Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follows a young man... read more

Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follows a young man named Edward (Johnny Depp), who was created by an inventor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be perched above a pastel-colored suburb inhabited by breadwinning husbands and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her, where she hopes to help him with his pasty complexion and those nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighborhood--but the mood turns just as swiftly against the outsider when he starts to feel his own desires, particularly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice, Batman) are visual spectacles with elements of fantasy, but Edward Scissorhands is more tender and personal than the others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to film, captures Edward's childlike vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for the monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare. --Bret Fetzer (hide)

Loosely based on the popular Disney theme park audio-animatronic ride, one might expect a modicum of good-natured "Yo-ho-ho-ing"--or maybe a little rousing Korngold/Errol Flynn/Captain Blood orchestral romanticism--here. Instead... read more

Loosely based on the popular Disney theme park audio-animatronic ride, one might expect a modicum of good-natured "Yo-ho-ho-ing"--or maybe a little rousing Korngold/Errol Flynn/Captain Blood orchestral romanticism--here. Instead composer Klaus Badelt initially entices us with some sparing Celtic folk charm, then unleashes a furious broadside of symphonic and choral thunder to rival his ominous score for K-19. The composer's fellow German mentor is an obvious influence throughout (the album is credited with a wink as "Score overproduced by Hans 'Long John' Zimmer") but Badelt brings his own muscular instincts to bear throughout. Perhaps shrewdly realizing that genre cliches are nothing if not for reinventing, Badelt delivers his rhythmically nervous Eurocentric sensibilities--sort of Holst duels Shostakovich on the Spanish Main--with the subtlety of a scorching cannonball. It's seasoned with a little romantic respite in the final act, if a bit gingerly, and could no doubt profit by some of Korngold's sparkling melodic verve. But it's a loud, unabashed Summer Blockbuster score at heart; alert the neighbors. --Jerry McCulley (hide)

This is the movie that Leonardo DiCaprio received an Oscar nomination for, five years before Titanic. And, in fact, this is the movie that should have made him... read more

This is the movie that Leonardo DiCaprio received an Oscar nomination for, five years before Titanic. And, in fact, this is the movie that should have made him a star, he's so good in it. Based on the novel by Peter Hedges (who adapted his own book) and directed by Lasse Hallström (My Life as a Dog), this is the funny, moody tale of a young man named Gilbert Grape (Johnny Depp) who lives at home in a small town with his 500-pound Momma (beautifully played by nonpro Darlene Cates), his mentally retarded younger brother Arnie (DiCaprio, utterly convincing), and his sisters. Not a lot happens--Arnie keeps climbing a water tower and getting stuck; Gilbert is involved with a married woman (Mary Steenburgen), then meets a nice new girl in town who's closer to his age (Juliette Lewis). And that's exactly what makes this movie so much more than your run-of-the-mill Hollywood product: it's not about some mechanical, formulaic plot; it's about these characters, and it allows you to spend some time with them and get to know them. Depp may have started out as a TV teen idol on 21 Jump Street, but his feature film choices since then--in such wonderfully offbeat and diverse movies as Cry-Baby, Edward Scissorhands, Benny & Joon, Donnie Brasco--have made him one of the most interesting, unpredictable, and risk-taking young actors in American movies. --Jim Emerson (hide)

Wear a piece of the movie! This is an exact replica of the original coin worn by Elizabeth Swann in the movie Pirates of the Caribbean: Dead Man's... read more

