Hollows, Eyeballs, and Bees, Oh My: The Puzzling Miss Peregrine
Tim Burton’s recent track record hasn’t been as steady as years past – the last grisly endeavour, Sweeney Todd -The Demon Barber of Fleet Street (2007) was also divisive among his fans, but connoisseurs of the music, the story, and the volumes of blood-letting were giddy – and yet it’s unfair to draw such stark parallels to his latest work, an adaptation of Ransom Riggs’ best-selling Miss Peregrine’s Home for Peculiar Children (2016), but being a Burton film, one expects dark subtext, and a style, plotting, and a low percentage of illogical elements coalesce into something that works for all ages.
There’s more than a sense corners were cut in building characters, and plot points were hastily redrawn to keep the film’s pacing tight and running time under 2 hours. The film does work, but not so smoothly.
I’ve posted a review of Fox’s DVD, and those interested in hearing the composers take on working with Tim Burton should check out separate podcasts with Mike Higham and Matthew Margeson. In spite of the film’s flaws, the score is quite eerie, lovely, and restrained – and marks a rare occurrence where a Burton film wasn’t scored by Danny Elfman. Links to both podcasts (via iTunes, Libsyn, and YouTube) are in this prior Editor’s Blog, plus a CD review.
Coming soon will be a longer interview with Higham, who discusses the art of his additional skills as a seasoned music editor.
Coming next: an updated review of Arthur Penn’s flawed drama The Chase (1966), new on Blu via Twilight Time, and sporting one hell of a fact-filled commentary track.
Cheers,
Mark R. Hasan, Editor
KQEK.com
Category: EDITOR'S BLOG
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