My dark heart reflexively gives Tim Burton credit for turning Alice in Wonderland into a rich dystopian tale — one that favors weird over wonder, and changes the imaginary land’s name from Wonderland to Underland. It’s a typical Burton-ian film in a lot of ways. Fans of the wayward-haired director can enjoyably curl up to the familiar fraught palette and dreary sensibility, while welcoming Burton mainstays, Johnny Depp and Helena Bonham Carter. But allow me to crush any optimism that Burton has conjured some sort of dark magic this time around in what is manifestly an underwhelming Underland. I imagine Lewis Carroll, author of the original Alice in Wonderland (1865), rests comfortably in his grave knowing Burton’s take is at best loosely inspired by his original tale.

The more I see of Tim Burton’s upcoming Alice in Wonderland, the more I’m convinced it’s going to be a wonderfully dark adventure. Lets just hope the 3D effects aren’t as blunt and boring as in most films.

Look what fell out of the rabbit hole — a first look at Tim Burton’s imagining of Alice in Wonderland. Folks are saying this teaser has been “leaked” so presumably we’re catching a pretty early glimpse of things to come. The film, after all, doesn’t come out ’til next March.
Tim Burton is a visual [...]

Michael Mann helming a crime thriller based on the notorious John Dillinger that pits Johnny Depp against Christian Bale may sound like a Hollywood sure-thing. But don’t be surprised if you get a sense that someone has been through your pockets when it’s all said and done. Public Enemies may not rob you completely, but it’s nowhere near the pay-off audiences might expect. The film’s muted palette intends to play to the feel of the 1930’s. Instead, it ironically better represents the film’s pervasive weakness — shades of beige as far as a nearsighted person can see. With such rich, historical material on hand, it’s disappointing that the most wanted thing in Public Enemies is some true depth and color.