BY GEORGE

When you think of the great Georges in American history, obviously you start with George Washington, and move on to George Washington Carver and George S. Patton and George Gershwin, and then maybe George Cukor and George McGovern and George Takei...

But really, for horror movie geeks, the next full stop after The Father of Our Country is George A. Romero.

RIP to Romero, who directed the standard, and still the best, cannibal zombie movie, 1968's Night of the Living Dead, and its sequels starting with Dawn of the Dead, and other fascinating, morally complex horror pictures like The Crazies and Season of the Witch and Martin, and who joined the legions of the dead himself last weekend, too young at 77.

RIP, while we're at it, to the brilliant Martin Landau, departed at 89, whose long, varied career reached its pinnacle with his beautiful, hilarious, moving incarnation of the elderly Bela Lugosi in Tim Burton's Ed Wood (1994), for which he won an Oscar. RIP also to the lovable Canadian actor Harvey Atkin, probably best known as the hapless Morty in Meatballs, and as a judge in many episodes of Law and Order: Special Victims Unit, passed on at 74.

This week...

Monster-of-the-Week: ...in tribute to Romero, our honoree is Fluffy, the monster in the crate...

 ...in 1982's Creepshow, Romero's jolly collaboration with Stephen King in evoking the spirit of E.C.-style horror comics. Here's Fluffy as rendered by the late great Berni Wrightson in his comic adaptation of the flick...

A STITCH IN TIME SAVES CANINE

Tim Burton gives the boy-and-his-dog movie a macabre but touching spin in Frankenweenie, a remake, from Disney, of his 1984 live-action short. Suburban boy-genius Victor Frankenstein’s beloved dog Sparky gets run over, but Victor, a science whiz, robs his grave and zaps him back to life in a makeshift lab in the attic, in the manner of James Whale’s 1931 Frankenstein.

Other kids get wise to Victor’s revivifying technique and, dreams of science-fair glory in their eyes, try it on a dead turtle, rat, Sea Monkeys and other creatures. A “Weird Girl” even manages, inadvertently, to create a hybrid of her equally weird cat Mr. Whiskers with a bat. The results of all this weird science wreak riotous havoc on the town’s festival, and it raises an angry mob that chases Sparky toward the windmill on the hill…

Rendered in stop-motion and ravishing black-and-white, with a voice ensemble that includes Catherine O‘Hara, Martin Short, Martin Landau and Winona Ryder, all propelled by a splendid Danny Elfman score, this striking piece of movie craft is an homage, principally, to the Universal monster pictures, though it also carries references to everything from Gamera to The Birds to the Hammer films. Indeed, if the film has a fault it’s that it’s too dense and overstuffed with references, witty though they are, for its brief running time.

But the characterizations compensate for the feverish tone of Frankenweenie's parody. Victor has a beautifully long, gloomy face—a bit like a boy version of Burton, perhaps; he’s a junior filmmaker as well as a scientist—and his grief isn’t just a plot point. His parents are a bit generic, maybe by design, but the kids, the science teacher, Weird Girl and Mr. Whiskers, the monsters, the neighbor poodle with whom Sparky has a connection—all of them are vividly real beings.

As for the title pooch, he’s classic; one of the all-time great achievements in stop-motion characterization. Sparky is so deeply endearing that he ensures an authentic emotional response to Frankenweenie. Both visually and as a piece of sustained narrative, this may be Burton’s most satisfying movie since Ed Wood. It’s one of the better films so far this year.