By Jeffrey Sanzel
Charles Addams’ delightfully macabre cartoons of the bizarre Addams band first appeared in The New Yorker in 1938. In the subsequent 50 years, this satirical inversion of the nuclear family was featured in dozens of single-panel drawings. In 1964, the live-action series premiered on ABC and was welcomed into American households for two seasons. This was followed by two animated series as well as several reunion specials.
The franchise was successfully rebooted in 1991 with The Addams Family and the even better sequel Addams Family Values (1993). In 2008, the family got the full Broadway treatment with a musical that has lived on in regional and high school theaters across the country. The first family of Halloween has been seen in everything from board games to drink coasters.
Nearly 10 years ago, there was news of a Tim Burton stop-motion Addams family to be produced by Universal Pictures and Illumination Entertainment. However, in 2013, MGM acquired the rights and it is this version that has now been produced as a 3-D animated comedy. Conrad Vernon directs a predictable screenplay by Matt Lieberman and Pamela Pettler.
It is a shame that Burton was not able to realize his vision. Given his work — particularly The Nightmare Before Christmas — the result would most likely have been more satisfying.
The plot focuses on the threat of the family being pushed out of its haunted mansion by a devious T.V. home renovation host, Margaux Needler, who is building a model community, Assimilation. In addition, son Pugsley will be having his Mazurka celebration (think bar mitzvah with swords) and the entire clan is expected to descend upon the family. Daughter Wednesday becomes curious about the outside world and befriends Needler’s daughter, whom she leads into rebellion.
While these elements could add up to a terrific satire, it never quite transcends its literalness. There is a pedestrian feel to the constantly repeated theme of all-people-just-want-to-be-accepted-for-who-they-are. Visually, it looks closer to the Saturday morning cartoons, and some of the more famous lines are wedged into the dialogue. In the end, there is something flat and uninspired in the result: The film is less Addams family than it is Hotel Transylvania. One has the sense that the creators were hedging their bets and played it safe with a child-centric film, leaving little for the adult audience. While there are nods to the Addams canon, it never feels like it enters that weird, wonderful world.
There is a wealth of voice talent, with some utilized better than others. Charlize Theron captures Morticia Addams’ low notes with a fittingly languid affectation. Oscar Issac is a nice compliment as the excitable Gomez. The children are well-realized by an appropriately affectless Chloë Grace Moretz as Wednesday and Finn Wolfhard as the pugnacious Pugsley. Nick Kroll makes an amusing if one-note Uncle Fester. Sadly, Bette Midler is not given enough to do as Grandmama. Other voices include Snoop Dogg (Cousin Itt), Martin Short (Grandpa Frump), Catherine O’Hara (Grandma Frump), Tituss Burgess (Margaux’s agent) and Jenifer Lewis (Great Auntie Sloom). Allison Janney makes the most of the villainous Margaux Needler but there’s almost no opportunity for variety.
The highlight of the film comes at the end, when the television show’s opening sequence is recreated, Vic Mizzy theme song and all.
In its own way, the movie is child-friendly creepy and methodically kooky but with little mystery and certainly not spooky. Ultimately, what’s lacking is what makes the Addams family unique: One is left asking, “Where’s the ooky?”
Rated PG, The Addams Family is now playing in local theaters.