Benny & Joon
An oddball love story about a fey loner named Sam (Johnny Depp), who falls in love with the mentally unbalanced Joon (Mary Stuart Masterson), who lives in the care of her protective brother Benny (Aidan Quinn). This 1993 story is hard to swallow, with its message that love can conquer a brand of mental illness that manifests itself in pyromania: Joon has a bad habit of going a bit around the bend and setting fires, but Sam's tender care apparently has the cure for what ails her. Still, if you want proof that Depp has significant chops as a physical comedian, give this film a try: He does note-perfect renditions of slapstick routines made famous by Charlie Chaplin and Buster Keaton.

Edward Scissorhands
Edward Scissorhands achieves the nearly impossible feat of capturing the delicate flavor of a fable or fairy tale in a live-action movie. The story follows a young man named Edward (Johnny Depp), who was created by an inventor (Vincent Price, in one of his last roles) who died before he could give the poor creature a pair of human hands. Edward lives alone in a ruined Gothic castle that just happens to be perched above a pastel-colored suburb inhabited by breadwinning husbands and frustrated housewives straight out of the 1950s. One day, Peg (Dianne Wiest), the local Avon lady, comes calling. Finding Edward alone, she kindly invites him to come home with her, where she hopes to help him with his pasty complexion and those nasty nicks he's given himself with his razor-sharp fingers. Soon Edward's skill with topiary sculpture and hair design make him popular in the neighborhood--but the mood turns just as swiftly against the outsider when he starts to feel his own desires, particularly for Peg's daughter Kim (Winona Ryder). Most of director Tim Burton's movies (such as Pee Wee's Big Adventure, Beetlejuice, Batman) are visual spectacles with elements of fantasy, but Edward Scissorhands is more tender and personal than the others. Edward's wild black hair is much like Burton's, suggesting that the character represents the director's own feelings of estrangement and co-option. Johnny Depp, making his first successful leap from TV to film, captures Edward's childlike vulnerability even while his physical posture evokes horror icons like the vampire in Nosferatu and the sleepwalker in The Cabinet of Dr. Caligari. Classic horror films, at their heart, feel a deep sympathy for the monsters they portray; simply and affectingly, Edward Scissorhands lays that heart bare.

From Hell
Heavy on atmosphere and light on everything else, From Hell is visually impressive while lacking the depth of the acclaimed graphic novel it's based upon. Making their third feature since 1993's Menace II Society, twins Allen and Albert Hughes approach the Jack the Ripper case with physical precision, re-creating the gritty Whitechapel district of 1888 London in meticulous detail. What they've forgotten is the sheer terror that gripped Whitechapel in the wake of the Ripper's slaying of five prostitutes, investigated here by a Scotland Yard sleuth (Johnny Depp) who uses opium, laudanum, and absinthe to fuel his semiprescient visions of the slayings. Heather Graham attempts a slippery Cockney accent as a would-be victim, while Ian Holm steals the show as a has-been surgeon with devilish delusions of grandeur. Violence is obliquely suggested or briefly graphic, but no matter how you cut it, From Hell is only marginally thrilling as it treads familiar territory.