“Miss Peregrine’s Home for Peculiar Children” is the 2016 dark fantasy Tim Burton film based on the 2011 novel by Ransom Riggs. Though “Miss Peregrine’s” was first released in America on Sept. 30, I decided to sidestep the Tim Burton fan-base crowds and wait until Oct. 15 to finally go to the theatres.

The plot follows Jake Porter, played by Asa Butterfield, a reserved boy who is more quintessentially American than any stereotype can truly convey. Since childhood, his beloved grandfather, who is portrayed by Terrence Stamp, spun tales about his time growing up at “a special home for special children.” These peculiar children—all gifted with unique and occasionally grotesque abilities—live in a multi-story brick house surrounded by the picturesque countryside of a Welsh island. The movie takes off in earnest when Jake discovers the special home for himself, isolated from time by the caretaker’s magic.

The caretaker, Miss Peregrine, is played by the brilliant Eva Green. A peculiar herself, Miss Peregrine is a “ymbrine,” able to turn into a bird and create time loops repeating one day eternity. Miss Peregrine created a time-loop of one particular day in 1943, keeping her house pristine and safe for the children. All of Abe’s peculiar childhood friends are alive and protected from society’s prying eyes, including Emma (portrayed by Ella Purnell), a girl who is lighter than air and must wear lead boots to keep from floating away.

Burton, however, could not resist forcing a rushed romance into this film. Jake unsurprisingly falls in love with Emma. Unfortunately for him, Emma has been in love with Abe since 1943. Emma eventually works her way through the disturbing fact that she is developing feelings for her in love with her old lover’s grandson, who happens to look highly similar to Abe.

However, this disturbing relationship remains underdeveloped in the film. Emma only shows resistance and emotional struggle for an upsettingly short ten onscreen minutes before falling for Jake. And, as if things were not creepy enough, Abe tells Jake to “find her,” encouraging his grandson to pursue a relationship with his old flame. Even for Burton, this romance is unsettling, to say the least.

Following this disturbing romantic deviation, the movie’s plot trots on. Miss Peregrine’s eerily perfect family structure is interrupted by two new threats: Wights and Hollowghasts. These monsters are the mad-science mistakes of Mr. Barron, played by Samuel L. Jackson. He has mutated himself and his deranged colleagues into Hollowghasts—soulless and invisible monsters with long, spider-like legs and no eyes.

In spite of Jackson’s efforts, Mr. Barron stands as the film’s weakest link. His character is diseased with overly corny one-liners throughout. While at first Jackson’s puns provided nicely timed comic relief, his character quickly devolves into a clichéd enemy who delivers the stereotypically long-winded and pompous villainous speech, allowing Jake time to foil his plans. Jackson’s comedy takes away from the darker feel of “Miss Peregrine’s,” making the otherwise eerie climax fall a bit flat.

Despite these clichés and shortcomings, the film had two truly magical aspects: its strong female characters and its amazing soundtrack. While this film could have fallen into the typical Hollywood pattern of downplaying female roles in the plot, Miss Peregrine’s paints a world that actually reflects reality: one of powerful women impacting society.

Eva Green’s captivating portrayal of Miss Peregrine as a confident, pipe-smoking woman is highlighted by her character’s incredibly advanced intellect and her bravery. Emma Bloom, while forced into Burton’s shoddy, rushed romance, emerges as the leader of the peculiar children and as a powerful peculiar who can hold her own against Mr. Barron. The film’s fantastic soundtrack closes with Florence and the Machine’s latest hit, “Wish That You Were Here,” ending the powerful female film with an equally powerful female vocalist.

Riggs’ beloved characters were brought to life with whimsical CGI effects, lulling its viewers into a fantastical storyline where peculiars can be lighter than air, animate corpses with the touch of a finger, swallow swarms of bees, and turn into birds with the flick of their capes. With Bruno Delbonnel’s masterful direction of cinematography, I will be surprised if this film does not win several awards for its visual style. Combined with masterful performances by Asa Butterfield, Ella Purnell, and the amazing Eva Green, this movie is absolutely worth the watch.