User reviews

As a fan of the original stage version of this grimly Gothic tale, going into Sweeney Todd was bittersweet in my hopes and expectations. However, I'm pleased to announce that I did find Burton's latest effort impressive and intentional. Fans of the original won't be disappointed with a top-notch cast and the wonderfully dark overtures that haunt every minute of Sweeney Todd. Tim Burton, one of the masters of ambiance, sets his atmosphere in the grisly streets of a depressed London and his artistry punctures through every scene of screen time. I would have to clarify that, while Johnny Depp is a skilled actor, fans of the original will find it hard to believe that Depp has the ability to transform into the George Hearn "Sweeny" we've come to know. This is in fact true and recognized by Burton. In this respect, the character of Depp is not played as the same manner as the deep-voiced, towering Todd from the musical adaptation. Depp's is more of a less boisterous and thoughtful one. The vocal performances are great but have a different approach and feel to them. It was a refreshing adaptation and I feel a triumph on the part of Burton for making a stage-to-screen experience that captures you from it's bloody introduction.

I went into this film very nervous. As a huge fan of Sondheim and the stage show, I wasn't sure that the film would measure up. I was pleasantly surprised. While it certainly does not surpass the stage show by any means, I think that Burton and his cast paid wonderful homage to Sondheim's genius. I almost wish that Depp and Bonham Carter had stronger voices though. However, having never sung before, both of them did wonderfully. I had zero respect for Sascha Baron Cohen before seeing this film, but he was a delight. Alan Rickman was fabulous, as always, and the new faces in the cast are ones I hope to see again. Visually, the film was stunning. A bit gory for my tastes, but the story certainly calls for it. The colors were fantastic, and the contrasts Burton made were eye-popping. Musically, it could have been a lot worse. They cut the opening number, which is one of my favorites, and seriously shortened A Little Priest, which is my all-time favorite song, but the cast really stepped up to the plate with the music, and they did a wonderful job. Helena Bonham Carter is no Angela Lansbury (the original Mrs. Lovett), but she was great. Not a film I could see frequently, just because of all the gore, but I loved it.

As it happens more often than not, greatness is relegated to some obscure angle. In a year of brilliant opuses by the Cohen Brothers and PT Anderson, this Tim Burton film shines as the best from every angle. It's not just that Burton creates another superb, dark universe with Dante Ferretti's complicity or that Johnnt Deep breaks new ground, or that Helena Bonham Carter surprises us with a complex, marvelous realistic parody. The film touches visually a very private cord. Ed Wood managed that but Tim Burton with "Sweeny Todd" elevates it to the purest form of art. He will be punished for that, as Ed Wood was in its day. Disappointing grosses in a world that worship grosses will make it appear as a sort of a failure. My advise to you is run to see it wherever you can find it. Try to see it in a big screen with great sound. You will fly and dream and be taken away by the masterful hands of Tim Burton and the glorious faces of Johnny Depp and Helena Bonham Carter.

Tim Burton has gone beyond himself and anything he has ever done. "Sweeney Todd" is stunningly beautiful. Dark? yes, bloody? sure! but then we're in Victorian London where everything is what it appears to be no matter how turgid. The meeting of Mr Todd and Mrs Lovett is so scrumptiously conceived that I'm sure will be one of those film moments that are used whenever "great film moments" are compiled. Johnny Depp will never cease to amaze me. He is not just the beautiful boy with soulful eyes, but a great actor. How extraordinary that two talents like Burton and Depp should meet at the perfect moment in time. How lucky for us! Mrs Lovett is played by another extraordinary actor: Helena Bonham Carter. She is spectacular! Sacha Baron Cohen, Alan Rickman and in particular Timothy Spall add to the perfection of this film. Dante Ferreti, the production designer and Coleen Attwood, the costume designer, deserve all the kudos they are getting and will get. Glorious!

"Sweeney Todd: The Demon Barber of Fleet Street" is one of the best musical films ever made and probably the last truly excellent Tim Burton effort in directing. It's a romantic and enthralling vision of the dark perspective about life and death for the poor people controled by the privileged, cruel and envious society. It finds a inspired Johnny Depp in probably his best performance of this century. Helena Bonham Carter, Alan Rickman and Timothy Spall compelte this luxury cast, which is one of the most talented one assembled in a musical!

