up to anything. The ideation of Wonderland’s landscape is aesthetically pleasing, but it never inspires more than a surface-level appreciation. Worse yet, the characters themselves are by-and-large a bit bland, which is perhaps the greatest offense to the source material. You do not believe that this Alice believes even a single impossible thing before breakfast. You do not believe the Mad Hatter is truly mad, indeed it’s a prime example ofJohnny Depp’s turn toward caricature over character, making for a sad but silly man who never lives up to his name. The highlight isHelena Bonham Carter’s delightful turn as the ever-screaming Queen of Hearts, and perhaps that’s because it’s the element where Burton’s fingerprints are most obvious. Carter’s Queen isn’t just volatile and murderous, she’s overcompensating for her insecurities as a malformed oddity. But that clever spin on the odd and outcast is sorely missing from the rest of the proceedings, as is any trace of soulfulness or inspiration, leaving a pretty but petty adaptation that underserves Carrol’s world of wonders and nonsense.
Alice in Wonderland
Nineteen-year-old Alice returns to the fantastical world of Wonderland, where she reunites with her old friends, like the Mad Hatter, and confronts the Red Queen. With prophecies and battles ahead, Alice must embrace her destiny to end the tyrannical reign and restore peace to Wonderland.
19’Dumbo' (2019)
Starring Eva Green, Danny DeVito, Michael Keaton
Let’s not mince words: Burton’s live-action remake ofDumboisa truly depressing experience. And what a damn shame, is there a more endearing, tender film in all of the Disney canon than the 1941 tale of a bullied elephant who learns to fly? Maybe the worst part ofDumbo2019 is the overstuffed, overlong script that makes the titular hero a supporting character, or maybe it’s the creepy photorealistic effects that make the animals
Though his character has rightly been criticized in recent times,Walt Disneywas an innovative genius who knew how to grip the heartstrings. Compare the soulless showbiz drama and CGI veneer of this remake to the deeply sympathetic and ingenious storytelling of the original; the contrast is stark. In her third feature collaboration with the auteur, Eva Green easily steals the show as a trapeze artist Colette Marchant. She’s a brilliant actress who’s a natural fit for Burton’s worlds;it’s a pity they haven’t collaborated on something with a good script.-Samuel R. Murrian
18’Planet of the Apes' (2001)
Starring Mark Wahlberg, Helena Bonham Carter and Tim Roth
To put it bluntly, Burton’sPlanet of the Apesremake is total misfire. And perhaps strangest of all, it feels like it could have been directed by anyone. You can barely even feel Burton’s fingerprints (which are usually so evident) on the uninspired actioner. Instead, it’s overwhelmingly generic, thematically bankrupt, and visually unpleasant to look at. And then there’s the issue of the cast. While it makes sense to put your most talented actors under heavy prosthetics, knowing that they have the skills to tackle the challenge, it almost seems as if Burton actively sought out the worst possible performers for his human characters.Mark Wahlbergis wooden and possibly the least charming he’s even been as the hero of the piece, an air force astronaut who lands on a planet where apes are the overlords and humanity has become their subjects, and gorgeous though she may be, it’s all too easy to see whyEstella Warren’s studio prospects dried up after what was touted as her breakout role (though I’m sureKangaroo Jackdidn’t help either).
Burton seems to be attempting to channel those B-movie sensibilities that madeMars Attacks!such a fun watch, butPlanet of the Apeshas none of the panache and personality that madeMars Attacks!work.What it does have is a shoddy script, humdrum world-building, and a chaffing final twist that acts as the mortal blow for an already grating retread of a sci-fi great. Burton deserves some credit for avoiding the temptation to simply reproduce the original film, but his career has consistently proved, originality alone just isn’t enough.
Planet of the Apes
Leo Davidson, an astronaut, finds himself stranded on a strange planet governed by intelligent apes after his spacecraft crashes during a reconnaissance mission. On this planet, humans are treated as subordinates, and Leo must navigate a society dominated by apes. He befriends Ari, a progressive ape who opposes the cruel treatment of humans, and together they work to challenge the tyrannical rule of General Thade. As they delve deeper into the planet’s secrets, Leo’s quest to return home becomes
17’Dark Shadows' (2012)
Starring Johnny Depp, Michelle Pfeiffer, Eva Green
Dark Shadowsis the nadir of Burton and Depp’s long-standing collaboration, which might be why they haven’t reunited since it dropped back in 2012. There are elements inDark Shadowsthat hint at a better movie hiding behind the nonsense, but they are only glimmers, and faint ones at that. The overwhelming bigger picture is that of a complete mess and a team of creatives who appear to be barely trying at all. As Barnabas Collins, a once-prominent lord cursed to vampirism by the woman he spurned (Eva Green), Depp is nothing but a bundle of tics and scenery-chewing hamishness. Likewise,Helena Bonham Carterappears to be simply hitting her marks (though she’s talented enough to make that look better than lesser actors),Bella Heathcotemight actually be sleep-waking through the film,Michelle PfeifferandChloe-Grace Moretzessentially have nothing to do, and whileEva Greenis a powerful on-screen presence as Barnabas' tormenter Angelique, Burton seems intent on channeling her energy into an unbridled caricature that makes her unruly obsession with Barnabas utterly nonsensical. (Not to mention the fact that their complete lack of chemistry makes the ridiculous sex scenes brutally cringe-worthy.)
