Edward Scissorhands

A witty comedy of manners that arcs into poignance, this is a Christmas movie only a Grinch could hate... One of the brightest, bittersweetest fables of this or any-year. [10 Dec 1990, p.87]

A classic... Edward Scissorhands is a sharp salute to the oddball in all of us.

Strange, funny and powerfully moving… Burton has found a way to move through camp to emotional authenticity, to communicate-through a concentration of style and an innocence of regard-a depth and sincerity of feeling that his deliberately (and often, comically) flat characters could not summon on their own. [14 Dec 1990, Friday, p.C]

Amusing and inventive.

The theme--that just beyond the edge of the perfectly normal lies the truly bizarre--is realized with intelligence and visual flair.

The Spielbergian attempt at sweetness--heralded by references in Danny Elfman's score to the Nutcracker Suite--never fully convinces.

Great to look at but not much fun to watch… An emotionally uncommitted picture that's smirky and mawkish, by turns, and at heart, empty. [14 Dec 1990, Daily Datebook, p.E1]

Other films that are genuinely moving are The Elephant Man, Fearless and Camille. Edward Scissorhands is a film of darkness and beauty, that makes it such a wonderful and unique film to see. One thing that I really liked about Edward Scissorhands was the music score by Danny Elfman, which was very beautiful, sensitive and mysterious. A good example is in the beginning credits, with the angelic choir accompanying the Christmas-like images on screen. The cinematography was gorgeous, with bright imaginative close-ups contrasted with genuinely Gothic scenes, like when we first meet Edward in the dark house. The script, while not the strongest category of the film, was still very touching, and added to the charm and suspense that was already ensured in the film. The direction by Tim Burton had all his trademarks, very dark and suspenseful, evident in films like Batman and Sleepy Hollow, if a little odd at times, which is fairly typical of Burton. While there were one or two funny moments, the film is genuinely poignant, with a heart-rending ending. I will say I was most impressed with the acting, topped by Johnny Depp's tragic and poignant portrayal of the title character, and then Winona Ryder as Kim, while not quite as convincing is still very sensitive. I was shocked that Depp didn't get an Oscar for his performance, he doesn't say much, but his facial expressions fully justify. There was also sterling support from Dianne West, Kathy Baker et al, while Vincent Price in a minor role as the inventor also impresses, such a shame he died three years later, he was a brilliant actor, if you see him as the truly Machiavellian villain in Great Mouse Detective, or the sadistic Matthew Hopkins in Witchfinder General, you'll know what I mean. As I have already said, the ending is so heart-rending, that I will confess I got through half'a box of tissues. Overall, a remarkably beautiful and poignant film that had me speechless. My advice to anyone who hasn't seen it, and is planning to, have a box of tissues at the ready, it is that sad. 10/10 Bethany Cox.

I feel like I can see a future genius honing his craft. This movie has so much potential, but that something special about Tim Burton's best movies is just missing.

Typical Burton film, very strange and quirky but not particularly clever. Depp is good.

Tim Burton sait indubitablement donner vie à ses univers fantaisistes, au moins d'un point de vue purement esthétique... la photographie et les décors sont ici dignes d'une fable pleine d'émerveillement, le choix des couleurs est judicieux, y compris les costumes de cette sorte de banlieue bon chic bon genre typique des années 50 ou 60 mais en même temps... hors du temps : une espèce d'allégorie en somme. Ainsi, le petit bonhomme aux ciseaux (dans son costard sado-maso taillé sur mesure) se fond-t-il sans forcer dans ce petit monde déjà bizarre et caricatural où ses services sont immédiatement appréciés comme tailleur de haies, sculpteur sur glace et... coiffeur de ces dames et de leurs clébards. Tout cela peut faire sourire et on sourit en effet parfois... Mais on trouve déjà le temps long alors que Tim Burton s'enlise dans sa démonstration des problèmes que peut engendrer quelqu'un de trop différent et la difficulté d'insertion que cela peut représenter au sein d'une société très ordonnée. A son agenda social, Tim Burton rajoute celui de la "Belle et la Bête", de l'amour impossible et de la jalousie et plus prosaïquement d'un mini-Frankenstein qui vient de naître, naïf et vulnérable à la manipulation et méchanceté des hommes... En vérité, tout cela sonne déjà assez lourd sur le papier mais se révèle en pratique d'une maladresse et d'une niaiserie à la fois pénibles et ridicules. La petite poésie longuette se mue alors en guimauve absolue et en petite morale à deux balles... Et si Johnny est assez remarquable en horticulteur ravi de la crèche, Winona est horripilante de médiocrité, pour ne pas dire plus. Trop ramolli, trop lourdingue dans ses intentions et trop neuneu, le film finit donc par s'effondrer sur lui-même : une belle coquille vide.

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