‘Batman v Superman: Dawn of Justice’ will probably give you what you expect, but not what you’re looking for.
At first glance, Tim Burton’s latest, Big Eyes, appears to be a departure from the filmmaker’s general proclivities towards the grotesque and fantastical. Scissor-handed youths, murderous barbers, and obnoxious ghouls are nowhere to be found in this deceptively straightforward biopic of kitsch-master Walter Keane and his wife, Margaret. A cursory glance at the film might lead one to question just what Burton thinks he’s doing in the realm of realism.
One of the better elements of Zack Snyder’s adaptation of Watchmen, and widely considered its best sequence, was that film’s opening credits montage, which forcefully played with pop culture iconography to impressive degrees. In a way, that sequence was an effective hint of what was to come with Snyder’s reboot of the Superman property; a cultural icon lavishly portrayed in a titanic fashion.
I have rarely seen a movie as undeserving of its lead performance as I have with Enchanted and Amy Adams. And I want to reiterate, in this column, what I said on the podcast: I think Adams’ work in this film is one of the best lead performances in any American film in a long time. It is a monumentally difficult, brave, and daring role to play. Whatever opinion people have of Enchanted is first informed by their opinion of Adams’ performance as Giselle. If she’s not so sparkling and lively and entertaining in this film, we would not be thinking of it fondly in any form. It’s not just that this is a character-driven film, it’s that it’s so singularly performance-driven, to the overall film’s detriment.