Big Eyes (2014) – Review Movie

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Story Big Eyes

Big Eyes is a new movie directed by Tim Burton and starring Amy Adams. the movie is based on the true story of Margaret Keane, an artist who gained fame in the 1950s for her paintings of big-eyed children.

Many people were amazed by Margaret’s paintings, but her husband Walter took credit for her work. he claimed that he painted them, and Margaret went along with it because she was afraid of what he might do to her if she didn’t.

Finally, after years of living in fear, Margaret decided to speak out and tell the world the truth about her paintings. she won a court case against her husband, and finally got the recognition she deserved. Watch the movie Big Eyes (2014) now at Cinema HD.

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Big Eyes Review

According to director Tim Burton, the inspiration for Jack Skellington’s figure from The Nightmare Before Christmas may have come from his dislike of spending endless hours drawing big eyed creatures while working as a Disney animation artist. Burton invented a character with no eyes and massive gaping black holes. The fact that Skellington’s hollow-socket head is able to convey such feeling and appeal is proof of Burton’s talent in locating tragedy and charm in unusual places.

Burton’s latest film, based on the stranger-than-fiction misadventures of American painter Margaret Keane, features once again oversized eyes with dopey expressions. In the late 1950s and early 1960s, Keane’s paintings of unhappy-looking children with huge “windows to the soul” became a sensation, bringing in large profits and becoming an oddity. However, despite her efforts, Keane was unable to gain recognition for her work. (Under duress?) She agreed to let her extroverted husband, Walter, handle the public face of the Keane brand. Later, after the couple divorced, they began the legal conflict. Each tried to show that he or she was the true artist behind “an infinity of kitsch.”

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Big Eyes review

Big Eyes is based on the real-life story of Margaret Keane, but it’s not a biopic. The screenplay was written by Scott Alexander and Larry Karaszewski, who also wrote Ed Wood, to which this film has some parallels. Both films are about artists whose works were despised by critics: Wood was dubbed “the world’s worst moviemaker,” while the Keane paintings were fiercely criticized by New York Times art critic John Canaday (grimly played here by Terence Stamp).

Both films make a point of humanizing their characters, as opposed to merely documenting them. Both Alexander and Karaszewski’s other biographies, such as The People vs Larry Flynt, which depicted the pornographer as a freedom-of-speech hero, employ this method in order to offer comically insightful insights into the lives of their protagonists. Margaret is shown as an authentic artist whose soul is reflected in her husband’s persistent, tearful faces that she has to churn out at increasingly rapid speeds. We are not asked to accept the artworks themselves (the film is apolitical about their artistic value), simply to acknowledge that the artist was genuine and deserves to be recognized as such.

Amy Adams plays Margaret, a free-spirited woman who seems to enjoy her job as an insurance investigator. She has the look and manner of a bird, with wide eyes and long eyelashes that give her face a certain innocence—which is instantly juxtaposed by her troubled past. Smith does well in establishing his character; he’s steadfast in his dedication to duty but also manipulative, which makes him seem plausible despite being unlikable (I have no idea why). In contrast, Wolf is a cartoonish cad with more than a touch of pantomime villainy. Initially charming (although his big grin screams psycho-craziness from the start), Walter soon becomes a ruthless monster who forces his wife to live a lie as he becomes increasingly obsessed with the idea of his own genius.

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Big Eyes

It’s tempting to accuse Waltz of overacting, but given the well-known egotism of his subject (who once told Life magazine: “Nobody could paint eyes like El Greco, and nobody can paint eyes like Walter Keane”), it’s difficult to distinguish reality from exaggeration. In fact, the most unbelievable events from the courtroom confrontation to which this drama is linked are all true, demonstrating that you couldn’t invent a situation like this if you tried.

The narrative of An American Werewolf in Paris is perplexing, and only serves to accentuate the difficulty of predicting an unpredictable future. The movie’s tale gradually becomes less coherent, as some events get repeated ad nauseam or connect to one other; for example, a young couple watches TV in their house after a carnival night out. Meanwhile, the film appears to dwell in a warped fairytale netherworld between reality and fiction; while Edward Scissorhands’ early picket-fence scenery reminds us of suburban living rooms, later ones show Margaret as a princess imprisoned within an ivory tower, with Walter ranting like a rampaging beast.

Both visual and narrative, Big Eyes is a character study that worries away at larger themes of authorship (Walter went to his grave claiming his own genius), the notion of “good” and “bad” art (we open with a drily laudatory quote from Warhol), and the role of the critic. It also depicts a woman who first suffers and then resists a world in which men had power at home, professionally, and artistically. Certainly, Margaret’s story is infused with a feminist sensibility; this is, after all, a narrative about a woman reclaiming her voice in a misogynistic society and fleeing the bonds of an abusive marriage to take the stage alone.

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Trailer Big Eyes


Tim Burton


Scott Alexander, Larry Karaszewski


Amy Adams, Christoph Waltz, Danny Huston, Krysten Ritter, Jason Schwartzman

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