Big Eyes

Weinstein Company, The | Release Date: December 25, 2014

7.2	USER SCORE Generally favorable reviews based on 216 Ratings

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nicholasbertJan 16, 2015

Big Eyes has set a negative note for everyone involved except Amy Adams, who's the only one who seems to think this is a valuable film. Tim Burton has long lost the charm of his earliest pictures, turning what could have been a great drama inBig Eyes has set a negative note for everyone involved except Amy Adams, who's the only one who seems to think this is a valuable film. Tim Burton has long lost the charm of his earliest pictures, turning what could have been a great drama in a jolly caricature, complete with cartoonesque narration, silly music and over-the top acting (Christoph Waltz). Speaking of Waltz, his performance is not completely bad, but it's miles away from the ones that got him two Oscars - while still retaining the comical aspect.

Seriously, this movie could have been a much deeper insight on 50s culture, art culture, gender roles, everything; and instead it was forced into a senseless, cold comedy that loses power after minutes. Amy Adams is the one who keeps it together.

Generally unimpressive. I blame Burton and Danny Elfman (a combination that rocked some twenty years ago); one for losing his wit and his talent, the other for... well, what the hell was that score? Straight out of a bag of old tricks. No. I had hoped for more.… Expand

1 of 2 users found this helpful11

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hotfromcauldronDec 28, 2014

What "Big Eyes" you have?
The better to see- the story is too small for the big screen and Christoph Waltz -same old song and dance performance-too big. An opening scene paints a portrait of an independent woman way before her time- thenWhat "Big Eyes" you have?
The better to see- the story is too small for the big screen and Christoph Waltz -same old song and dance performance-too big. An opening scene paints a portrait of an independent woman way before her time- then proceeds to drain her of all her color. Her muted relationships with daughter and "friend" are barely visible. Why she is so blind to all that surrounds her - remains a mystery. A beautifully shot film that hangs too much on one big lie.… Expand

1 of 5 users found this helpful14

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GreatMartinJan 2, 2015

Just as a good actor can raise a picture to be better a good actor without being reigned back can make a so-so picture worse and that is what happens in “Big Eyes”, the story of Margaret Keane (Amy Adams) who painted the best sellingJust as a good actor can raise a picture to be better a good actor without being reigned back can make a so-so picture worse and that is what happens in “Big Eyes”, the story of Margaret Keane (Amy Adams) who painted the best selling painters of waifs with huge eyes while her husband, Walter Keane (Christoph Waltz), claimed to be the painter. Waltz has shown that he is an excellent actor and while Walter was charismatic, a ‘salesman’, a manipulator but most of all a liar who invented himself, obviously, the director, Tim Burton, gives him too much freedom, especially in the trial scene. Though he is suppose to be obnoxious, possibly to make Margaret more understandable, he crosses the line.

Aside from the question of who did the art, and the bigger question of what is art, the reasons Margaret left her first husband, being strong enough to leave and take their daughter, why she stayed with Walter, letting him take away her accomplish- ment as an artist, as well as all her self-esteem, until two Jehovah Witnesses knock on her door, is not gone into deep enough by the screenwriters Scott Alexander and Larry Karaszewski.

A segment takes place in the building and opening of the World’s Fair in 1964 where I worked in the Gas Pavilion as a waiter and I don’t recall any of what was suppose to have happened there but then except being aware of the ‘Big Eyes’ paintings I wasn’t aware of Margaret Keane’s story.

Amy Adams, playing a quiet, single mother of the 50s who doesn’t find acceptance due to the social mores of the time, does a good job and comes into her own with her eyes and facial experiences during the trial scene. Delaney Raye as her young daughter Jane, and Madeleine Arthur as Jane in her teenage years, don’t add anything to the film. Jon Polito, as the owner of the Hungry I, and Terence Stamp as the New York Times art critic John Canaday are standouts.

The story of Margaret Keane, her art, the times she lived through and why she was the way she was, and who she became, deserve a much stronger film then “Big Eye… Expand

0 of 1 users found this helpful01

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