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Editorial Reviews
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For those who never thought Disney would release a film in which Santa Claus is kidnapped and tortured, well, here it is! The full title is Tim Burton's The Nightmare Before Christmas, which should give you an idea of the tone of this stop-action animated musical/fantasy/horror/comedy. It is based on characters created by Burton, the former Disney animator best known as the director of Pee-wee's Big Adventure, Beetlejuice, Edward Scissorhands, and the first two Batman movies. His benignly scary-funny sensibility dominates the story of Halloweentown resident Jack Skellington (voice by Danny Elfman, who also wrote the songs), who stumbles on a bizarre and fascinating alternative universe called ... Christmastown! Directed by Henry Selick (who later made the delightful James and the Giant Peach), this PG-rated picture has a reassuringly light touch. As Roger Ebert noted in his review, "some of the Halloween creatures might be a tad scary for smaller children, but this is the kind of movie older kids will eat up; it has the kind of offbeat, subversive energy that tells them wonderful things are likely to happen." --Jim Emerson
From The New Yorker
This full-length animated movie was shot in stop motion, with all the febrile, twittery fascination that the medium exerts; it has a magic-toy shop feeling, with unexpected objects stuttering into life. Directed by Henry Selick, it was devised and co-produced by Tim Burton, who leaves a trail of his familiar obsessions: graveyard humor, whirling snow, a velvety darkness. But the atmosphere is too rich for the pallid plot: Jack Skellington, the bony master of ceremonies in Halloweentown, discovers the spirit of Christmas and tries to import it into his ghoulish world. The clash of styles-demonic vs. cute-pays off only toward the end; for all the witty, festering details (look out for the cat that howls like a siren when you crank its tail), the film is strangely static. Danny Elfman's score is lush and shocking but much too good for his lyrics (or for what you can hear of them). Children may find it too black and baffling; adults with nervous dispositions should be nicely freaked out. -Anthony Lane
Copyright © 2006 The New Yorker
For those who never thought Disney would release a film in which Santa Claus is kidnapped and tortured, well, here it is! The full title is Tim Burton's The Nightmare Before Christmas, which should give you an idea of the tone of this stop-action animated musical/fantasy/horror/comedy. It is based on characters created by Burton, the former Disney animator best known as the director of Pee-wee's Big Adventure, Beetlejuice, Edward Scissorhands, and the first two Batman movies. His benignly scary-funny sensibility dominates the story of Halloweentown resident Jack Skellington (voice by Danny Elfman, who also wrote the songs), who stumbles on a bizarre and fascinating alternative universe called ... Christmastown! Directed by Henry Selick (who later made the delightful James and the Giant Peach), this PG-rated picture has a reassuringly light touch. As Roger Ebert noted in his review, "some of the Halloween creatures might be a tad scary for smaller children, but this is the kind of movie older kids will eat up; it has the kind of offbeat, subversive energy that tells them wonderful things are likely to happen." --Jim Emerson
From The New Yorker
This full-length animated movie was shot in stop motion, with all the febrile, twittery fascination that the medium exerts; it has a magic-toy shop feeling, with unexpected objects stuttering into life. Directed by Henry Selick, it was devised and co-produced by Tim Burton, who leaves a trail of his familiar obsessions: graveyard humor, whirling snow, a velvety darkness. But the atmosphere is too rich for the pallid plot: Jack Skellington, the bony master of ceremonies in Halloweentown, discovers the spirit of Christmas and tries to import it into his ghoulish world. The clash of styles-demonic vs. cute-pays off only toward the end; for all the witty, festering details (look out for the cat that howls like a siren when you crank its tail), the film is strangely static. Danny Elfman's score is lush and shocking but much too good for his lyrics (or for what you can hear of them). Children may find it too black and baffling; adults with nervous dispositions should be nicely freaked out. -Anthony Lane
Copyright © 2006 The New Yorker
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