Wear a piece of the movie! This is an exact replica of the original coin worn by Elizabeth Swann in the movie Pirates of the Caribbean: Dead Man's Chest. It is 24-karat gold plated and polished with an antique finish to further define its intricate details. The front of the coin features the traditional pirate symbol of a skull while the reverse shows a traditional Aztec symbol. The coin comes on an 18-inch custom princess length chain with fish hook clasp that replicates the original necklace worn in the movie. Is it truly the missing piece of the cursed Aztec treasure? Deep in a mysterious cavern stands an ancient chest filled with Aztec coins and guarded by pirates who are doomed to wander the seven seas as ghosts, until all 882 pieces have been returned. They have found 881. The last one hangs as a medallion around the neck of Elizabeth Swann. During the 18th century, the Caribbean, also called 'The Spanish Main' was known as the 'Treasure House of the World' because all the wealth of Spain's New World colonies was shipped across its waters. It's easy to imagine coins minted from the gold Cortez stole from the Aztecs civilization falling into pirate hands and becoming the stuff of which legends are made. Master Replicas is proud to offer this authentic prop replica of Elizabeth Swann's gold medallion as part of the Walt Disney Showcase Collection. (hide)

Sweetness that doesn't turn saccharine is hard to find these days; Finding Neverland hits the mark. Much credit is due to the actors: Johnny Depp applies his genius... read more

Sweetness that doesn't turn saccharine is hard to find these days; Finding Neverland hits the mark. Much credit is due to the actors: Johnny Depp applies his genius for sly whimsy in his portrayal of playwright J. M. Barrie, who finds inspiration for his greatest creation from four lively boys, the sons of widow Sylvia Llewelyn Davies (Kate Winslet, who miraculously fuses romantic yearning with common sense). Though the friendship threatens his already dwindling marriage, Barrie spends endless hours with the boys, pretending to be pirates or Indians--and gradually the elements of Peter Pan take shape in his mind. The relationship between Barrie and the Llewelyn Davies family sparks both an imagined world and a quiet rebellion against the stuffy forces of respectability, given physical form by Barrie's resentful wife (Radha Mitchell, High Art) and Sylvia's mother (Julie Christie, McCabe and Mrs. Miller). This gentle silliness could have turned to treacle, but Depp and Winslet--along with newcomer Freddie Highmore as one of the boys--keep their feet on the earth while their eyes gaze into their dreams. Also featuring a comically crusty turn from Dustin Hoffman (who appeared in another Peter Pan-themed movie, Hook) as a long-suffering theater producer. --Bret Fetzer (hide)

The original cowriter and director of Fear and Loathing in Las Vegas was Alex Cox, whose earlier film Sid and Nancy suggests that Cox could have been a... read more

The original cowriter and director of Fear and Loathing in Las Vegas was Alex Cox, whose earlier film Sid and Nancy suggests that Cox could have been a perfect match in filming Hunter S. Thompson's psychotropic masterpiece of "gonzo" journalism. Unfortunately Cox departed due to the usual "creative differences," and this ill-fated adaptation was thrust upon Terry Gilliam, whose formidable gifts as a visionary filmmaker were squandered on the seemingly unfilmable elements of Thompson's ether-fogged narrative. The result is a one-joke movie without the joke--an endless series of repetitive scenes involving rampant substance abuse and the hallucinogenic fallout of a road trip that's run crazily out of control. Johnny Depp plays Thompson's alter ego, "gonzo" journalist Raoul Duke, and Benicio Del Toro is his sidekick and so-called lawyer Dr. Gonzo. During the course of a trip to Las Vegas to cover a motorcycle race, they ingest a veritable chemistry set of drugs, and Gilliam does his best to show us the hallucinatory state of their zonked-out minds. This allows for some dazzling imagery and the rampant humor of stumbling buffoons, and the mumbling performances of Depp and Del Toro wholeheartedly embrace the tripped-out, paranoid lunacy of Thompson's celebrated book. But over two hours of this insanity tends to grate on the nerves--like being the only sober guest at a party full of drunken idiots. So while Gilliam's film may achieve some modest cult status over the years, it's only because Fear and Loathing is best enjoyed by those who are just as stoned as the characters in the movie. --Jeff Shannon (hide)

Mixed reviews and creepy comparisons to Michael Jackson notwithstanding, Tim Burton's splendidly imaginative adaptation of Charlie and the Chocolate Factory would almost surely meet with Roald Dahl's approval.... read more