"Sweeney Todd: The Demon Barber of Fleet Street," directed by Tim Burton and starring Johnny Depp and Helena Bonham Carter, is based on the Stephen Sondheim musical from the 1970s. I remember sitting stage right, down front, in the theater when I saw this musical with Angela Lansbury and Len Cariou and being completely, utterly blown away. As a stage show, it was jaw-dropping, with some of Sondheim's most beautiful music: "Johanna" is perhaps my favorite of all Sondheim's songs, but the score also includes the beautiful "Not While I'm Around" and "Pretty Women."

Seeing the film is a different experience from seeing the musical. Burton does a marvelous with it, blending the macabre grand guignol with the cartoonish and also with reality, overall giving the movie a really murky atmosphere. "By the Sea" was, for me, pure Burton. Depp, Carter, Rickman, Ed Sanders, Jamie Bower, etc., are all excellent, Sacha Baron Cohen does a great turn as Pirelli. Sweeney can be a great singer, as he usually is on stage, but he really doesn't have to be, and Depp and Carter match well. The singers need to be Joanna, Anthony, the judge, and Toby if at all possible. They all sing very well in the film, and the orchestrations are fantastic, "Johanna" and "Pretty Women" being the highlights.

The "gore" looked fake so it wouldn't be too off-putting; it off-put me anyway. More than that, the entire story is sickening - somehow the distance between the audience and the stage makes it more palatable. Plus, the original show has a much lighter touch and, in the character of Mrs. Lovett, a good deal of humor. Burton plays the story much darker. I literally gagged a few times. I would have been better off just listening to the soundtrack.

In the end - not my thing, but this extravagant musical may surely be yours.

What an extraordinary treat this bloody dirty tale of vengeance and gore is. The exquisite way Tim Burton presents it to us makes it so. Stephen Sondheim's stage masterpiece becomes a film masterpiece of unequaled stature. Everything about it reeks of genius of magic. Once again, Johnny Depp fills, Burton's macabre universe with overwhelming humanity. He can slash as many throats as he wants if we look into Johnny's eyes we see the struggle, the human winning in despair. I know I'm not making too much sense but I just want to urge you, if you love cinema, to rush and see it as God intended, on a big screen and Dolby surround sound.

2007 has passed with 2 tracer bullet psycho-crime movies; Mr.Brooks and Sweeney Todd, with similar endings:

Miss Jane Brooks(Danielle Panabaker) hunted his father(Kevin Costner) and Little Toby(Ed Sanders) overcame his master(Johnny Depp). We'll look forward to see if producers and directors can make good use of these new generation infant homicides, in future.

Tim Burton is having his leading actor killed for the first time, if we consider Beetle Juice as an immortal superhero. Responsibly, Sweeney Todd dies just after he accidentally killed his beloved wife.

I don't know why, but lately in all psycho movies, all the bloody grim killers turn into mother's pet at the end. Since when? Since Mary Harron's "American Psycho"(which had Christian Bale as Patrick Bateman, the man of the dark nights, had become Christopher Nolan's Batman afterward). This way or another, every psychopathic killer is completely bewildered and is repented at the end. Yet before, there was no repentance. For instance, Beetle Juice was never repented, Addams Family were never repented, Reservoir Dogs were never either. Somebody please tell me: Who put this repentance law to psycho movies?

Anyway, Sweeney Todd:The Demon Barber of Fleet Street is a musical film-noir from Tim Burton with his original style of bearish and abominable bugs'n beetles movie.

Contrary to the many comments I have read and heard about the film thus far, I thought it was absolutely wonderful. After what some could term a "dry spell" for Tim Burton, it is such a breath of fresh air to see this new offering, Sweeney Todd. The movie showed Tim returning to his roots of the dark, the sinister, and the macabre. All were blended together in the setting he is so very well-known for, the dark streets of London.

In addition, I thought the fact that he maintained the musical aspect of the film/play worked in the movie's favor. I know Johnny Depp has said that he can't sing, but he sang rather well if you ask me. Keeping the cockney accent, whether singing or not, it made the film that much better. While I was surprised to see Danny Elfman not included in this movie, I believe the music was performed and carried out beautifully, nonetheless. Indeed, the accents can at times make it hard to discern what is being said, but that's not always a bad thing, considering the circumstances. Were they to all of a sudden not speak or sing with their cockney tones, it may provide a problem with consistency. Overall, I loved the movie and have no complaints. A very refreshing return to the realms and themes that Tim Burton is so very amazing at capturing. Top notch!

