The good news: Stephen Sommers has nothing to do with the film, so it isn't paced like a crackhead's exercise in attention deficit editing and sonic bombast. Danny Elfman's rejected/restored score is very good, and the production values are quite elegant, but there are flaws in this dream project that may have some longevity in theatres, or will be placed alongside Francis Ford Coppola's earnest but awful messed up Dracula (1992) in video store racks.
For more info, click HERE for the film review.
- MRH
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