Mixed reviews and creepy comparisons to Michael Jackson notwithstanding, Tim Burton's splendidly imaginative adaptation of Charlie and the Chocolate Factory would almost surely meet with Roald Dahl's approval. The celebrated author of darkly offbeat children's books vehemently disapproved of 1971's Willy Wonka and the Chocolate Factory (hence the change in title), so it's only fitting that Burton and his frequent star/collaborator, Johnny Depp, should have another go, infusing the enigmatic candyman's tale with their own unique brand of imaginative oddity. Depp's pale, androgynous Wonka led some to suspect a partial riff on that most controversial of eternal children, Michael Jackson, but Burton's film is too expansively magnificent to be so narrowly defined. While preserving Dahl's morality tale on the hazards of indulgent excess, Burton's riotous explosion of color provides a wondrous setting for the lessons learned by Charlie Bucket (played by Freddie Highmore, Depp's delightful costar in Finding Neverland), as he and other, less admirable children enjoy a once-in-a-lifetime tour of Wonka's confectionary wonderland. Elaborate visual effects make this an eye-candy overdose (including digitally multiplied Oompa-Loompas, all played by diminutive actor Deep Roy), and the film's underlying weirdness is exaggerated by Depp's admirably risky but ultimately off-putting performance. Of course, none of this stops Burton's Charlie from being the must-own family DVD of 2005's holiday season, perhaps even for those who staunchly defend Gene Wilder's portrayal of Wonka from 34 years earlier. --Jeff Shannon (hide)

You might not get a thrill from the sight of Faye Dunaway and Marlon Brando throwing popcorn into each other's mouths, but that didn't stop this movie from... read more

You might not get a thrill from the sight of Faye Dunaway and Marlon Brando throwing popcorn into each other's mouths, but that didn't stop this movie from gaining a new lease on life thanks to cable television and home video. It's a quirky romantic comedy about a mental patient (Johnny Depp) who claims to be Don Juan, the world's greatest lover, and he gets quite a few women to believe it's true. Brando plays the psychiatrist who tries to analyze his patient's apparent delusion, and Dunaway plays Brando's wife, who wants to inject some Don Juan-ish romance into their marital routine. Walking a fine line between precious comedy, wistful drama, and delicate fantasy, the movie gets a big dose of charm from its esteemed cast, with Depp delivering dialogue that would have sounded ludicrous from a lesser actor. This may not be a great movie, but it is guaranteed to put you in an amorous mood. --Jeff Shannon (hide)

A briskly paced hybrid of Boogie Nights and Goodfellas, Blow chronicles the three-decade rise and fall of George Jung (Johnny Depp), a normal American kid who makes a... read more

A briskly paced hybrid of Boogie Nights and Goodfellas, Blow chronicles the three-decade rise and fall of George Jung (Johnny Depp), a normal American kid who makes a personal vow against poverty, builds a marijuana empire in the '60s, multiplies his fortune with the Colombian Medellín cocaine cartel, and blows it all with a series of police busts culminating in one final, long-term jail sentence. "Your dad's a loser," says this absentee father to his estranged but beloved daughter, and he's right: Blow is the story of a nice guy who made wrong choices all his life, almost single-handedly created the American cocaine trade, and got exactly what he deserved. As directed by Ted Demme, the film is vibrantly entertaining, painstakingly authentic... and utterly aimless in terms of overall purpose.

We can't sympathize with Jung's meteoric rise to wealth and the wild life, and Demme isn't suggesting that we should idolize a drug dealer. So what, exactly, is the point of Blow? Simply, it seems, to present Jung's story as the epitome of the coke-driven glory days, and to suggest, ever so subtly, that Jung isn't such a bad guy, after all. Anyone curious about his lifestyle will find this film amazing, and there's plenty of humor mixed with the constant threat of violence and paranoid anxiety. Demme has also populated the film with a fantastic supporting cast (although Penélope Cruz grows tiresome as Jung's hedonistic wife), and this is certainly a compelling look at the other side of Traffic. Still, one wishes that Blow had a more viable reason for being; like a wild party, it leaves you with a hangover and a vague feeling of regret. --Jeff Shannon (hide)