The duet of Tim Burton & Johnny Depp is always a pleasure to behold. Unfortunately, this time the creepy fairy tale for adults has gone too far with superfluous gore, blood, and neck-slashing. Wonderful cinematography, spectacular costumes and strong acting in the first part of the movie are eclipsed by the fountains of blood in the second half. The gore is hardly necessary, as it doesn't add anything to the movie, but it seriously detracts. More than once, we found ourselves turning our heads away from close-up shots of necks slit open by a razor, and with each time we were less inclined to look back at the screen. It's sad to see an old master like Burton caving in to what appears to be the norm in Hollywood with respect to graphic violence and high body count.

Despite the grim expectations from the story synopsis, the film delivers gore in a surprisingly tasteful way. There are no screaming teenagers running from a lunatic; instead we get a somewhat British blend of satire, slapstick and just "wrong" humor. Although I'm not much of a Johnny Depp fan, I enjoyed his performance as well as Helena Bonham Carter's. Even the portrayal of the common clients was stunning.

Despite being generally familiar with the story, I fell into some traps expecting specific twists, yet something different (and better) being delivered. This is a model of how to do dark humor that filmmakers should and probably will follow. It is most refreshing. Don't read the story and don't read any spoilers until you've seen it.

I enjoy watching Depp as he has honed playing disturbed characters at the level of Christopher Walken ,Jack Nicholson, or even Kinski. I enjoyed the dark humour and the murders were quite graphic although the first doesn't happen till nearly an hour in. The story of a wrongfully imprisoned barber set on revenge of the judge who sent him away hatches a devilish plan with a meat our baker. I enjoy thrillers and this film did deliver in that genre. However I have never seen a musical before and likely never will again. For me it didn't quite work and as a result had to give it a slightly lower rating. 3/5.

I approached Sweeney Todd with trepidation, having been underwhelmed with most of Tim Burton's recent output and every screen musical of the last decade. The biggest problem I have with Burton's films is that his screenplays rarely manage to pull their disparate elements into a satisfying whole. Here, despite adapting the material to his own sensibilities and shortening the play by an hour, he adheres closely to Sondheim's book, resulting in the most dramatically satisfying film Burton has ever made.

I liked the adaptation of the off-off Broadway Hedwig and the Angry Inch, but have been left underwhelmed by all the recent big budget film musicals, so I'm glad to say that Sweeney Todd, wipes the floor with every major screen musical of the last decade, including the likable if over extended Hairspary. Most surprising is how shockingly gruesome the the film becomes in the second half. This must be the most blood drenched film since Shogun Assassin, with arteries spurting blood like like fountains as throats are cut, with the violence escalating towards the end leading towards a climax that is exhilarating, heartbreaking and satisfyingly bleak.

Unlike the dreary dirges Danny Elfman supplied for Burton's stop frame musicals, Sondheim's score is a joy to listen to from beginning to end, its dark romanticism sometimes reminding me of Bernhard Herrmann, perfectly fitting what is both a musical and a horror film in equal measures.

Depp and Bonham Carter are both excellent and it's down to their performances that I never quite lost sympathy with them in their descent into madness, blood lust and cannibalism.

Musical haters may not be converted as 75% percent of the dialogue is sung, but this completely dispatches any notion of cloying sentimentally the genre is often associated with.

Sweeney Todd: The Demon Barber of Fleet Street is one of the year's most talked about films, it's getting big Oscar buzz and of course, what could be better than Tim Burton taking on this dark musical? With Johnny Depp starring along with beautiful Helena Bonham Carter by his side, this movie just screams terrific. My mom and I saw the movie today and Sweeney Todd: The Demon Barber of Fleet Street lived beyond to my expectations. Tim Burton hasn't exactly released a classic lately that would be remembered for all time, but Sweeny Todd is sure to make it's way into one of the most memorable films of 2007. Johnny Depp and Helena both have incredible voices, they were so hauntingly beautiful and magical together, it's like these roles were made for them. Along with an equally strong cast as Alan Rickman and Sacha Baron Cohen who were also incredible, Sweeney Todd: The Demon Barber of Fleet Street is a new memorable musical for years to come.

Sweeney Todd has come to London on a mission, a mission for revenge! His wife was taken by the evil judge for his own pleasure's with her and Sweeney's daughter. Now Sweeney's daughter is grown and is being held by Judge Turpin and he has been informed by his lover, Mrs. Lovett that his wife has died. "At last my arm is complete!" Sweeney says as he raises his faithful razor and wishes to kill the vermin of the world as well. Mrs. Lovett comes up with the clever idea to create a tasty meat pie of the victims and makes quite the popular business. But Sweeney is determined to find his daughter who is being wooed by his young friend, Anthony, and kill the judge who has taken everything from him.

