Most popular children’s stories that have been adapted for the big screen have had the same look and intent. They need to stay true to the source material while keeping the kids occupied and entertained with eye-popping visuals, loveable characters, goofy antics and a clearly discernible moral message — and make a lot of money doing it.

But a new trend may be giving these stories a new look, voice and direction. Call it the “art house-ification” of child literature’s cinematic adaptation.

And it starts this weekend with the highly anticipated, much-hyped and sure to be extensively critiqued “Where the Wild Things Are,” based on the the beloved Maurice Sendak children’s classic. The film is directed by quirky visionary Spike Jonze, the same force behind imaginative and schizophrenic films like “Being John Malcovich” and “Adaptation.” Then, just in time for Thanksgiving, Roald Dahl’s book “Fantastic Mr. Fox” comes to theaters through the eyes of Wes Anderson, the director known for his eccentric characters and snarky, dry humor in films like “Rushmore” and “The Royal Tenenbaums.” Finally, in March 2010, Tim Burton (“Edward Scissorhands,” “Big Fish”) will put his powerfully visual and slightly macabre imprint on “Alice in Wonderland.”

Considering how these adapatations used to go, this lineup of upcoming films and the choice of directors for each project is an interesting change. A lot of childhood classics haven’t held up so well over time when jumping from the page to the screen. If you recall, filmmakers gave adapting two Dr. Seuss staples the old college try. Jim Carrey was cast to play The Grinch in a live-action remake of “How the Grinch Stole Christmas,” and comic actor Mike Myers tried his best to give “The Cat in the Hat” a new life. Today, both of those films are more likely to be casually viewed on TNT than have a storied place in people’s movie collections.

You could actually put Tim Burton’s “Charlie and the Chocolate Factory” in that category as well, despite using his go-to oddball A-lister Johnny Depp as Willy Wonka and raking in more than $200 million at the box office. But, in fact, it’s different.

Even with the pressure to match the success of a Roald Dahl’s landmark book AND the 1971 classic musical “Willie Wonka and the Chocolate Factory” that followed, Burton took the material into darker, more human territory and was obviously driven by more artistic than commercial motivations.

In interviews with Jonze, he has suggested that he wanted to reflect not only the wild imagination and joy that comes with childhood but its less-joyful side, dealing with untamed emotions and the internal conflicts that come with being a kid. Films like “Where the Wild Things Are,” “Fantastic Mr. Fox” and “Alice in Wonderland,” each with outrageously original directors, may usher in a new way of approaching children’s book adaptations, emphasizing more artful execution and emotional complexity that may lead to parents dragging their kids to the theater for a change.

Of course, there is some danger in this. Adults may like it, but more grown-up emotions might not be what children want to see. Then again, all of these directors used to be kids themselves. I’d like to think they have the skill and insight to navigate this tricky ground. Then, the kids — of all ages — will be all right.