Miss Peregrine’s Home for Peculiar Children


There's nothing quite so cozy as movie night.

There’s nothing quite so cozy as movie night.

(2016) Fantasy (20th Century Fox) Asa Butterfield, Eva Green, Samuel L. Jackson, Judi Dench, Rupert Everett, Allison Janney, Chris O’Dowd, Terence Stamp, Ella Purnell, Finlay MacMillan, Lauren McCrostie, Hayden Keeler-Stone, Georgia Pemberton, Milo Parker, Raffiella Chapman, Pixie Davies, Joseph Odwell, Thomas Odwell, Cameron King, Louis Davidson, Kim Dickens, O-Lan Jones. Directed by Tim Burton

 

I think that as children we can be divided into two categories; those who want to fit in, and those who don’t care. Many who want to fit in often feel like they don’t. We feel alien, peculiar and not at all like someone who is popular or admired. We feel like we’re on the outside looking in. What we fail to realize as children is that sometimes being on the outside looking in is far cooler than being in a cage.

Jake Portman (Butterfield) is one of those kids who doesn’t feel like he fits in. The only place he feels halfway normal is at his grandpa Abe’s (Stamp) Florida home, where the old man regales him with tales of fighting monsters during Worlds War II, and staying at an orphanage run by a Miss Peregrine, who presided over children with strange powers known as Peculiars.

After getting a call for help from Abe, Jake and his co-worker Shelley (Jones) arrive at Abe’s place to find signs of a struggle. They later find him dying in the yard, both his eyes plucked from his head. This understandably messes Jake up and he starts seeing a shrink, Dr. Golan (Janney). She urges him to follow Abe’s story, particularly after he discovers a letter from Miss Peregrine to Abe which takes him and his father Franklin (O’Dowd) – who is more interested in researching his book on bird-watching which he’s been working on for years without progress than in bonding with his son – to an island off the coast of Wales.

There he finds the ruins of the orphanage, bombed into rubble by the Luftwaffe in 1943. He also finds some of the Peculiars who take him into a cave which brings him back to 1943 – on the very day the house would be destroyed. There he meets Emma Bloom (Purnell), a lighter-than-air girl who has control over air (she can create windstorms and bubbles of air underwater) and would float away if not tethered or wearing her lead boots whose heart was broken by a young Abe back in the day, the necromancer Enoch O’Connor (MacMillan) who can bring life to lifeless things, Olive (McCrostie) who is a pyrotechnic and Miss Peregrine (Green) herself. As it turns out, Miss Peregrine is kind of a guardian spirit called a Ymbryne who are able to morph into birds (in Miss Peregrine’s case, a falcon).

He learns the story of the Peculiars and those who are chasing them – the terrible Wights, who are led by the white-haired Mr. Barron (Jackson) who have been experimenting on Ymbrynes to make themselves immortal. Some of the Wights who are quite human-looking have turned into Hollows, hideous tentacled monsters who eat the eyeballs of Peculiars to revert back to human form.

It turns out that Mr. Barron is much closer by than they think and Jake has become an integral part of the fight. It turns out that Jake is able to see Hollows and sense their presence – a gift that Abe also had. With Jake and Emma falling in love again despite Emma’s best efforts, time is running out and Jake must find a way to protect the children from the evil Wights and from the ravages of time itself.

Burton is one of the most uniquely visionary directors in history. This is the kind of material that is right in his wheelhouse, or at least you would think so. This film is based on the first of a trilogy of young adult books by Ransom Riggs, which are in turn based on vintage photographs Riggs had collected that were somewhat spooky or hinted at uncanny powers (if you buy the young adult books, you’ll see the actual photos but some of them can be seen on the Internet if you’re willing to spend time Googling them). Riggs showed these pictures to Burton before filming and it’s plain to see that Burton used them as inspirations for his character design of the children.

That said, this doesn’t feel like a typical Tim Burton film in many ways. I thought it far more mainstream than what we’re used to from the director and far more vanilla in tone. Now while I admire Burton’s work a great deal, even as an admirer I’m willing to admit that his work has been less consistent in the past decade or so, with great work (Big Fish) interspersed with not-so-great work (Dark Shadows). This falls somewhere in the middle, with leanings more towards the latter.

Butterfield is a decent enough actor, but not one who fills a screen up with charisma. Much of the movie depends on Jake becoming a leader, but I’m not sure I’d follow him very far. He just seems kind of…bland. Green, who has maybe the most incandescent smile in Hollywood, doesn’t seem to be having much fun here; she comes off as a kind of second-rate Mary Poppins only less cheerful. I almost expected her to say “Spit spot!” Thankfully, she doesn’t.

Burton reportedly tried to go with practical effects as much as was possible, but you really can’t use them for an army of skeletons battling giant tentacled creatures which takes place during the climax. The effects are reasonably good and the setting reasonably moody but nothing here really impresses other than that Burton seems to do a good job of capturing the tone of the antique photos which colors the whole film.

One of the big missteps oddly enough is Jackson. One of my favorite actors in Hollywood, he doesn’t seem all that motivated here. When I see Samuel L. Jackson in the cast, I want to see Samuel L. Jackson whether that expectation is fair or not. Instead, we get a kind of mannered performance, like what would happen if Tim Curry was impersonating him. He just never convinces me that he’s all that malevolent or dangerous.

