After 2010's CG blowout Alice in Wonderland long-time collaborators Johnny Depp and Tim Burton return to a more realistic realm with their update of the '60s gothic soap opera Dark Shadows. It just so happens that realism in the case of Depp and Burton also involves vampires.
We first meet Barnabas Collins (Depp) in 1752 enjoying the aristocratic lifestyle of his successful father and wooing the female staff employed in the Collins' mansion. The romantic lifestyle is without consequence until Barnabas picks up and drops the wrong servant: Angelique Bouchard (Eva Green) a witch with a nasty case of jealousy. When Barnabas finally discovers true love Bouchard casts a spell on his favored female causing her to jump off a cliff. In the wake of the incident and with nothing left to live for Barnabas hurls himself off the edge — but Bouchard curses him before he hits the ground. He's become a vampire an immortal and Bouchard has just the everlasting punishment in mind. She buries Barnabas in a coffin never to be seen again.
Jump ahead to 1972 where a construction crew in Collinsport resurface the confined bloodsucker. After a quick bite Barnabas heads home to his manor to discover he's a true bat out of water. His family is gone replaced by a new generation of Collinses: Elizabeth Collins Stoddard (Michelle Pfeiffer) the family matriarch; Carolyn (Chloe Grace Moretz) her angsty niece; David (Gulliver McGrath) highly disturbed by memories of his dead mother; Roger (Johnny Lee Miller) the scheming deadbeat dad; and Dr. Julia Hoffman (Helena Bonham Carter) David's constantly intoxicated psychologist; and Victoria (Bella Heathcote) the new recruit hired to school David in his fragile state. Barnabas' learning curve adjusting to his new surroundings is the crux of Dark Shadows' purposefully meandering plot which strikes a few brilliant bits of comedy in between long stretches of lifeless melodrama. Turns out a soap opera adaptation ends up being pretty darn soap opera-y.
Unlike most summer blockbusters Dark Shadows sparingly uses action and large-scale set pieces to tell its story. Burton chooses a lower-key approach in the vein of his earlier films like Beetlejuice or Edward Scissorhands. But the movie differs in its lack of emotional throughline — all the colorful misadventures would be a lot more effective if there was something to care about. Barnabas strikes up a romance with Victoria but it's hamfisted. He becomes a fatherly figure to David but only late in the film. By the third montage set to a classic rock tune it's clear Burton and Depp seem far more interested in the bizarre collision of vampire tropes and '70s decor. A scene in which Barnabas converses with a group of pot-smoking hippies on the ins and outs of youth culture works as a sketch comedy vignette but in the grand scheme of the story is fluffy funny and pointless.
Depp's dedication to keeping things weird helps Dark Shadows stay alive. He loves the theatrics biting into every moment with epic speak lifted from the British thee-aaaay-ter. Green joins in on the fun full force her wicked seductress both playful and unabashedly evil. The rest of the cast makes little splash Pfeiffer playing the straight woman while the rest of the ensemble go toe to toe with the larger than life Depp. They don't seem in on the same joke as Depp and the many dialogue scenes just. Come. Off. As. Slooooow. And. Painful. Deliberate soap opera acting is a tightrope walk — only Depp and Green really make it across without faltering.
Dark Shadows is a mixed bag that feels indebted to a source material. Whether you're familiar with the style or not may will be a deciding factor. Burton's washy aesthetics and plodding pacing don't do the material any favors with Danny Elfman's standard issued score failing to elevate the atmosphere. Kitsch and horrors abound but the witch's brew of elements won't be everyone's cup of tea. Er cup of blood?
You may have heard critics and advertisers tout The Social Network David Fincher’s finger-pointing film about how Facebook was harvested from the halls of Harvard and turned into a billion dollar business as “the movie of the decade” or “a generation-defining film.” This kind of praise has led the entertainment journalism collective to liken it to true staples of cinema like Citizen Kane and The Graduate. In terms of relevance to its audience those are fair if overreaching statements. The film depicts its teenage characters with unflinching pragmatism as it weaves the nasty web of deception and betrayal that is the story of the social media juggernaut. In terms of its protagonist’s journey however I couldn’t help but compare it to another landmark film: 1974’s Death Wish.
Like Michael Winner’s divisive and controversial revenge flick the action in The Social Network as with so many stories kicks off when anti-hero Mark Zuckerberg loses the leading lady in his life. Luckily she’s not slaughtered by a pack of petty thugs but instead liberates herself from her pretentious and pessimistic beau in the crushing opening scene of the film which sets into motion a chain of events that will change his life – and the world.
Zuckerberg played with sardonic wit by rising star Jesse Eisenberg retreats to his Kirkland Hall haven seeking retribution (see where I’m going with this?). He gets drunk blogs unfavorably about his ex and creates a program that places female students’ headshots side by side so that inebriated undergrads can anonymously rate them. The site called Facemash accumulates so many hits that it crashes the University’s servers which gets the attention of the school’s cyber-security squad as well as a group of aspiring entrepreneurs. Twins Cameron and Tyler Winklevoss (both played by Armie Hammer) well-to-do all-American future Olympians approach Zuckerberg with an opportunity to design a website that they’ve been quietly developing: a social network exclusive to Harvard students. Mark likes the idea but doesn’t want to be a part of it: he wants the whole thing. If greed is good then Zuckerberg (though not exactly financially motivated) is great.
The connections between Charles Bronson’s career defining film and Fincher’s soon-to-be-classic movie are of course hypothetical. My point is that like Paul Kersey Zuckerberg paints a target on his head with his vengeful actions as he breaks the rules of business ethics and leaves his mark on the world. Only after the storm has begun brewing does he realize that he’s in way over his head.
The Social Network is more a meditation on right vs. wrong than a chronicle of the birth of Facebook and it is a more affecting film because of that. The courtroom drama that ensues through Fincher’s two-hour masterpiece pulls no punches and asks the questions that we the audience are most curious about: Who really started Facebook? How much is the company worth? Fincher explores the historic and meteoric rise of this digital domain delicately building the tension organically as each chapter gives way to a new series of inquiries during the legal proceedings. Rather than provide a definitive answer he leaves the audience responsible for drawing its own conclusions.
Though it’s quite different from many of the grim stories Fincher’s told before The Social Network still conforms to the technical style that defines his work. The dank college dorms and dingy frat houses bring to mind the dreary environments of Panic Room and Fight Club especially in terms of lighting and color. Quick cuts convey the lightening fast pace in which we consume information in the digital age. The ominous music composed by Trent Reznor aids the auteur in expressing the enormity of the situation. Most noteworthy however is Aaron Sorkin’s stinging script which uses tech-speak legal lingo and slang to tell the tale of sex lies and limitless fortunes. He brilliantly combines multiple points of view (that of Zuckerberg his partner Eduardo Saverin and the Winklevosses) of the same events to bring his audience a well-rounded and unbiased account of the events that turned best friends into bitter enemies and bookworms into billionaires.
I believe that while it will certainly garner numerous award nominations come January The Social Network’s full impact will not be felt until the generation that it portrays can look back at it in retrospect. It is a very contemporary piece of thought provoking entertainment but we can’t assume that it defines who we are as a collective community because like Zuckerberg says of his digital society we don’t really know what it is yet.