Sweeney Todd: The Demon Barber of Fleet Street was so beautifully shot. The reason why I love Tim Burton so much is because he knows how colors and contrasts work in a film. He knew how dark Mrs. Lovetts and Sweeney Todd are, in a picnic scene where everything is supposed to be bright, Sweeney and Lovetts are the only dark figures in the lovely setting. The music is triumphant, the songs were so memorable and almost hypnotic, I felt like was in a real Broadway audience. Sweeney Todd: The Demon Barber of Fleet Street is one of the best films of the year, I guarantee it, this was a terrific musical that was a bloody good time! Tim Burton is back and he's better than ever with Johnny.

10/10

"At last, my arm is complete again." Sweeney Todd as he admires one of his efficient razors after a long absence.

I'm not sure Tim Burton's Sweeney Todd is "grand," but I'm confident it's in the best Grand Guignol tradition of sensational stage horror given its name from that little theater in early 20th century Paris that specialized in sensationally ghoulish productions. I am also sure that no one in film is better able to play the titular butcher than the shape-shifting, ever-naughty Johnny Depp.

The opening song "No Place Like London" hints to Anglophiles like me that it won't be my usual tour of West End theaters, rather a seedy, dangerous place where Mac the Knife would be more at home. Throughout the musical, Steven Sondheim's lyrics expressively revel in the amoral, throat-slicing world that Sweeney and his adoring meatpie lady, Nellie Lovett (Helena Bonham-Carter), wallow in as he prepares to take revenge on the equally amoral Judge Turpin (Alan Rickman), who dispatched Todd to prison early on to get his beautiful young wife. Hence Sweeney's revenge inclination.

Sweeney's lyric best expresses the wildly murderous world, hardly the usual province of musicals: "Alright! You, Sir?/No one's in the chair come on, come on/Sweeney's waiting/I want you bleeders./You sir! Too sir?/Welcome to the grave./I will have vengeance./I will have salvation . . . ." Yes, it's Sleepy-Hollow, Corpse-Bride Tim Burton's movie with blood spouting like red paint from a pressure gun contrasting the somber, almost black and white underside of London. When one of the children bites into a pie with a finger in it (shades of our contemporary law suits!), the audience doesn't even gasp, given the omnipresence of bloody bodies.

There is no more interesting musical this year, even considering the enchanting Once. In the end, it is unsettling, unsavory, and unusual. Burton does better than anyone else in juxtaposing horror with innocence.

After fifteen years in the Australian pokey, barber Johnny Depp (as Benjamin Barker) returns to his nineteenth century Fleet Street, London flat and assumes the name "Sweeney Todd". Wrongly imprisoned, Mr. Depp is in a vengeful mood. He learns his wife has poisoned herself, and left teenage daughter Jayne Wisener (as Johanna) in the clutches of lusty Alan Rickman (as Judge Turpin) and Timothy Spall (as Beadle Bamford). Depp's sailing companion, young Jamie Campbell Bower (as Anthony Hope) hears Ms. Wisener singing, and falls in love at first listen. And, she is similarly smitten.

Meanwhile, acting like "Aladdin Sane", Depp showers himself with the blood of throat-slit victims. His new co-dependent companion, dark-eyed Helena Bonham Carter (as Nellie Lovett), sells meat pies made with the human carcasses Depp provides. "And baby makes three" when Depp and Ms. Bonham Carter "adopt" gin-swigging young teenager Edward "Ed" Sanders (as Tobias "Toby" Ragg), after making tasty mince meat out of his swarthy guardian, Sacha Baron Cohen (as Adolfo Pirelli).

Subtitled "The Demon Barber of Fleet Street", director Tim Burton's "Sweeny Todd" is more horror opera than Broadway musical. The promotional material says it "has been hailed as a masterpiece by critics and audiences everywhere." Now, that's going too far, in this case - but, you know Burton and Depp are going to be attached to something visually arresting, and is certainly so. There is, at least, masterpiece-caliber work from the likes of Colleen Atwood, Dante Ferretti, Francesca Lo Schiavo, and Dariusz Wolski, who will hopefully continue to be seen among the outstanding Burton/Depp crews.

