Part of the appeal of Christopher Nolan’s Batman films is that the basic conceit informing their aesthetic seems so natural. Batman is one of few major superheroes that isn’t actually a super-hero. Batman mythology, then, lends itself to a degree of plausibility more than, say, Superman or Spider-Man, so why not manifest a vision of Batman that embraces this particular aspect that distinguishes this character from most superhero mythologies? But realism has not been a characteristic that unifies Batman’s many representations in the moving image. Through the eyes of Tim Burton and Joel Schumacher, the Batman of tentpole studio filmmaking has occupied either a world of gothic architecture and shadowy noir, or one of schizophrenic camp. From 1989 to 1997, Batman was interpreted by visionary directors with potent aesthetic approaches, but approaches that did not necessarily aim to root the character within a landscape of exhaustive Nolanesque plausibility.

Prisoners, escapes, tasmanian devils (of the human variety), murder, vegetation, and flesh-eating!

The award formally known as Interior Decorations is now Art Direction. Either way, its all about an eye for style.

Didn’t get a chance to see the Golden Globes Telecast on the TV Guide network? We did. And trust us, you didn’t miss much…

Enjoy this game, and quite possibly this grim musical could become a comedy.

I hate to have to throw myself into the fires of minority hell, but I’m compelled to vote no on Tim Burton’s dour, overly dark and overly bloody Sweeney Todd: The Demon Barber of Fleet Street.

It’s a weekend of movie treasures here at THE REJECT REPORT! We have a ton of new movies coming up.

This time, we are going to cram more talent on camera, as star Johnny Depp and director Tim Burton talk about how this project came to be.

Time for some Press Junket videos! First up is the very pregnant Helena Bohnam Carter talking about how she ended up as Mrs. Lovette.

That’s right, we’ve got a delectable dose of Depp for you to hang on your wall!

Burton, from Sondheim’s source material (a helluva score), does a heck of a job balancing the unwinking bloodletting with a bit of dark comedy.

Tim Burton and Johnny Depp go together like black and blue, or like fire and ash. Amidst the chaos, there is a unique unison between the two conflicting forces.

For those still wondering, they do actually sing in Tim Burton’s adaptation of Stephen Sondheim’s musical.

Sweeney Todd and Mr. Lovett plot some revenge to a tune…

Alan Rickman and Johnny Depp both equate it to some good, old school horror, but they don’t talk much about the song-and-dance. I wonder if this is intentional on the part of Paramount’s marketing department.