By Gregg Shapiro

Contributing writer

“Sweeney Todd: The Demon Barber of Fleet Street” (DreamWorks/Warner Brothers)—Actor Johnny Depp and director Tim Burton reunite for the long-awaited film version of the Broadway musical co-written by Stephen Sondheim. The pairing is a sure thing, in keeping with the gothic style of previous collaborations such as “Sleepy Hollow” and, to some degree, “Edward Scissorhands.” Burton, who has had memorable musical numbers in films such as “Pee Wee’s Big Adventure” (remember Pee Wee dancing on the bar in biker roadhouse?) and “Beetlejuice” (bet you never listened to Harry Belafonte in the same way after that), rises to the occasion with his respectful adaptation of “Sweeney Todd,” from a screenplay by gay playwright John Logan.

Essentially a story of revenge, Sweeney Todd (Johnny Depp) is a new identity assumed by Benjamin Barker, a barber whose life and family was torn apart by vicious Judge Turpin (Alan Rickman). Returning to London to begin anew after being rescued at sea by Anthony (Jamie Campbell Bower) following his imprisonment, he is anxious to learn of the fate of his wife Lucy (Laura Michelle Kelly) and now adolescent daughter Johanna (Jayne Wisener). Back on Fleet Street, where he had his barber shop, he encounters Mrs. Lovett (Helena Bonham Carter), who serves the worst pies in London (just ask her). Her pie shop is directly below Barker’s old barber shop, and after recognizing him (she long harbored a crush on Barker), offers him the chance to go back into business, re-introducing him to his old razors. Following an unfortunate encounter with another barber named Pirelli (Sacha Baron Cohen), an unexpected “slice ’em and dice ’em” business partnership is born, moved along by Sondheim’s brilliant musical wordplay.

A slight caveat, however. Viewers should be prepared (and not surprised) that in the hands of Burton, the theatrical, and therefore imaginary, violence of “Sweeney Todd: The Demon Barber of Fleet Street” is presented in full gore on screen. Taking too much cinematic delight and liberty in the repeated throat-slashing and body disposal (down a chute to where they hit a concrete floor head first), Burton occasionally goes overboard.

“I Am Legend” (Warner Brothers)—In 2012, after the clinical trials of a cancer cure on 10,000 goes horribly awry, kills off millions when the virus becomes airborne and creates a rabid race of “dark seekers,” immune military scientist Robert Neville (a super-fit Will Smith) and his dog Sam prowl the streets of Manhattan, believing they are the sole uninfected survivors. “I Am Legend” makes effective use of flashbacks, bringing viewers back to the evacuation of New York and the ensuing disastrous results.

Ever the man of science, Neville has a subterranean lab in his fortified Washington Square home and after capturing one of the mutants, sets out to find a cure. Meanwhile, he is ever vigilant in avoiding the infected superhuman race, while making efforts to make contact with any other survivors. His determination pays off when he meets Anna (Alice Braga) and young Ethan (Charlie Tahan), but by then it might be too late, as his fortress becomes threatened by monstrous mob. The legend and legacy of Neville is edge-of-the-seat thrilling and terrifying. It’s also depressing (animal lovers be warned), with the faintest glimmer of hope. Be sure to see it in IMAX where available.