Opens November 19,1999

Heads do indeed roll in Tim Burton's Sleepy Hollow, but the one that most needs to be lopped off is that of over-hyped screenwriter Andrew Kevin Walker. Walker's predictable and sloppy story telling doesn't do justice to the visually stunning film that Burton has crafted nor to the potential that Irving's classic Gothic tale holds for adaptation. Burton isn't entirely without blame here either. He places too much stock in the gorgeous look of his film and not enough in his characters. He also abandons subtlety in favor of some big Hollywood effects as well as more than a few ill-placed comic book visuals that would be more at home in Beetlejuice than in this generally more mature work.

Very little happened in the original tale of poor Ichabod Crane and, in fact, very little happens in Walker's version, which is tragic considering the potential for reinvention here. Walker has taken nothing more than the original characters and setting for his version, but instead of offering up a fresh take on the tale, he presents us with what amounts to a modern melodrama more suitable to an Agatha Christie Whodunit than a Gothic tale of terror. When I hear "Headless Horseman", my mind whirls with the possibilities? Crazed serial killer? Vengeful spirit back from the grave? Lost soul in need of redemption? None of the above. The best Walker could come up with was a ghoulish automaton who is at the whim of mortals.

In the original story, Ichabod Crane was a timid, superstitious schoolteacher who lusted for wealthy Katrina Van Tassel and was eventually killed by the Horseman. Walker's Ichabod (Johnny Depp) is now a decidedly un-superstitious city constable. Owing to a childhood steeped in witchery, he has turned his back on magic and devoted himself to the notion of scientific reasoning. When Ichabod is sent to the remote burg of Sleepy Hollow to investigate three decapitations, he insists that modern methods of detection will out the criminal, who is surely of flesh and blood not some nightmarish ghost or ghoul. Thus, as a man without faith, he must rediscover his trust in magic in order to be redeemed. This is, of course, far from an original idea. In fact, at least three other current films -- Dogma, End of Days and the cheesy The Omega Code -- toy with the same character journey. Unfortunately, Ichabod's trip is by far the least enlightening.

As Ichabod is drawn deeper into the workings of this intimate township, his own belief system is challenged by the bewitching nature of local girl Katrina (Christina Ricci) and by the Horseman himself, who proves he is indeed a denizen of the spirit world. Luckily, Depp imbues his role with a droll humor, a welcome addition to this mostly lifeless film. He is at his best when he is cowering or fainting, although Walker's inability to let Ichabod move beyond this behavior is utterly frustrating. What we want to see is an Ichabod Crane who faces his demons and puts them to rest. However, this journey is merely glossed over, never focused upon.

In Walker's interpretation, mysticism - not character development -- is the be-all, end-all of the story. Soon enough, though, the cool effects, the element of witchcraft and the flash backs to Ichabod's spiritual childhood start to seem like so much filler, quickly cluing us in to the fact that Walker doesn't really have a story to tell. Atmosphere is everything here and the final reveal is so contrived that it feels like Walker consulted some bad soap opera plot for inspiration. With this script and films like Seven and 8MM under his belt, Walker is quickly making a name for himself as a writer whose high concepts quickly paint themselves into a corner. He is all flash and no soul.

As for Burton, he still shows himself to be a master of visuals. In case I haven't made it clear, Sleepy Hollow is by far one of the most beautiful looking films I've ever seen. Burton freely admits that he drew inspiration from classic Hammer horror films, filling this surreal universe with unnerving mist and shadows. Like Walker, however, Burton fails to employ the finer brush strokes that would make this film truly come alive. He cares less about his characters than his effects and these he tends to overuse or use inappropriately. In some cases, eyes will cartoonishly pop out of skulls and scenes will get overly gory, taking us completely out of the moment.

Burton also makes the major mistake of overusing the Horseman. Instead of revealing the mystery of the Horseman gradually, he is seen so frequently - with and without his head -- that his appearances lose their efficacy. In short, he doesn't scare us, especially when he walks on mortal ground instead of towering above his victims on his demonic steed. Sadly, too, this Horseman is a creature without depth. Both Walker and Burton overlook the potential of giving this mythic monster a soul and allowing him some sort of closure from his headless curse.

Tim Burton's off-kilter sensibility should play perfectly into the ghoulish mysticism of Washington Irving's world. Yet, I expected more from the man who created a monster with scissors for hands and made Ed Wood sympathetic. Perhaps the visual potential of this film was too much for Burton and Walker to resist and their addiction to mood overwhelmed their interest in character. Still, that's no excuse. What could have been a lush, romantic and horrific retelling of a classic is instead cinematically exquisite but emotionally hollow.