What the digital age lavishly bestows with one hand, it takes away with the other. Witness Tim Burton, whose films can be judged by an unusually foolproof rule: the more profligate the computer effects they’ve come to contain, the less you want them in your face. Alice in Wonderland (2010) was hideous proof, and Frankenweenie (2012) the counter-proof: a heartening throwback, via stop-motion, to the tactile beginnings of Burton’s career, where imagination was spent on physically modelling a world and its characters, rather than jam-packing the screen with an acreage of ugly pixels.