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Benjamin Barker (Johnny Depp) is living a simple life as a barber with his wife Lucy and his daughter Johanna (Jayne Wisener) when the lust of a judge (Alan Rickman) throws all of their lives into chaos. The judge has Benjamin Barker deported to Australia, and it is many years later that he returns to England, under the pseudonym Sweeney Todd with revenge on his heart. He wishes to reclaim his family and punish the judge and the society who destroyed it. With the help of Mrs. Lovett (Helena Bonham Carter), a pie shop owner who had known Sweeney and his family all of those years ago, Sweeney goes about seeking vengeance and reaping the benefits of that bloody journey. (Warner Bros. AU)

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DaViD´82 

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English "Attend the tale of Sweeney Todd, his skin was pale and his eye was odd..."... thus begins the stage version of Sweeney. However, like many other songs, you won’t hear this one because it was cut from the movie. Which wouldn’t have mattered. But what Tim Burton gets up to really does matter. You couldn’t even call this copying your own ideas. But you either have to grin and bear it, or join in with his game. In terms of acting, no objections, but in terms of singing, I have a couple. I certainly wouldn’t say that Depp can’t sing (the only one I could claim that about is maybe that tragically ridiculous Spall). He proved on a few occasions that he can handle that discipline too. But the problem is that the role of the close-shaving barber is considered in musical circles to be the most difficult of all. And it can be painfully visible in the result, like it or not. Sometimes it shows a lot. Especially if you have ever seen a professional production of Sweeney. The tragedy of this character lies in the fact that he stands at the beginning of the autumn of his life. Unfortunately, the “whippersnapper" Depp can’t act this convincingly. And that applies to the entire cast, in fact. With the exception of Helena Bonham Carter and some supporting roles. Thanks to insensitive cutting, at the beginning it is a little disjointed, about nothing and almost boring. A change in the wind in favor of quality starts around the song Epiphany about half way through. Then the final twenty minutes drag the musical Burton back into the waters of solid above-average. Only just, but he’s there. ()

Zíza 

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English Cruel and sadistic, which is why it will appeal to the era of today. It's just that sometimes I don't fit into the era of today, so I guess that's why I wasn't as impressed with Sweeney as I thought I’d be. And I was looking forward to it so much. I was expecting something different, which is fine, my ideas are always "romantic". I guess what disappointed me the most was that the story was so readable, his actions so predictable. Such a pity. But even my favorite actors and their performances didn't can’t make me give more stars... Sometimes love is cruel, but why prove it with a razor and forget it? ()

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Marigold 

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English The tasty meat of Burton’s previous films ground to a pulp and flavored with visual spices, which unfortunately lacks the sharpness and surprise of Tim's best films. In the middle of the first a monotonous musical, in the middle of the second finally a captivating portrait of a monster, which, in a liter of blood, sees for a moment a reflection of what it used to be. Excellent Depp and Carter. But for Burton, the film has very little content under the sharpened form. Disappointment of the year, I have no doubt. [7/10] ()

POMO 

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English After a second viewing, I have to stick with three stars. Sweeney Todd simply lacks heart and its witty ending doesn’t salvage it in this sense. The violence is cold and hateful, lacking Burton’s narrative poetics (like in Sleepy Hollow, for example). Todd’s decision to become a serial killer is unjustified and doesn’t make sense. And I don’t think that the singing Johnny Depp was a good choice for the title role. The other actors, however, were superbly cast and the set designs and music are great. ()

Lima 

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English I think the result would have been just as impressive without the overly explicit violence (it doesn't sit well with Burton), but otherwise I'm satisfied. Burton rocks again, with lots of his typical cynicism (here bordering on the absurd) and his unmistakable visual style, things I never get tired of. And while the music is lacking any significant melodic motif to hum along to after the film, it was a fine listen. Just like Depp's singing, which proves that you don’t need to master the range of octaves and intonation flawlessly if you have the "gift to impress" and a pleasant colour of voice, and Johnny fulfils this without fail. But the star here is someone else, the wonderful Bonham-Carter, whose cynically pragmatic Mrs Lovett was delectable. ()

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