Edward Scissorhands is a surreal fairytale that critiques the artificial prejudice of suburbia. It's a twisted adaptation that examines loneliness, judgment, ethics, exploitation, conformity, humanity, privilege, creation, and identity. These themes are sometimes obvious, unoriginal, or incomplete, yet they're always sincere. Specifically, the tragic ending doesn't have a clear arc, flirting with muddled messaging. Similarly, characters are flat and the romance is contrived, but that's all auxiliary to the thesis. Meanwhile, the acting aptly balances camp, range, physical expression, evolution, and heart. Overall, Edward Scissorhands' script is imperfect, but its objective remains relatable.
Technically, Edward Scissorhands has significant style. Intentionally theatrical, it fuses macabre German expressionism with whimsical innocence. Elfman's music perfectly modernizes the dramatics of a classical ballet. The iconic casting positions stars into career-defining roles that were against type at the time. Its visuals use symbolic lighting, colors, composition, and angles. The exaggerated production design juxtaposes hyperreal 1950s traditionalism with gothic outcasts. Furthermore, there's figurative sound, multifaceted effects, and a fable-like editing structure. Ultimately, Edward Scissorhands is passionately crafted around an empathetic premise.
Writing: 8/10
Direction: 10/10
Cinematography: 9/10
Acting: 8/10
Editing: 7/10
Sound: 8/10
Score/Soundtrack: 10/10
Production Design: 10/10
Casting: 10/10
Effects: 8/10
Overall Score: 8.8/10
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