Frankenweenie (2012)

Errigo finds the film sweet, funny, and emotionally affecting. She especially praises its exquisitely handmade stop-motion artistry and lovingly detailed design.

The critic calls the film a ravishing return to form, rich in Burton’s familiar themes and dark magic. She particularly praises its handmade black-and-white stop-motion and the way its sets and lighting make 3D feel purposeful.

French finds the film funny, charming and an affectionate homage to gothic horror. He especially praises its playful references to classic horror films, while noting that the ending briefly falters.

Papamichael finds the film joyful and life-affirming, with subtle deadpan humour. She praises Burton’s polished monochrome stop-motion and its affectionate B-movie horror references.

Time Out’s review gives the film four out of five stars. The available page text does not reveal what the critic specifically praises or criticizes.

Harley finds the film a warm, witty success that refreshes Burton’s creative spark. He especially praises its affectionate characterisation and well-integrated 3D.

The review finds the film an entertaining, affectionate return to Burton’s roots, though less ambitious than his best work. It praises the finely crafted stop-motion puppets and the lovingly imagined creatures.

Ebert praises the film as an affectionate, skillfully made homage to classic monster movies. Its handmade visual style and playful horror references are singled out as especially effective.

Scott views the film as a warmly effective homage to classic horror. He particularly praises its loving, inventive stop-motion craft.

Sharkey sees the film as a return to form, praising its stop-motion artistry and distinctive character designs. She finds the story weakened by too many horror references and says its tale keeps falling apart.

Chang finds the film charming and artistically coherent, despite an inert, predictable middle section. He particularly praises its beautifully designed stop-motion world and the puppeteers’ creepy creature work.

The available text does not reveal the critic’s verdict. Its standfirst singles out the film’s referential horror-movie humor.

The page identifies this as a review, but its assessment is inaccessible behind the paywall. The critic’s verdict and specific praise or complaint cannot be determined from the visible text.

Woodward finds the film hugely likable and lovingly crafted, but ultimately antiquated rather than simply old-fashioned. He praises its monochromatic stop-motion aesthetic and the wonderfully composed reanimation scene.

Robinson finds the film a pleasant but insubstantial tour through horror references that lacks a story with weight. She praises the fluid, elaborately wrought stop-motion, while faulting the puppets’ limited expressiveness and the underdeveloped characters.

The critic finds the film merely pretty good, despite seeing it as a modest return to form for Burton. He praises the top-notch animation and the affecting bond between Victor and Sparky, while faulting the crowded narrative and intense scares.

Schager finds the film visually alluring but ultimately stale, bland, and lacking meaningful purpose. He praises its black-and-white visuals and singles out Mr. Whiskers’s strange meows as the funniest element.

The critic finds the film imaginative but tedious, familiar, and drained of Burton’s distinctive energy. He praises the detailed stop-motion work, production design, monochromatic cinematography, and score, while faulting the film’s derivative feel.

The critic finds the film funny, sweet and moving, calling it brilliantly weird and crafted. They praise its affectionate, inventive nods to classic horror movies.

Lambie calls the film a true return to form for Tim Burton. He especially praises its tactile, handmade stop-motion animation and expressive creature design.

Papamichael finds the film a gleefully ghoulish, heartwarming success. She praises its grotesquely funny characters and richly textured black-and-white animation.

Lyus calls the film a triumphant return and Burton’s best work in years, while noting its familiarity. He praises the near-flawless animation and the tenderness that runs through the story.

The review says Burton has returned to form with a story that should delight both longtime fans and younger viewers. It praises the blend of 3D and black-and-white animation and the creepy supporting cast.

The critic finds the film a welcome return to form for Tim Burton. They especially praise its embrace of children’s creativity and its dark, eccentric sensibility.

Goldberg finds the film a lively, heartfelt return to Burton’s earlier strengths, though its scattershot themes and uneven pacing weaken it. He especially praises the stop-motion animation’s expressive depiction of Sparky, while noting that the dog should have appeared more often.

Wilkinson finds the film a satisfying, adorable adventure that makes strong use of Burton’s distinctive imagination. She praises its creepy-comic monsters and engaging blend of childhood grief, difference, and classic horror influences, while objecting to a racial stereotype and an overly sugary ending.

The headline signals a positive verdict, calling the film a return to form. The accessible text offers no further detail about what the critic praises.

Fischer finds the film charming and pleasing, though overly safe and not fully satisfying. He praises the stop-motion animation and the expressive detail given to the animals, especially Sparky.