Big Eyes (2014)

The critic sees the film as one of Burton’s most thoughtful and accomplished works in years. He singles out Burton’s successful move away from fantasy, horror and science fiction.

Kermode finds the film an insightful, grown-up return to form for Burton. He praises Amy Adams’s sympathetic portrayal of Margaret Keane and the film’s account of her struggle to claim authorship.

O'Sullivan finds the biopic nimble and distressing, and a welcome change of pace for Tim Burton. She singles out the film's magnetic big-eyed imagery and its playful ambiguity about whether Keane's art is grotesque or gorgeous.

The review regards the film as an engaging account of artistic creation and exploitation. It singles out Amy Adams’s performance as a key strength.

Dowd finds the film an underwhelming, overly square biopic, despite some surface pleasures. He praises its mid-century San Francisco atmosphere but criticizes the passive portrayal of Margaret and distracting narration.

McCarthy finds the film nimble and enjoyable, though less strange and resonant than Burton’s Ed Wood. He singles out Amy Adams and Christoph Waltz’s performances, along with the period design and San Francisco cinematography, for praise.

The article appears to be a review of Tim Burton’s film, but the page content is inaccessible. Its verdict and any specific praise or complaint cannot be verified from the available text.

Freer finds the film entertaining but flawed, with its uneven tone and lack of depth holding it back. He praises Amy Adams’s compelling performance and the fascinating true story, while criticizing Christoph Waltz’s over-the-top portrayal.

The critic finds the biopic brisk but shallow, faulting Burton for missing the story’s subtext. The review praises the stranger-than-fiction premise while noting that the film barely examines the artistic and psychological questions it raises.

The review finds Burton’s treatment of the true story kitsch and amusing. It praises how his soft, cartoonish visual style suits Margaret Keane’s paintings.

The review finds the film watchable but ultimately ordinary. It praises Amy Adams’s performance while criticizing Christoph Waltz’s characterization as caricature rather than character.

Edelstein finds the film engaging but uneven, with Christoph Waltz’s broad performance undermining Amy Adams’s work. He singles out the final stretch as tingly suburban-noir fun.

Kohn finds the film a bland, pedestrian drama that fails to deepen its compelling story. He praises its lush cinematography and polished visuals, while noting that Amy Adams provides a more credible source of tension.

The review finds the true-life drama peculiar and disappointing. It singles out Christoph Waltz’s performance as overplayed.

Brennan finds the film timid and inconsequential, with its social questions reduced to shallow caricature. He praises Amy Adams’s affecting portrayal but criticizes the direction and thin characterization.

Sharkey finds the film too conventional and its portrait of Margaret Keane insufficiently realized. She praises the visual design and Burton’s handling of the courtroom painting scene.

Chang finds the biopic shallow and unpersuasive, despite Amy Adams’s affecting performance. He praises Adams for giving Margaret a compelling center, while faulting Christoph Waltz’s overpowering performance for leaving the film little room to breathe.

The critic finds the film dramatically inert and lacking insight. They single out Amy Adams’s passive characterization and Christoph Waltz’s miscasting as major weaknesses.

The review calls the film a return to form for Burton, though it says Christoph Waltz’s tonal shifts weaken the courtroom scenes. It singles out Amy Adams’s steely performance and the film’s exploration of artistic recognition for praise.

Goldberg considers the film Burton’s best since Big Fish, while noting reservations about his suitability to tell Margaret Keane’s story. He praises the film’s thoughtful exploration of gender, authorship, and the pressures of commercial art.

Gerber finds Big Eyes a welcome, visually arresting return to personal storytelling for Burton, despite some shortcomings. He praises the performances and rich cinematography, while noting that the final act strains to make its points.

Hammond gives the film a positive recommendation, calling it funny and weird. He singles out the terrific performances by Amy Adams and Christoph Waltz.

Warmann finds Big Eyes an enjoyable, thought-provoking film, though its narrative lacks depth and subtlety. He praises the performances, especially Amy Adams’s portrayal of Margaret’s changing confidence.

The critic finds the film a welcome, human improvement in Tim Burton’s recent work, though ultimately good rather than great. Amy Adams’s anxious, poignant performance stands out, while the film’s reluctance to explore its questions limits its sophistication.

The page appears to be a review of the specified film, but its contents are inaccessible. The critic’s verdict and any specific praise or complaint cannot be determined.

The review finds Big Eyes an entertaining but surprisingly small success, held back by an unsettled tone and rushed storytelling. It praises Burton’s attentive treatment of Margaret Keane’s paintings, while faulting the thin characterization and the leads’ performances.

The review finds Big Eyes a more engaging and interesting film than Burton’s recent work, despite its unevenness. It praises Amy Adams’s strong lead performance and the film’s melodramatic stretches, while faulting choppy storytelling and ill-fitting comedy.

Weller finds the film’s feminist aims and dramatic story undermined by familiar storytelling and Burton’s restrained style. She singles out the performances as honest but hollow, with Amy Adams effective yet bored.