Sweeney Todd

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Branded a cinematic magnum opus by numerous critics and Burton worshipers alike, Sweeney Todd was never going to scale the immense heights that the (somewhat) unwarranted hype machine had tentatively pre-empted. Todd (Depp) is a wronged Cockney, falsely imprisoned by a dodgy judge (Rickman) who took a shine to his beautiful wife 15 years ago, and disposed of her husband accordingly so he could have his way. Returning to London, the bitter Todd craves vengeance for the life he lost, and the daughter he never knew; continuing to ply his trade as a barber - albeit one who shaves a little too close - he plans his bloody retribution. Your enjoyment of Sweeney Todd will depend solely on your tolerance of musicals and your feelings on Tim Burton's gothic sensibilities. If you think the two are a perfect match, then chances are you'll be thoroughly entertained by Sweeney Todd, as the director proves an unequivocal match for the morbid material's overtly dark content. If, however, you sit on the fence with both of them, you'll be left scratching your head and wondering how it's picked up so many awards and critical plaudits. While the loud, excessive opening credits set the gruesome tone from the start, the back story we're given for Todd is lazily-scripted as a short flashback - Depp essentially gets cracked on the canister and dragged off and that's all we see. It's as if Burton wanted to squeeze in as much of Depp and Bonham Carter (who makes her obligatory appearance) spewing as much of the morbid song numbers as possible, and forgot that he also had a dramatic narrative to follow. Depp's brooding turn has drawn much of the praise - and rightly so, as he equips himself adeptly with the difficult numbers and carries a hugely unsympathetic character with his trademark intensity. Bonham Carter meanwhile, is competent-if-unspectacular as the deceitful Mrs. Lovett, while Sacha Baron Cohen makes a brief appearance as a rival barber that is essentially a glorified cameo. As you'd expect from a Burton joint, the set design and gloomy cinematography are stunning, creating a real sense of the 19th century and a strong sense of the foreboding; if as much detail was awarded to character and subplot, then the plaudits would be deserving.