Of course, Disney is also the company that produced the film, and will make bank from it. The resemblance is too clear to be accidental. Vandevere, is undeniably modeled on Disney’s parks, right down to a version of Tomorrowland’s “House of the Future,” showcasing now-quaint technologies that “future” homes will have. It’s not just an allegory the amusement park created by Keaton’s villainous character, entertainment mogul V.A. Burton’s Dumbo is very nearly explicit about the dangers of Big Disney. That last point is made with a sharp barb. Somehow, Dumbo is a crystal-clear critique of. Vox-mark vox-mark vox-mark vox-mark vox-markĪnd if that wasn’t a strange enough thing to inject into a lighthearted kids’ movie, Burton’s Dumbo remake is unmistakably a critique of entertainers who sell out to greedy corporations for the cash. Whither the weird, macabre artist responsible for Edward Scissorhands and Batman Returns? Why all this banal dreck? Burton’s films arguably took a nosedive once he started getting a larger budget to make them - all spectacle, little heart or soul - and this new version of Dumbo feels eerily like an attempt to apologize for his later, passionless work. Holt’s rejoinder feels like a confession of some sort, a mea culpa from Burton, whose most recent string of films (from at least 2010’s Alice in Wonderland to 2016’s Miss Peregrine’s Home for Peculiar Children, and maybe longer) have disappointed and baffled former fans. It’s a quippy throwaway line, but in the film’s context, it’s a lot more. “What they pay me for, sir,” Holt replies. “You freak!” he bellows, chaos swirling around them. Two-thirds of the way through director Tim Burton’s live-action remake of Dumbo - no spoilers, don’t worry - Michael Keaton, playing a maniacal villain, hollers at our hero, a one-armed circus cowboy named Holt Farrier and played by Colin Farrell.
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