It is, without the slightest doubt, one of the most venerated names of the current Hollywood. His filmography is full of success and commercial failures, but it is undeniable that his peculiar aesthetics, as well as the very recognizable of his visual designs and his themes have made him a venerated author with all the letters. The recent box office success of ‘Bitelchús Bitelchús‘, in which for the first time he has returned to one of his most beloved creatures, and the success of’Wednesday‘In Netflix they invite us to review their filmography. These are the best films of Tim Burton’s long career.
Pee Wee’s great adventure (1985)
Shared authorship for the debut as director of Tim Burton, even today one of his most irresistibly strange films. Shared because it is a Burton movie, but also by Paul Reubens, aka Pee Wee Herman, the unclassifiable comic whirlwind that tirelessly seeks his stolen bicycle in this film where the protagonist works as an alter ego of the Burton that we will see growing in successive films: a big child in perpetual state of wonder before the extravagances of the world. Frantic and unpredictable, and that is especially enjoyed in the double program with the lysergic television program presented in the eighties.
Bitelchús (1988)
When the budgets that Burton managed were still modest, the director was already able to stand an absolutely personal and overflowing world of the issues that would give him fame: sinister humor, strident pop aesthetics, marginalized characters and heard … Winona Ryder in a story that toys with a runaway vision and hooligan of the beyond and how to interact with him with a curious investment of roles: the living are more scary than the dead.
Batman (1989)
The film that gave the starting gun to the cinema of modern superheroes and the current vision of a hero with multiple faces, such as Batman. Today he has a naive Camp point that makes it endearing, but continues to endure the passage of time thanks to the undisputed quality of his designs, his very well chosen cast and his abundance of iconic moments. A true foundational milestone.
Eduardo Handijeras (1990)
After the success of ‘Batman’ and before shooting the sequel, Burton returned with an entirely own film, he is much more restrained and romantic than ‘Bitelchús’ (although he would repeat with him Winona Ryder, who for a while became a symbol of his filmography to the same extent as spiral graphics or marginalized characters). Here the story of a monster of great heart and unable to love was supported by extraordinary designs, as well as in purely Burtonian venom traces: of tributes to the cinema of monsters of the universal symbolized in Vincent Price to the indisged criticism of the American residential life through another Camp icon: Tom Jones.
Batman Reto (1992)
Another founding film, in this case of the cinema of Superheroes “Author”: Burton used the volatile template of Batman to introduce his particular obsessions about the characters outside the society and the misfits, thus coimo to propose a specially dark and expressionist Gotham, and the result is one of the most impressive villain galleries of the superhero cinema. Danny de Vito’s penguin and Michelle Pfeiffer’s catwoman are so complex and fascinating that they are still considered the definitive versions of the characters in the cinema.
Ed Wood (1994)
Burton took as a starting point a delicious excuse (the crazy biography of the one that was considered as “worst director of the history of cinema”) to consider, precisely, an ode of love to the environment and the enthusiasm necessary to stand up a film, however horrendous. Presenting Wood and his cohort of Freaks (a Bela Lugosi in the last, Tor Johnson, the seer Criswell, vampire) as authentic anti -system virus infiltrated involuntarily in the industry, has its main virtue and its greatest defect at the same point: its absolutely dyed vision of rose of the time and its protagonist. However, a unique biopic and a memorable route of entry in the sewers of the Z fifties.
Mars Attacks! (1999)
Recovering the Bitelchús hooligan vein and with an absolutely coral and overflowing of stars (to mention only a few: Jack Nicholson, Glenn Clones, Annette Bening, Pierce Brosnan, Danny Devito, Sarah Jessica Parker and many others), Burton took as a start Fifty to get your most satirical and destroying vein for a walk. The result is an acidic comedy full of gore and humor that is visually not as characteristic as other films of its filmography, but spiritually yes.
Sleepy Hollow (1999)
Up to this point, Tim Burton’s career was unstoppable: more or less moderate box office successes and the appreciation of criticism, which would stop when he signed one of his worst films, the remake of ‘The planet of the apes’. But before, he signed this splendid tribute to Hammer’s horror cinemaoverflowing of unforgettable images and again with an excellent cast in which only a something excessive joins a little. In any case, winks to Bava and Fisher and a great Gothic atmosphere for an absolutely delicious film.
Sweeney Todd: The Diabolic Barber of Fleet Street (2007)
‘The planet of the apes’ was the departure gun for a much less interesting burton stage. Although he has his fans, ‘Big Fish’ is not up to his classics, and despite his popularity, ‘Charlie and the chocolate factory’ is very far from both Roald Dahl’s novel and previous adaptation. Where he did partially trace the flight was in ‘Sweeney Todd’, an ambitious version of the 1979 musical that maintains all the great, excessive, excessive gothic charm of the original, with His touch of cloudy romanticism. A wonder of morbid dementia with an absolutely fabulous timeless halo.
Alicia in Wonderland (2010)
Here this adaptation of Lewis Carroll’s immortal novel does not convince us too much: its flashing aesthetics and its freedoms with the text place it very far from more memorable versions, such as Disney’s own animated. However, their errors (some horrible designs, such as those of Tararí or Tarará or the Hatter) go hand in hand with undisputed successes (it understands well the chaotic frenzy of the book, and there are characters, such as the red queen, certainly memorable), and it is true that its impact on popular culture cannot be denied. Another thing is that, because of his fault, we have had to suffer all the adaptations and real image of Disney classics, but when Caesar is from César.
Frankenweenie (2012)
Excellent tribute of Tim Burton to the expressionist cinema and the monsters of the Universal, a tender and sinister piece on a child that resurrects his dog and not only connects with the first shorts of the author (the animated ‘Vincent’ and the real image version of ‘Frankenweenie’, also available in Disney+), but also with his animated productions: the great ‘the great Magistral ‘Nightmare before Christmas’, which Burton produced and that has visually become an absolutely unforgettable and iconic piece.
Bitelchús Bitelchús (2024)
We did not give too much for this Late sequel to ‘bitelchús’but the truth is that the television parenthesis of ‘Wednesday’ has served Burton to take new energies despite the fact that his previous film is the worst (difference) of his filmography, La Hórrida ‘Dumbo’. It served, yes, to reunite Michael Keaton (in the same way as ‘Wednesday’ he found him with Christina Ricci), and both return in their original roles (and the addition of Jenna Ortega) in a frantic, delirious and full of inventiveness and Delicatessens Macabras. It does not have the past energy of the first installment, but as the world of supernatural comedies is, it knows Gloria (of hell).
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