The biggest flaw, however, is the story, which satisfies neither fans of the original series nor the uninitiated.There’s promise in this small-town rivalry, in Angelique’s destructive, all-consuming lust, and in the mysteries of the supernatural magic at work, but nothing ever comes to fruition. Threads are left dangling, or introduced at random (like lycanthropy, because sure! Why not?). Bonham Carter has the most relatable, human storyline, an aging woman desperate to uncover the secrets to Barnabas' immortality, but she’s quickly dispatched and dismissed, all for nothing but a pre-credits punchline. It’s also, and this is unusual for Burton, just kind of an ugly movie with visuals so reductive you get the sense that the aesthetically inspired director may have reached the bottom of his creative well (fortunately,Frankenweeniecame along later that year to prove he’s still got it with the right material). Ultimately,Dark Shadowsis an unfortunate misfire – it’s so weird, it should be fun, but insteadit’s tonally off-balance, narratively mangled, and visually mediocre.
Dark Shadows
16’Miss Peregrine’s Home for Peculiar Children' (2016)
Directed by Eva Green, Asa Butterfield and Samuel L. Jackson
Burton’s second collaboration with Eva Green works a little better thanDark Shadows, mainly because it’s rather understated (a word you won’t see too often in this list), and leans heavily on the actress’s lead performance. She’s terrific. Asa Butterfield stars as Jake, who follows a trail left by his deceased grandmother, leading to the whimsical, supernatural institution of the title.Judi Dench,Terence StampandElla Purnellco-star inMiss Peregrine’s School for Peculiar Children.
Based on the novelMiss Peregrine’s Home For Peculiar ChildrenbyRansom Riggs, the mostly family-friendly film has some admirable world-building, but it never really finds its footing or truly soars. Perhaps the biggest part of this is the fact that Butterfield, who was terrific just a few years earlier inMartin Scorsese’sHugo, isn’t given much of a character here.The world around him is diverting enough, but it never reaches the heights of Burton at his best.-Samuel R. Murrian
Miss Peregrine’s Home for Peculiar Children
15’Corpse Bride' (2005)
Starring Johnny Depp, Helena Bonham Carter and Emily Watson
Corpse Brideis some of the minor-est of minor Burton. It is simply too meh to bear. After a decade of receiving the lion’s share of credit for theHenry Sellick-helmedNightmare Before Christmas(Burton conceived it but was too busy withBatman Returnsto direct), Burton finally directed his own stop-motion saga to middling, rather forgettable results. It suffers for the fact that it plays like a collection of greatest hits, but the real problem is the story, which gives you absolutely no reason to care about anybody.Johnny Depp’s protagonist is a non-character who merely bumbles in and out of opportunities and consequences. Meanwhile,Helena Bonham Carter’s titular Corpse Bride is one of the most inactive, unintelligent movie characters in recent memory. Betrayed by her betrothed on the night of their wedding, her great afterlife plan is to simply sort of lay there in the dirt until someone comes along and proposes to her. And then gets all hurt and offended when the mortal man in love with another woman (I guess “in love” since they literally just met) doesn’t want to give up his whole life for the underworld. It’s a special sort of stupid and it makes it impossible to invest in any of the action. EvenDanny Elfman’s score feels half-hearted and uninspired, almost as if he’s plagiarizing his own previous work, without a single song or composition moment that truly hits the mark.
However, ifCorpse Bridehas a saving grace, it’s the gorgeous stop-motion animation from LAIKA (done on-contract before they officially opened their doors as a standalone studio). While Burton’s vision for the underworld isn’t exactly revelatory (it’s mostly a bunch of skeletons in a wash of green and purple light), the animation itself is quite spectacular and an exciting early glimpse at the greatness the burgeoning stop-motion studio would go on to achieve. Animation aside,Corpse Bridefizzles out as soon as it begins, an uninspired pastiche of Burton’s greater workthat, for all its visual impact, never grabs a narrative foothold.
14’Mars Attacks!' (1996)
Starring Glenn Close, Michael J. Fox and Jack Nicholson
If Burton is often guilty of style over substance,Mars Attacks!isall style, no substance. The title is literally the plot of the film. Martians show up on earth. Then they attack. That’s it. That’s the movie. It’s not bad, in fact, it’s pretty fun, it’s just not much. Fortunately, if style’s all you got,Mars Attacks!has got it in spades. A doting spoof and homage to 1950s alien invasion pics, it’s pure B-movie schlock and surprisingly sadistic. As the Martians stage their no-prisoners invasion, Burton relishes in finding new ways to dispatch and torment his earthlings, which are played by an insanely impressive cast includingNatalie Portman, Glenn Close, Pam Grier, Michael J. Fox, Jack Black, Annette Bening,andJack Nicholson.