With movies like Chocolat, it's always best to relax your intellectual faculties and absorb the abundant sensual pleasures, be it the heart-stopping smile of chocolatier Juliette Binoche as... read more

With movies like Chocolat, it's always best to relax your intellectual faculties and absorb the abundant sensual pleasures, be it the heart-stopping smile of chocolatier Juliette Binoche as she greets a new customer, an intoxicating cup of spiced hot cocoa, or the soothing guitar of an Irish gypsy played by Johnny Depp. Adapted by Robert Nelson Jacobs from Joanne Harris's popular novel and lovingly directed by Lasse Hallström, the film covers familiar territory and deals in broad metaphors that even a child could comprehend, so it's no surprise that some critics panned it with killjoy fervor. Their objections miss the point. Familiarity can be comforting and so can easy metaphors when placed in a fable that's as warmly inviting as this one.

Driven by fate, Vianne (Binoche) drifts into a tranquil French village with her daughter Anouk (Victoire Thivisol, from Ponette) in the winter of 1959. Her newly opened chocolatier is a source of attraction and fear, since Vianne's ability to revive the villagers' passions threatens to disrupt their repressive traditions. The pious mayor (Alfred Molina) sees Vianne as the enemy, and his war against her peaks with the arrival of "river rats" led by Roux (Depp), whose attraction to Vianne is immediate and reciprocal. Splendid subplots involve a battered wife (Lena Olin), a village elder (Judi Dench), and her estranged daughter (Carrie-Anne Moss), and while the film's broader strokes may be regrettable (if not for Molina's rich performance, the mayor would be a caricature), its subtleties are often sublime. Chocolat reminds you of life's simple pleasures and invites you to enjoy them. --Jeff Shannon (hide)

The films of Tim Burton shine through the muck like a jack-o-lantern on a foggy October night. After such successes as The Nightmare Before Christmas and Edward Scissorhands,... read more

The films of Tim Burton shine through the muck like a jack-o-lantern on a foggy October night. After such successes as The Nightmare Before Christmas and Edward Scissorhands, it should come as no surprise that Sleepy Hollow is a dazzling film, a delicious reworking of Washington Irving's The Legend of Sleepy Hollow. Dark and moody, the film is a thrilling ride back to the turn of the 19th century. Johnny Depp stars as Ichabod Crane, a seemingly hapless constable from New York City who is sent to the small town of Sleepy Hollow to solve the mystery of the decapitations that are plaguing the town. Crane is a bumbling sort, with a tremendous faith in science over mysticism, and he comes up against town secrets, bewitching women, and a number of bodies missing heads. Christina Ricci, as beautiful as ever, is Katrina Van Tassel, the offbeat love interest who alternately charms and frightens Crane.

The film, while occasionally gory (as one should expect from a movie about a headless horseman), is not terribly frightening, although it is suspenseful. Both Depp and Ricci are convincing, and the art direction and production values give the village its harsh feel. Toward the end, once the secrets are revealed, the film does slow down; however, this stylistic horror film provides many tricks and even more treats. --Jenny Brown (hide)

An oddball love story about a fey loner named Sam (Johnny Depp), who falls in love with the mentally unbalanced Joon (Mary Stuart Masterson), who lives in the... read more

An oddball love story about a fey loner named Sam (Johnny Depp), who falls in love with the mentally unbalanced Joon (Mary Stuart Masterson), who lives in the care of her protective brother Benny (Aidan Quinn). This 1993 story is hard to swallow, with its message that love can conquer a brand of mental illness that manifests itself in pyromania: Joon has a bad habit of going a bit around the bend and setting fires, but Sam's tender care apparently has the cure for what ails her. Still, if you want proof that Depp has significant chops as a physical comedian, give this film a try: He does note-perfect renditions of slapstick routines made famous by Charlie Chaplin and Buster Keaton. --Marshall Fine (hide)