******* Sweeney Todd (12/3/07) Tim Burton ~ Johnny Depp, Helena Bonham Carter, Jamie Campbell Bower, Ed Sanders

Good dark fun.

I knew nothing of this movie except Tim Burton and Johnny Depp had something to do with it, and that, as the executive director put it, there was "lots of blood". I don't think of myself as liking musicals, although I should probably reconsider now.

I had a moment of dread when the movie started and there was a mention of Sacha Baron Cohen being in it. However his performance was in fact quite good. While his acting has a few things in common with his over-the-top Borat character, it somehow fits rather well within the movie.

Some elements of the plot are rather predictable, in a Greek tragedy sort of way, but it doesn't really detract from the movie. We get to enjoy the downward spiral even though we know its shape.

All in all, the movie was awesome, filled with damned and hopeless characters that still made you laugh at every turn.

And this conventicle has brought us a glistening and irresistible nightmare. There are delicious Dickensian overtones throughout, and the look of the film itself is poetically potent. The entire mix is shockingly seductive with an unforgettable ending. Burton's humor is part and parcel of his sheer brilliance, as always, and, as always, the great Johnny Depp is intense and positively unforgettable. All performances are electric, the pace and length are perfect, and the film draws us deeper and deeper with every moment into its stunning blend of the grotesque and the undeniably beautiful. Analysing the power of a film like this is no simple matter. The whole is dazzlingly disturbing. You don't want to miss a second of it, even though the film is merciless to us and to its protagonists. It sings, it glows, it enchants, it horrifies. I want to see it again. And again. It's a brutal and shattering masterpiece.

Alright, I went to see the movie adaptation of 'Sweeney Todd: The Demon Barber of Fleet Street' and thought it was amazing, but being a fan of the original Broadway stage versions I do have some complaints. The bloods levels were necessary is some parts, but some just ruined the moments. During the song 'Johanna' which is one of my favorite songs in the show, Sweeney will be slitting some throats. The thing that makes the stage version better for that song is that the blood isn't a distraction. You only see like a red line go across their throat, then down the chute they go. When the movie had blood flying everywhere in a real sort of way it was extremely hard to concentrate on the song. Another part was that they cut out some of the songs and lyrics to cut down the 3 hour musical into a 2 hour movie, another disappointment for a guy who loves the play like me. Now of course the big thing is how Depp was able to portray Sweeney and SING! Alright, shut up Depp fan-girls. He is not some sort of miracle singer. He's an alright singer, but a much better actor. His voice has menace, though pirate fans may have to hold back a snicker at the fact that when he says certain lyrics he sounds like Captain Jack Sparrow live on Broadway. I think in a movie musical he was well cast as the tormented barber who has lost everything near and dear to him, except his precious razors. Helena Bonham Carter did well as the sociopath Mrs. Lovett whose good idea is to turn Sweeney's victims into pies for her own profit. Sacha Baron Cohen who did well last year in his surprisingly critically well received 'BORAT' comes back to the big screen with a marvelous portray of the flamboyant street barber Signor Adolfo Pirelli, and I myself wouldn't have wanted to cast anyone else, the character seems like him. Finally Alan Rickman provided a truly menacing portrayal of Judge Turpin; Sweeney's nemesis and reason why he wants revenge. All and all the 1982 Broadway performance (On DVD) starring George Hearn and Angela Lansbury will always be my favorite musical version of this tale of revenge. Aside from me finding some parts a bit too violent I will give it a high rating. I give Burton's Sweeney a 10/10 instead of a 9/10 just because Sweeney Todd is my 2nd favorite musical, and the scenery, costumes, and atmosphere of the movie was brilliant.

This movie is awful.

I went to see this movie because I liked past performances of Depp and I like the way Burton works, but this was a waste of time and money.

To begin with, with few exceptions the actors can't sing. A lot of singers can't act, and the opposite is true as well. Depp should absolutely stick to speaking.

Then they keep on singing the same lines. Over and over and over. They could have put a few more dialogues, soliloquies, or even more sung lines in the story, but instead they opted for boring people.

The story itself could have been good, except that the plot is flat and predictable, dragged on by the incessant monotone singing. Every major plot point, including the final "twist" was so overdone that my fiancée guessed it about 15 minutes into the movie. This movie could have been done SO much better with a more convoluted plot.

In truth, there are no twists, no poignant moments, no deep characters, and no story.