But this movie isn’t about the acting, and most of them end up without all much to do. The political satire is on-the-nose and the plot…wait just kidding, there isn’t really a plot, and without a narrative to hold things together, it’s the top-notch production value that ends up being the real star of the film. Spectacle isn’t enough to be great, but in this case, it’s enough to be good enough thanks to how Burton lovingly harkens back to the films that so obviously influenced him as a nascent filmmaker.
Mars Attacks!
13’Charlie and the Chocolate Factory' (2005)
Starring Johnny Depp, Freddie Highmore and Missi Pyle
Charlie and the Chocolate Factorygets a lot right, but what it gets wrong cripples the film so completely that no amount of stunning imagery and creative reinterpretation can fully salvage it. What it gets wrong above all, and what it can never recover from, is the character of Willy Wonka, the outcast candyman responsible for the film’s world of wonders. You can’t topGene Wilder’s iconic performance, so it’s easy to understand why Burton completely reenvisioned the character, but Johnny Depp plays him in such broad strokes that he becomes something closer to a parody than a character. Maybe the biggest affront to the character is that Burton and Depp want to have it both ways with the character — he’s a sinister, cruel teacher to bad children (and it’s hinted more than once that he’s utterly unconcerned if they make it out alive) but he’s also a wounded man-child who’s supposed to earn audience sympathy.
But when it comes to reinvention, the rest of the film mostly hits the mark.The scenes between Charlie and his family play beautifully, and Burton’s take on Wonka’s chocolate factory is a stunning display of literally candy-colored terrain — the kind of visually resplendent fantasy-world that can thrill the younger, CGI-raised generation. I’ll also go to bat for Burton’s weird (like, really weird) creative calls on the Oompa Loompa’s musical numbers. They’re creepy and bizarre, and I can’t think of a single thing I’ve seen like them before. WhileCharlie and the Chocolate Factory’s incarnation of Willy Wonka is an utter failure (or an “insult”, as Wilder called it), you have to commend Burton’s dedication to fully realizing his reinvented world.
Charlie and the Chocolate Factory
A young boy wins a tour through the most magnificent chocolate factory in the world, led by the world’s most unusual candy maker.
12’Beetlejuice Beetlejuice' (2024)
Starring Michael Keaton, Jenna Ortega and Catherine O’Hara
If you are a fan of the originalBeetlejuice, I’ve got good news.Beetlejuice Beetlejuiceis actually a continuation of the first film, both stylistically and storywise.Burton’s vision from 1988 remains fully intact. If anything, he has expanded on world-building. It’s the best possible outcome from the studio’s blatant cash grab as a singular vision is rigorously and thoughtfully preserved in the storytelling. [InBeetlejuice Beetlejuice], the Maitlands (Geena DavisandAlec Baldwin) from the original have moved on. The Deetzs, who bought the house haunted by them decades ago, though, are still around. Lydia (Winona Ryder), whom we last saw as a sulky goth teen,has parlayed her abilities as a medium into a hosting gig on a show vaguely recalling Travel Channel’sThe Dead Files, complete with night vision camera footage of her investigating paranormal activities. Lydia now has her own petulant teen, Astrid (Jenna Ortega), who is temperamentally her mother’s daughter but exhibits zero interest in the paranormal.
Rife with nostalgia,Beetlejuice Beetlejuiceis intended for ’80s babies. It’s truly exciting to see Burton’s return to form, making something both grotesque and funny after struggling to connect with some ambitious projects without Johnny Depp. He appears to be energized and having fun, something we haven’t seen in quite a while. -Martin Tsai
Beetlejuice Beetlejuice
Beetlejuice Beetlejuice: The sequel to the cult classic brings back the infamous ghost Beetlejuice, who is unleashed upon a modern family, setting off a chain of hilarious and supernatural events. As mischief ensues, both the living and the deceased must deal with the resulting chaos, blending comedic antics with ghostly intrigue.
11’Pee-Wee’s Big Adventure' (1985)
Starring Paul Reubens, E.G Daily and Mark Holton
As Burton’s feature film debut,Pee-Wee’s Big Adventureis a bit of an oddity on his resume, but a fine showcase of the inventive world-building he would come to be known for. Centered onPaul Reubens' stand-up character Pee-Wee Herman, a consummate man-child with a theatrical flair and a continuous case of the giggles, Burton tackled the task of turning this bizarre, bleating character creation into a feature film, and against all odds he succeeded.
Pee-Wee’s Big Adventureis essentially a funhouse in film form.
That success comes out of stylistic commitment to a cartoonish zeal and the fact thatPee-Wee’s Big Adventureis essentially a funhouse in film form. When Pee-Wee’s beloved bicycle goes missing, he heads out in search of the culprit on a wild, winding road trip that takes him from the Alamo, to the passenger seat of a fugitive’s convertible, to the Warner Bros. Lot in Burbank, California and all the while Pee-Wee just giggles and guffaws and clowns it up, no matter what life throws at him. Pee-Wee is a bit of an idiot and a clown, but that’s part of his charm, and you can’t help but be won over by his unerring love for life and its adventures, no matter what comes his way. Burton shows incredible command in his first film, especially dealing with such an unusual, unruly character, and introduced himself to the film world asa voice to watch for those who want a cinematic experience unlike any they had seen before.
