(Opinion) Sequel Could Be Awesome but Live-Action NIGHTMARE BEFORE CHRISTMAS Would Be Wrong
Josh Millican
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Last week, Moviehole set the internet ablaze with an exclusive report that Disney is considering making a sequel to Tim Burton’s The Nightmare Before Christmas, released in 1993. Their source said that a sequel is on the table, but here’s the really crazy part: It could potentially be a live-action film.
There’s talk at Disney to “do something with “Nightmare Before Christmas” – probably a sequel but live-action possible” we’ve been informed (the tip comes from someone who has given Moviehole credible intent in the past; in particular, they were spot-on with the “Backdraft 2” scoop they offered us).
Okay, on the one hand, Disney has been striking gold with live-action remakes of their animated hits (Beauty and The Beast, The Jungle Book, and the upcoming Aladdin are examples) but The Nightmare Before Christmas exists inextricably in a world of stop-motion with characters whose physical attributes would make them look mundane if played by people.
The whole point with Nightmare Before is that it’s reminiscent of those cheesy-yet-creepy holiday specials from the 1960s and 1970s, like Rudolph the Red-Nosed Reindeer produced by Rankin/Bass Productions. The dead horse I’m on the verge of beating is that I’d be down for another round with Jack Skellington, but if you try and turn all the film’s ghosts and ghoulies into people, I’ll be pissed. Humph!
Synopsis:
The film follows the misadventures of
Jack Skellington, Halloweentown’s beloved pumpkin king, who has become bored
with the same annual routine of frightening people in the “real
world.” When Jack accidentally stumbles on Christmastown, all bright
colors and warm spirits, he gets a new lease on life — he plots to bring
Christmas under his control by kidnapping Santa Claus and taking over the role.
But Jack soon discovers even the best-laid plans of mice and skeleton men can
go seriously awry.
The Nightmare Before Christmas features the vocal talents of Danny Elfman, Chris Sarandon, and Catherine O’Hara; Elfman scored the entire film
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