Fans of the actors and of the director will love it for sure, but then again they are fans and that's what they do.

Sweeney Todd is an old story that is not based on a real 19th century murderer--despite some recent rumors that this legend is true. Though the original story has changed a bit over the years, the basic elements remain. A man is wrongly convicted and returns years later to exact revenge--slicing the throats of the wicked (and sometimes innocent) and then having the bodies disposed of in meat pies sold to the unsuspecting public!

The movie is based on the Sondheim musical. Over the years, there have been other non-musical versions of the fabled story of Sweeney Todd, but Stephen Sondheim has truly popularized this grisly tale of revenge and madness. However, if you are used to the Rogers and Hammerstein or Lerner and Loewe style of musicals, be prepared for a wildly different sort of musical. This isn't just because of the very, very dark subject matter but also the style of singing. Unlike these other famous musical teams, SWEENEY TODD does not offer songs that you will quickly find yourself humming or will hear on an elevator. That's because this production isn't a traditional musical with catchy lyrics, but where the dialog is sung to music--somewhat like the wonderful UMBRELLAS OF CHERBOURG (wow, aside from this, you can't find two films more unalike). And since the emphasis is on dialog that is sung, the style may take a lot of getting used to. Plus, you probably WON'T find yourself tapping your feet and humming to the amazingly fast-paced and somewhat maniacal music. About the only really traditional style song is the lovely "Joanna".

This style singing does take some getting used to, though this film adaptation of the musical is much more approachable to the casual viewer. That's because in the play, many of the songs are sung in a crazy and cacophonous manner--with many singers across the stage singing DIFFERENT parts that generally DON'T harmonize well with each other. This strange and sometimes painful style was done to emphasize Sweeney's madness and I understood the symbolism--I just didn't particularly like it and I was thrilled that these twisted chorusers were absent from the film. Instead, the music was sung by either individuals or in duets (which were ALSO often sung very separately but with much less cacophony than an entire chorus). My daughter, quite the purist and lover of theater told me she missed this aspect of the film--she WANTED the insane chorus. As for me and the average audience member, I am sure this change by Tim Burton is a welcome one. The bottom line is that the stage style was just too annoying and headache-evoking.

While I am talking about the songs, I must point out that despite originally feeling very skeptical about casting Johnny Depp and Helena Bonham Carter in the leads (after all, they're NOT known for their singing ability), they and the rest of the cast did quite well. I am sure that the modern ability to make practically ANYONE a singing sensation (such as Hillary Duff or Ashlee Simpson) was employed, but it did work. Now this isn't to say that they or the rest of the cast have gorgeous and melodious voices--they don't. But, for this style of film, it worked perfectly. Had they been cast in a remake of THE SOUND OF MUSIC or some other more traditional musical, it probably wouldn't have worked. Oddly, despite their being more than competent in the roles, I have heard some snipes about them and I can assure you they DID do well and were well cast.

Now as for the rest of the film, I must STRONGLY urge caution, as this is one of the most violent films I have ever seen. Sure, some films show many more deaths but the closeup shots of throats being slit and profuse torrents of blood is NOT for the squeamish nor is the sight of seeing the corpses splat onto the floor below as they are dropped through the trap door. I noticed several in the theater covering their eyes during the murder scenes--including my daughter. It's not for the faint-hearted and really is up close and brutal in how it depicts the killings. It worked--the murders looked very vivid and real--perhaps too real. With a little more left to the imagination with the killings, I really think the film might have worked a tad better for the average viewer. I have a very high tolerance for this stuff (probably partly due to my being a human biology minor in college), but most will cringe at all the carnage.

Now as for the aesthetics of the film. As you probably would expect, director Burton did his usual marvelous job. The dankness and awfulness of a Dickensian England is vivid and convincing. The plethora of roaches and rats also heightened this awful realism as did the terrible dental work of the actors. Unlike many films set in this era that featured actors with lovely capped teeth, the actors here abounded with crooked teeth! What I particularly liked about the film and what really jumped out at me was the cinematography--how almost everything was done in sepia and gray tones. There were a few exceptions but these were wonderful and were designed as the occasional and shocking contrast (such as the blueness of Pirelli's clothes or the intensity of the blood). Additionally, the fantasy sequence was extremely colorful and this made it one of the most striking and funny scenes in the film--quite appropriate to the mood.

So overall, apart from the intensity of the violence, this was a great film and a nice improvement over the Sondheim stage production due to its wickedly dark humor and style.