This could easily have been a major event film and franchise establishment but instead we get a movie that kind of just gets by. It doesn’t really feel like a Tim Burton movie. Fox currently has a reputation of being a studio that meddles in the product more than most of the others, so one wonders if there is studio interference at play here. Regardless of whether that’s the case or not this is a movie I can only moderately recommend. Chances are it will be a momentary distraction that will escape your memory faster than Emma Bloom escapes gravity.

REASONS TO GO: The film has an odd kind of antiquarian feel. The climax is thrilling.
REASONS TO STAY: The whimsy normally associated with Burton is missing. Jackson is wasted in a bland villainous role.
FAMILY VALUES: There are children in peril and some violence of a fantastic nature.
TRIVIAL PURSUIT: Miss Peregrine’s home actually exists; it is called Torenhof and is located outside of Antwerp in Belgium.
CRITICAL MASS: As of 10/22/16: Rotten Tomatoes: 64% positive reviews. Metacritic: 57/100.
COMPARISON SHOPPING: Percy Jackson and the Olympians: The Lightning Thief
FINAL RATING: 6/10
NEXT: Storks

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Shepard and Dark


Uneasy riders.

Uneasy riders.

(2013) Documentary (Music Box) Sam Shepard, Johnny Dark, Jessica Lange, O-Lan Jones, Jesse Shepard. Directed by Treva Wurmfeld  

 Florida Film Festival 2013

The beautiful thing about documentaries is that they can get people to reveal something about themselves without them meaning to do it. The camera eye just focuses on them in the act of them being themselves. It doesn’t necessarily have to be about some life-changing subject, although those can be informative and important. Just the focus on a long time friendship can give us insight into our own friendships.

Sam Shepard, the well-known playwright and actor, has been friends with Johnny Dark, a not so well-known author, for about 50 years when this was filmed (the two met in the Village back in1963 when Shepard was just beginning to establish his reputation). They hung out, drank a bit, smoked some weed and partied hard. Shepard eventually would marry actress O-Lan Jones; Dark would marry her mother, Scarlett.

They all lived together with O-Lan and Shepard’s son Jesse. Eventually Scarlett would have a major stroke and lose quite a bit of brain function and long-term memories. Dark would have to almost treat her like a child in many ways, with the kind of patience thee and me couldn’t even begin to comprehend.

Shepard though wasn’t really made for setting down roots and so he left his wife and son for actress Jessica Lange. Dark would have a hand in raising Sam’s son. The two began to correspond regularly and still continued to hang out when Shepard’s increasingly busy schedule allowed.

Dark was almost compulsive about archiving everything and recently when Shepard’s relationship with Lange came to an end, he was left with a lot of time (and it is hinted, a lot of bills) to reflect. When a Texas university expresses interest in archiving the correspondence between the two men with an eye to publishing a book which frankly both men could use – not only is Shepard having some financial issues but also Dark is struggling, working at a grocery deli counter in Deming, New Mexico.

The two decide to get some office space and work on this thing together. Initially their banter is very sibling like with a lot of affectionate (and maybe some not-so-affectionate) teasing. Shepard, notoriously reticent about his private life, opens up somewhat here (and certainly a lot more in his letters), admitting that he regrets some of the mistakes he’s made in the past – and is frustrated that he continue to repeat those same mistakes, even up to now.

This is not an issue kind of documentary. It is more of a relationship documentary as we watch how small little issues can turn into nearly insurmountable barriers. Both men freely admit that they are nothing alike; Shepard has a bit of wanderlust in his soul, preferring a rootless existence while Dark takes great comfort in his home, his books and his cats. Shepard navigates life pretty much by the seat of his pants; Dark is a nearly obsessive organizer.

Some might find it a bit dry given that it’s mostly about human nature. I’d generally be inclined to rate this a bit higher – these sorts of documentaries offer endless insights into my own behaviors and my own relationships but I can see where others might see this as somewhat voyeuristic. Frankly put, this isn’t for everybody but those who are willing to give this a chance will find the opportunity to learn something about human nature.

What I find really admirable is that while there is one person that is famous in this equation (and one that is not), it’s not Shepard’s celebrity that drives this film. While some attention is paid to his fame, that’s not really the focus here and thus Shepard becomes humanized here despite his best efforts to the contrary (he comes off as a bit of a prick in some of the sequences whereas Dark comes off as a bit eccentric in the same vein Hunter S. Thompson was).

It is the one commonality between all of us that we are human. It is our definition of what makes us human that in turn defines ourselves. In watching a film like Shepard and Dark I was struck by this most particularly. These are men who have lived lives I will never lead, made choices I would never make and reap consequences I can’t relate to. And yet we still have so much in common – even in our differences, we have those differences in common as well. Shepard and Dark may not necessarily offer you any great revelations when it comes to your life and friendships, but at the very least it will give you a glimpse into a life and friendship that is different than yours and if you won’t take something from that, well amigo, that’s your choice too but it’s a lost opportunity as well.

REASONS TO GO: Dark and Shepard are both interesting people. The effects of the documentary on their lives is fascinating..

REASONS TO STAY: Not everything here is fascinating to everybody.

FAMILY VALUES:  There’s some colorful language.

TRIVIAL PURSUIT: Winner of the Grand Jury prize at the New York Documentary Festival.

CRITICAL MASS: As of 5/15/13: Rotten Tomatoes: no score yet. Metacritic: no score yet; has been playing the festival circuit but was recently picked up by Music Box for a  release later on in 2013.

COMPARISON SHOPPING: Betty and Coretta

FINAL RATING: 6.5/10

NEXT: Pieta