The Diving Link and the Butterlink (cause Nate already took There will be LInk)

New Friday, new links, lets get to work:

While I disagree with some of their points this is still a plenty funny article about some retroactive re-shoots that could've made the year better courtesy of Guardian Unlimited. Click here.

Internet produced parodies, generally I can take them or leave them but my good friends (no lie, I've got pictures) over at College Humor recently put up a very high class take on a certain Eastwood flick that can always do with a little ribbing. PS Any child of the 90's would be remiss to ignore their Street Fighter series. Click here for some Million Dollar Babies.

Film related cheesecake you say? Why I've got some right here courtesy of the good folks @ Joblo.com (and I don't mean the kind of cheesecake they gamble over in that scene from Guys and Dolls).

Someone took the time to break down the four major male character arcs that keep seem to be cropping in movies of late here. Not included in this article, why Dane Cook keeps cropping up in movies of late.

Ooo I liked this one, see the growth of Tim Burton and his experience with musical numbers leading up to Sweeney Todd here.

Hey howdeydodat long tracking shot in Atonement? American Cinematographer has your back right here.

Hey remember when Steve Martin was funny? So does this lady, click here to look back and fondly remember.

It's man devouring man my dear/and who are we to deny it in here

Oh man was I ready to hate this movie. Just tear it to shreds for it's head-scratching choices (paramount among them being the casting of non-singers in a musical) but Sweeney Todd works. It works SPECTACULARLY. Burton's film is a high-wire act, daring and threatening at any given moment to fall precariously to its doom. But Burton never wavers, not for one moment, he charges boldly ahead aided by the top-shelf material on hand by Stephen Sondheim and book by Harold Wheeler.
The story of Sweeney Todd has stuck in the popular consciousness in some form or another since the late nineteenth century, but it was popularized by the 1973 musical by Sodheim starring Angela Lansbury and Len Cariou as Mrs. Lovett and Sweeney. The recent revival by director John Doyle gave an effecting spin on the piece by having its performer play their own instruments. The conceit was used to great effect and added some intriguing layers and subtext. It was also probably one of the best productions I've ever seen on Broadway and set the bar very high for the film version of Sweeney. But despite all odds Burton nails his adaptation. In casting actors over singers he succeeds where The Producers failed. Burton takes advantage of the fact that he can tells his story on film, showing the actors in close, swinging his camera around and cutting from location to location. He's also able to show-off an amount of gore unprecedented and incapable of being produced in stage versions of the show. Shooting so often in close-up allows for an intimacy that doesn't require superior vocal work. These are pained, angry, vicious people whose passion bubbles over into song. This also explains why Burton has omitted the ensemble based numbers. The songs are refelctions of pained individuals working with a group wouldn't quite work.

The story follows barber Benjamin Barker (Johnny Depp) who upon returning to London after years in prison for a crime he didn't commit returns to find his wife dead and child under the care of the man who sent him away, Judge Turpin (a spot-on Alan Rickman). Barker takes up residence with "worst-pie maker in London" Mrs. Lovett (Helena Bonham Carter) and he becomes Sweeney Todd, a man obsessed with revenge. The two hatch a plan that will serve both their purposes, Todd will enact his revenge on the over-privileged class that has done him wrong and Mrs. Lovett will use their bodies as meat for her pies. John Logan's script cuts down the story to its bear essentials (greatly parring down Sweeney's daughter Johanna and helpful sailor Anthony romance-much to my relief). Depp's voice has a pop-rock-ish sensibility echoing the likes of Iggy Pop and David Bowie. He gives great brooding, as is appropriate for the character, but when he finally gets what he thinks he wants the facade crumbles and Depp shows off the central turmoil at the heart of Todd. Depp is at his best when the character is at the height of his passion which is why he's so thrilling in numbers like "The Epiphany" and "No Place Like London." The bigger names in the supporting cast are lots of fun. Alan Rickman is perefctly suited to the wicked and perverse Judge Turpin and Timothy Spall basically plays the R-rated version of his lackey from Enchanted. Sascha Baron Cohen makes a big splash as the supremely entertaining Singnor Pirelli, a rival barber for Todd as he shows off impressive vocal range as well as his junk. Of course, Cohen being entertaining was never in question.

The real surprise here though is Helena Bonham Carter. I was ready to cry nepotism as her thin, reedy voice hardly makes her a contender for playing Nellie Lovett. However, Bonham Carter intrinsically gets the character. She's a classic co-dependent and enabler for Sweeney. All she wants is his happiness and wants desperately for him to notice her romantically. She has intense home-making instincts but she's really the mother from hell. This never comes off better than in "By the Sea" where she envisions a domestic life for herself and Sweeney and Burton gets to show-off a particularly playful side. Of the unknowns in the cast Ed Sanders does a first-rate job as what has to be the youngest Toby in the history of the show. He does a fine job with "God that's good" and "Not while I'm around" and helps complete the twisted family unit that Mrs. Lovett is trying to put together.
The real star of the movie though at the end of the day is Burton's direction. The film breezes by and is entertaining from the first frame to the last. While Burton is occassionally hitting the same goth notes that made him famous it never feels as though his sensibility is over-taking the story. He provides exciting visual flourishes to each number so that while they may not have the most dynamic singing ability they're incredibly fun to watch, assuming you're the type that takes glee from gallons of Hammer horror-style blood.

One Week More

Ok so we've basically got a week to go until hitting December (ground zero for quality films most years) and in honor of that here is a visual guide to the seven flicks that have my film geek sense tingling in no particular order:

Juno

There Will Be Blood

Sweeney Todd

Walk Hard: The Dewey Cox Story

Persepolis

Charlie Wilson's War

Atonement

What I really like about this promising batch of contenders is that its such a great mix of genres. It ensures that fatigue won't set in. A quirky indie comedy fro an up and coming screenwriter. A serious historical drama from a much missed director (with an orchestral score by one of the minds behind Radiohead). A musical (and a Sondheim one at that). An exciting animated comic adaptation. A spoof of the recent award staple musician biopic from the damn near Pixar-level consistent Apatow group. A light drama that features a combination of some of the greatest talents of the last decade. And a much buzzed about literary adaptation featuring a brght and shiny new cast on the cusp of greatness. If only half of these work it should still be a great winter.