Based on a memoir by former undercover cop Joe Pistone (whose daring and unprecedented infiltration of the New York Mob scene earned him a place in the federal... read more

Based on a memoir by former undercover cop Joe Pistone (whose daring and unprecedented infiltration of the New York Mob scene earned him a place in the federal witness protection program), Donnie Brasco is like a de- romanticized, de-mythologized version of The Godfather. It offers an uncommonly detailed, privileged glimpse inside the world of organized crime from the perspective of the little guys at the bottom of Mafia hierarchy rather than from the kingpins at the top. Donnie Brasco is not only one of the great modern-day gangster movies to put in the company of The Godfather films andGoodFellas, but it is also one of the great undercover police movies--arguably surpassing Serpico and Prince of the City in richness of character, detail, and moral complexity. Donnie (Johnny Depp, a splendid actor) is practically adopted by Lefty Ruggiero (Al Pacino), a gregarious, low-level "made" man who grows to love his young protégé like a son. (Pacino really sinks into this guy's skin and polyester slacks, and creates his freshest, most fully realized character since his 1970s heyday.) As Donnie acclimates himself to Lefty's world, he distances himself from his wife (a terrific Anne Heche) and family for their own protection. Almost imperceptibly his sense of identity slips away from him. Questioning his own confused loyalties, unable to trust anybody else because he himself is an imposter, Donnie loses his way in a murky and treacherous no-man's land. The film is directed by Mike Newell, who also headed up Four Weddings and a Funeral and the gritty, true crime melodrama Dance with a Stranger. --Jim Emerson

Stills from Donnie Brasco (click for larger image)

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Edward D. Wood Jr. was an actor writer-director-producer, occasionally in drag, who combined meager bursts of talent with an undying optimism to create some of the most bizarrely... read more

Edward D. Wood Jr. was an actor writer-director-producer, occasionally in drag, who combined meager bursts of talent with an undying optimism to create some of the most bizarrely memorable "B" movies to ever come out of Tinseltown. Though Wood died in obscurity as an alcoholic in 1978, his films have been considered cult classics for years. He is consistently voted the worst director who ever lived. You would think this an odd subject, but director Tim Burton harnesses the undying hopefulness that made Wood such a character. Shot in black and white, just like Wood's creations, this stylized, witty production captures the poetic absurdity of Wood's films and his unconventional life. Burton's recreation of Wood's wonderfully awful Plan 9 from Outer Space looks much better than the original low-budget quickie. Burton tackled an extremely strange subject matter for a biopic, but Wood is presented as naive almost to the point of delusion, so the story works. The pace sags in the middle, as the weirdness starts to wear thin, but Depp proves himself an adroit actor, even while wearing angora and a blonde wig. Wood's unconventional repertoire company is faithfully reproduced, including an Academy Award-winning Martin Landau as Bela Lugosi. Landau is pathetic, droll, and charismatic as the elderly junkie who made his last screen appearances in Wood's films. --Rochelle O'Gorman (hide)

Heavy on atmosphere and light on everything else, From Hell is visually impressive while lacking the depth of the acclaimed graphic novel it's based upon. Making their third... read more

Heavy on atmosphere and light on everything else, From Hell is visually impressive while lacking the depth of the acclaimed graphic novel it's based upon. Making their third feature since 1993's Menace II Society, twins Allen and Albert Hughes approach the Jack the Ripper case with physical precision, re-creating the gritty Whitechapel district of 1888 London in meticulous detail. What they've forgotten is the sheer terror that gripped Whitechapel in the wake of the Ripper's slaying of five prostitutes, investigated here by a Scotland Yard sleuth (Johnny Depp) who uses opium, laudanum, and absinthe to fuel his semiprescient visions of the slayings. Heather Graham attempts a slippery Cockney accent as a would-be victim, while Ian Holm steals the show as a has-been surgeon with devilish delusions of grandeur. Violence is obliquely suggested or briefly graphic, but no matter how you cut it, From Hell is only marginally thrilling as it treads familiar territory. --Jeff Shannon (hide)