'Miss Peregrine's Home for Peculiar Children' is not one of Tim Burton's best films, with 'Edward Scissorhands' and 'Ed Wood' being two of my all-time favourite films, and still get much enjoyment out of 'Beetlejuice', 'Sleepy Hollow' and his 'Batman' films.
It is however one of his better films since 'Big Fish' along with 'Frankenweenie' and 'Sweeney Todd'. Much better than 'Charlie and the Chocolate Factory', 'Alice in Wonderland' and 'Dark Shadows' (as well as his worst film 'Planet of the Apes') at any rate. As an adaptation of the book, which is excellent by the way, 'Miss Peregrine's Home for Peculiar Children' is not a good adaptation, in fact as said it is a poor one, but as none of Burton's source-material-to-film adaptations are faithful treatments of their source material this was to be expected.
On the other hand, 'Miss Peregrine's Home for Peculiar Children' has a lot to recommend on its own terms, which is in all honesty a much fairer way to judge. It is patchy yes, but it to me was often very enjoyable and got the feeling that Burton is regaining his touch. Starting with the problems, some of the first half, while setting the scene and the context of the story very well, did feel jumpy and rushed and things are left a bit too vague and hanging out in the open without explanation. The editing, again in the first half, felt on the disorganised side.
Asa Butterfield has been criticised. Personal feelings were mixed regarding his performance, he looks the part but has a tendency to be stiff and not as emotionally involved as he should be. This said, this was always going to be a potential problem due to how the character is written, with much of his dialogue being internalised. Judi Dench and Chris O'Dowd (who should not have attempted the accent because it did not suit him at all) are squandered in their roles.
Conversely, 'Miss Peregrine's Home for Peculiar Children' looks fantastic, with lots of sheer beauty and a Gothic touch (unmistakable Burton visual style really). The special effects are also very good, especially in the climax like the 'Jason and the Argonauts'-like skeletons, while the film is exquisitely photographed. The music is fitting, with a moody gloom but also pathos, but no themes that stand out as unforgettable (like much of Danny Elfman's score for 'Edward Scissorhands' or Howard Shore's opening theme for 'Ed Wood').
The script is playful yet sincere, exploring death and grief sensitively but with a darkness without being traumatising. Sure, some of the film is spooky but not in a way that will make parents outrage about unsuitability for their children (a very old IMDb and internet cliché that has become overused and extremely irritating). While there are problems with the story in the first half, the second half is deliciously dark, forebodingly gloomy, impishly humorous and poignant. There are memorable scenes here, such as the bombing, the chemistry between the two young characters and especially the thrilling climax.
Burton's style is unmistakable in its Gothic darkness, impish humour and in-your-face weirdness but not in a way that distracts from the storytelling, instead adding to it (unlike a few of his films in recent years), with an otherworldly atmosphere and spine-tingling thrills. Not all the performances completely work, but most of the cast come off very well. Top honours goes to a fabulous Eva Green, and Terence Stamp is always great value and sterling support. Ella Purnell is very affecting too, while Samuel L. Jackson is campy fun as the antagonist (not a necessary character necessarily but a comedic touch here and there did bring some levity to the predominant darkness and emotional wallop).
On the whole, patchy but very enjoyable taking it on its own merits. 7/10 Bethany Cox
It is however one of his better films since 'Big Fish' along with 'Frankenweenie' and 'Sweeney Todd'. Much better than 'Charlie and the Chocolate Factory', 'Alice in Wonderland' and 'Dark Shadows' (as well as his worst film 'Planet of the Apes') at any rate. As an adaptation of the book, which is excellent by the way, 'Miss Peregrine's Home for Peculiar Children' is not a good adaptation, in fact as said it is a poor one, but as none of Burton's source-material-to-film adaptations are faithful treatments of their source material this was to be expected.
On the other hand, 'Miss Peregrine's Home for Peculiar Children' has a lot to recommend on its own terms, which is in all honesty a much fairer way to judge. It is patchy yes, but it to me was often very enjoyable and got the feeling that Burton is regaining his touch. Starting with the problems, some of the first half, while setting the scene and the context of the story very well, did feel jumpy and rushed and things are left a bit too vague and hanging out in the open without explanation. The editing, again in the first half, felt on the disorganised side.
Asa Butterfield has been criticised. Personal feelings were mixed regarding his performance, he looks the part but has a tendency to be stiff and not as emotionally involved as he should be. This said, this was always going to be a potential problem due to how the character is written, with much of his dialogue being internalised. Judi Dench and Chris O'Dowd (who should not have attempted the accent because it did not suit him at all) are squandered in their roles.
Conversely, 'Miss Peregrine's Home for Peculiar Children' looks fantastic, with lots of sheer beauty and a Gothic touch (unmistakable Burton visual style really). The special effects are also very good, especially in the climax like the 'Jason and the Argonauts'-like skeletons, while the film is exquisitely photographed. The music is fitting, with a moody gloom but also pathos, but no themes that stand out as unforgettable (like much of Danny Elfman's score for 'Edward Scissorhands' or Howard Shore's opening theme for 'Ed Wood').
The script is playful yet sincere, exploring death and grief sensitively but with a darkness without being traumatising. Sure, some of the film is spooky but not in a way that will make parents outrage about unsuitability for their children (a very old IMDb and internet cliché that has become overused and extremely irritating). While there are problems with the story in the first half, the second half is deliciously dark, forebodingly gloomy, impishly humorous and poignant. There are memorable scenes here, such as the bombing, the chemistry between the two young characters and especially the thrilling climax.
Burton's style is unmistakable in its Gothic darkness, impish humour and in-your-face weirdness but not in a way that distracts from the storytelling, instead adding to it (unlike a few of his films in recent years), with an otherworldly atmosphere and spine-tingling thrills. Not all the performances completely work, but most of the cast come off very well. Top honours goes to a fabulous Eva Green, and Terence Stamp is always great value and sterling support. Ella Purnell is very affecting too, while Samuel L. Jackson is campy fun as the antagonist (not a necessary character necessarily but a comedic touch here and there did bring some levity to the predominant darkness and emotional wallop).
On the whole, patchy but very enjoyable taking it on its own merits. 7/10 Bethany Cox