NipPierce Wow, this is a REALLY bad movie!

Diagonaldi Very well executed

RipDelight This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.

Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

merelyaninnuendo Sleepy HollowAs always, the production design, costume design, background score and the tone of the feature endorses it more than any other aspect of it. Kevin Yagher and Andrew Kevin Walker; the writers, lay out all the big guns before it even hits the screen, after which the only thing awaits, is the journey and the path that it takes to reach out to its predictable outcome which fortunately is intriguing enough to invest in it. If not for Tim Burton, the feature wouldn't have made it post its first act, for each and every frame screams his manner throughout its runtime. Johnny Depp is convincing in it but isn't as good as expected or required and neither is supported well enough by the supporting cast like Christina Ricci and Miranda Richardson. Sleepy Hollow is not how it seems but unfortunately not in a good way, for even though it may hold the viewers for around 100 minutes, as soon as the curtain drops it is quite easy to forget.

marieltrokan An act of kindness, is an act of harmless distribution. The worth of redundant kindness is therefore the worth of the pointlessness of harmless distribution. Harmless distribution, is the harmfulness of possession. The worth of pointlessness is redundancy of worth - the need to abandon a source of inspiration. In effect, it's the need to abandon a source of inspiration that's the danger of possession that's the message.Something, which has the capacity to inspire is the capacity to inflict harm. Inspiration in and of itself is the action of danger. To be inspired is to be drawn toward something. In order for this to happen, however, it's the tragic reality that the reality which is responsible for the gravitation is unable to gravitate itself - the inspiration hasn't the ability to imitate the powers of the inspired.Inspiration is power. But, power is having to experience limitation so that an imitation of power can be true. A power is an experience - experience is having to be subject to limitation, because then an imitation of the experience has the power to be real.Experience and limitation are in fact the same: limitation is having to be real, because then an imitation of limitation can be real. In order to let reality possess the privilege of not knowing its deficiencies, the actual presence of weakness is having to be real.An actual presence, in reality, is having to be the purest definition of weakness so that overall reality can have the freedom of being protected from its weaknesses. A weakness is an injury: for the sake of overall reality being kept safe from weakness, there's a literal spot in reality which is the purest definition of the most powerful weakness.What is the most powerful weakness? An injury is just an injury. However, a best injury is a worst safety. In order to let overall reality know what it means, to experience safety that's reasonable and sufficient, it's necessary for a single spot in reality to know what it means to experience the worst kind of safety.Safety is meant to induce peace. Peace is meant to induce satisfaction - the film Sleepy Hollow is about the perversity of being subject to the worst kind of peace so that reality has the ability to be the happiest kind of fear Peace subjects itself to fear, so that peace can give fear the opportunity to know the true meaning of peace

Prichards12345 I found this a little hard to pin down but if there is a problem with Sleepy Hollow then it probably lies with Johnny Depp and the depiction of supernatural fantasy here without ever making it convincing. Depp is all over the place in this one, adopting a comic tone in a movie that really shouldn't have one, and coming across like a poor man's Bob Hope than anything else. His frequent fainting is ridiculous.To make the supernatural convincing in movies you need to build up to it and handle it carefully; but Tim Burton just throws it at the viewer, making it far less believable (and effective) than it could have been. The main compensations in the film are how jaw-droppingly Gothic-gorgeous it looks (almost taken for granted when Tim Burton's the director), and the chance to see some great old actors do their stuff. Christopher Lee, Michael Gambon, Michael Gough (yayy the star of Konga is back!) etc give it an air of class, and Christopher Walken is genuinely creepy as the horseman.Burton's main weakness is that he struggles to tell his story as well as he might - probably only in Edward Scissorhands and Ed Wood (maybe he should film MR. ED next!) does he keep the narrative on an even keel. And yet his love of horror films is so genuine it comes through in every frame. The windmill used at the film's climax is surely an homage to both Frankenstein and The Brides of Dracula. If only Depp had played it straight the movie might have worked much better.

GL84 After a series of strange deaths, a constable sent to the tiny town of Sleepy Hollow to investigate where he finds the townspeople claim an undead headless horseman is the culprit and that there's a sinister reason for the rampage, putting him and the rest of the town in severe danger.There was a lot of stuff to enjoy with this one. One of the film's best features is that there's an incredible look to the film which makes it incredibly fun to watch. The town here looks incredible, from being completely enveloped in darkness that gives it an eerie, claustrophobic feeling of evil surrounding everything, the muddy landscapes and weather-beaten surroundings and the woods surrounding the town add immensely to that feeling which are just incredibly spectacular and worthwhile in creating an impressive atmosphere. From the look of death on the trees to the thick, heavy fog bank that overhangs the ground constantly throughout the entire film, this adds an extra dimension to it all with it's atmosphere while even more visual prowess comes from it's locations. The different areas in the forest being represented, from the Tree of the Dead to the witch's cave and the burned out shack are just fantastic-looking places that work wonders here. The fact that the killer here manages to get a lot of good stuff about it works quite well, from the imposing appearance to the fantastic back-story to the proclivity to decapitation and the different rules about his behavior, it has a lot going for the killer here. The fact that there's a lot more action scenes here than expected is another great aspect, and really helps the movie hugely. From the first scene, where he attacks a couple on a carriage without being seen, a later scene where he is confronted by a couple of swordsmen after performing a task resulting in a rather well-done and exciting fight, the chase through the woods with the two horses and the great finale that gets the great showdown at the windmill that results in some really explosive action to the fantastic, full-on carriage chase and brawl atop it as it's moving along, this one has some fantastic action scenes and works really well. The last good plus here is the film's body count, which provides plenty of good stuff about it. This one is mostly built around tons of gags for decapitations, which mostly work well, but there's also other great deaths in here that give a fantastic body count. These here are the film's good points while there's hardly anything not to like about this one. One of it's only flaws is the fact that there's a rather convoluted and really more in-depth than required back-story here. There's a point where having too much doesn't really help a film because spelling everything out either contradicts something known previously or it seems thrown in for a twist when there's no reason to add one. This one here works so much as a film about a horseman killing townspeople in a remote village, but everything with the village elders and the secret- keeping and the twist and betrayal at the end just overly complicates the film for no reason and really could've been simplified. That, coupled with the fact that some might be put off by the fantastical elements that creep in during the finale, are the film's real flaws.Rated R: Graphic Violence, Brief Nudity and a mild sex scene.