[dropcap size=big]W[/dropcap]hen I first encountered a Tim Burton film, The Nightmare Before Christmas, wonder and unease stayed with me as the credits rolled. As a kid who only knew the world in dichotomies, watching a film that blended darkness and humor and spectacular peculiarities was an experience. Later did I found out that Tim Burton was a brand altogether – a distinct proclivity for the macabre, an obsession to befriend the darkness.
Miss Peregrine’s Home for Peculiar Children, a movie adaptation of Ransom Riggs’ novel of the same name, marks Tim Burton’s eighteenth feature film – and boy, did he feel ever at home directing this one.
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Humor and wonder and fright play in concert once again in Tim Burton’s latest.
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[column size=two_third position=last ]Following the story of Jacob Portman (Asa Butterfield), the film slowly unravels a strange abandoned children’s home hidden on a Welsh island that Jacob must visit to uncover the cryptic wishes of his late grandfather. Jacob’s grandfather used to tell him tales of his early life in the orphanage, run by one Miss Alma Peregrine, living with children who had special abilities. Arriving at the orphanage’s war-torn ruins, Jacob almost loses hope until he meets Emma Bloom (Ella Purnell), and an invisible boy named Millard Nullings (Cameron King). Together they lead Jacob to uncover a time loop hidden within the nearby caves: taking them back to a recursive temporal dimension (dated September 3, 1943) when the orphanage stood tall and proud among its manicured hedges. There Jacob sees the orphanage’s juvenile inhabitants play and unmask their peculiarities, protected under the eye of Miss Peregrine (Eva Green). The story soon unravels an impending threat to the children that puts Jacob at the center of it all.[/column]
Tim Burton has a knack for taking anything under his wing (insider pun intended) and making them a visual spectacle, having an eye for eccentric but lavish productions, despite the film’s flaws in storytelling, as in the case of Miss Peregrine. The film suffers from a detached sense of commitment towards developing its colorful characters. They are already peculiar; making their villains almost caricaturish (albeit an occasionally funny trope, evidence by Samuel L. Jackson’s character) seems superficial. Despite this, through the lens of accomplished cinematographer Bruno Delbonnel, and the quirky score sown by Michael Higam and Matthew Margeson, the atmosphere proves the film as something extraordinary. With a more polished screenplay and a refined final act, Miss Peregrine would have been an excellent comeback for Mr. Burton.
However, Tim Burton’s latest effort hits closest to his well-loved oeuvre, as my childhood fondly recalls. Humor and wonder and fright play in concert once again, and at the very least Miss Peregrine perhaps opens a time loop for Tim Burton: the film eventually becomes a reflexive homage to having forged his own genre in the industry – where he is stuck, and where he is…home.
https://www.youtube.com/watch?v=tV_IhWE4LP0
