Review: Tim Burton's 'Big Eyes' starring Amy Adams and Christoph Waltz

We haven't seen Tim Burton make a movie as grounded as Big Eyes in a long time, and it's a refreshing turn for a director who has been coasting on CGI silliness for quite a while.  He still draws upon something personal here in recounting the loopy story of Walter (Christoph Waltz) and Margaret Keane (Amy Adams), renowned artists in the 1950s and '60s. Well, one of them was an artist. That’s kind of the point. Burton has long been a fan of the paintings of doe-eyed children the Keane's were famous for, and he's clearly invigorated by the chance to tell their story.

Reuniting with Ed Wood screenwriters Scott Alexander and Larry Karaszewsk, Burton paints a vividly complex picture of gender bias and repressed creativity, with a whole lot of betrayal thrown in for good measure. After leaving her first husband, no small act back in those days, Margaret met Walter Keane; a painter who resembles a street mime when we first see him. It's the perfect look for a guy who always seems to be performing, selling some aspect of his personality. He notices her talent for painting right away; the two become a pair, and soon the Keane empire is born as her paintings of sad, big-eyed children become a global sensation. There's just one big problem: Margaret didn't get any credit for her work for over a decade.

How does something like that happen? It was an era of creatively-stifled housewives and male dominance, that's how. Plenty of brilliant women were held back by a system that didn't value their input on anything except cooking and child-rearing, and Margaret bought into it while Walter exploited it. He convinced her nobody would buy her work unless his name was on it. He may have been right, too, but that doesn't make him any less of a creep. While he lives the high life, making famous friends and meeting powerful dignitaries, she's literally locked away churning out picture after picture while her daughter anguishes. Burton, along with another reliably strong performance by Adams, let us in on the quiet sadness of Margaret's plight.  She's ashamed and fearful of the lie she helped Walter construct; to admit the truth would be to admit a fraud. But she's also fiercely protective of her work and has a deep emotional connection to it. As Walter begins the mass production of the art, putting them in stores and on household goods everywhere, it's like something deep within Margaret's soul dies.

But what the Keanes are known for nowadays is the bizarre turn their marriage would ultimately take. They would go to court to decide who the true artist was and Walter turned it into a complete circus. Waltz taps into Walter's pathetic, increasingly desperate core. Where Margaret believes art can touch people's lives, Walter sees it as just another get-rich-quick scheme appealing to those looking for the latest fad.   It's easy to see why Burton would take to this story as it also works as a spot-on metaphor for the kinds of passionless films he's churned out in the past. Visually, this is probably the least obvious Burton movie he's ever done. While the color palette and somewhat kitschy tone give it away eventually, Big Eyes is a true and very welcome departure.

 Rating: 4 out of 5

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Cancelled Starz Series 'Magic City' is Now a Movie with Bruce Willis and Bill Murray

Starz gave their Miami mobster drama Magic City a couple of seasons before giving it the ax, the series never really getting off the ground despite a talented cast. The show starred Jeffrey Dean Morgan, Olga Kurylenko, Kelly Lynch, and a hammy Danny Huston in the Mitch Glazer-created series set in the late 1950s at a glamorous hotel post-Cuban Revolution. And apparently somebody thinks the premise is just too good to let die because Magic City is now to become a feature film, with some pretty big names coming aboard to make it happen.

According to Deadline, Bruce Willis (!), and Bill Murray (!!) are joining the Magic City film, which Glazer will write and direct with Brett Ratner on board to produce. Wha?!? The first thought in your mind is probably "Oh, I can't get a Deadwood movie or The Wire but Magic City!?!?!?". I feel your pain. Anyway, the story takes place in 1962 when Morgan's powerful hotel owner contends with gangsters, spies, socialites, slimy politicians, Cuban freedom fighters armed by the CIA, and a possible plot to assassinate Castro. Good lord this sounds like a mess. Willis will sign on to anything so his involvement isn't a big deal, but what about the notoriously picky Murray? He and Glazer are buds having worked on Scrooged, the atrocious Passion Play, and the upcoming Middle Eastern rock music comedy (!!!!) Rock the Kasbah, which also features Willis.

So there ya go. The original cast is expected to return whenever production gears up.

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Review: 'The Liberator' starring Edgar Ramirez

Simon Bolivar is something like South America's version of George Washington. He actually looked up to our first President as a champion of the American Revolution (the two were also both Freemasons, interestingly), and sought to lead a similar charge in gaining his country's independence from Spain. Like Washington he was a man of some wealth who rose to prominence as a military hero, and showed a similar dislike for politics even as power was thrust upon him. He was an extremely complicated man who lived a life of intrigue too large for one single film, but The Liberator is still a striking introduction to the 19th century revolutionary.

Passion and undeniable magnetism mark Edgar Ramirez's performance as Bolivar, capturing many facets of the man who was a fighter, a lover, and a scholar. The film begins with a glimpse of the future dangers he would face; a celebration, a beautiful and mysterious woman, and a cadre of armed soldiers bursting through the door. Bolivar escapes but not before the commander is overheard saying that he "must die tonight". How does a man born to such privilege become the most wanted man in all of South America? Flashing back, we see Bolivar humiliating Prince Ferdinand, a prelude to their future conflicts. Raised by the family slave and taught by socialist professors, he nonetheless was blind to the government that oppressed its people so that others like him could reap the benefits. Even during these less enlightened periods, Bolivar comes across as thoughtful, considerate, a powerful man who has yet to realize his strength. A "noble savage" as his friend and teacher Simon Rodriguez (Francisco Denis) calls him. After wedded bliss ends in tragedy and a brief stint wasting away in Paris, it's Rodriguez who convinces Bolivar to do something with his life by taking up arms in a fight independence.

Screenwriter Timothy Sexton, who wrote the equally truncated Cesar Chavezbiopic starring Michael Pena, depicts Bolivar's failures as much as his successes. His first foray as a revolutionary ended in exile to the jungles, but it afforded him the chance to see what life was really like and why regime change was a necessity. With the help of Torkington (an especially oily Danny Huston), a British banker of dubious intent, Bolivar leads a Braveheart-style underdog war against the Spanish armada, and in the process becomes a true champion of the people.

It's refreshing to see a film that makes great use of South America's lush jungle landscapes and vibrant colors. There's real beauty in each scene captured by director Alberto Arvelo, both the quiet moments and impressively large battles. It's just unfortunate we never really get to see Bolivar's true impact on the people he fought, bled, and lost loved ones for. Ramirez has really embraced this idea of embodying all of South America's most famous, or infamous, revolutionaries. Prior to this the best performance of his career was as Venezuelan freedom fighter/terrorist Carlos the Jackal, and both roles play as flipsides of the same coin with Ramirez excelling at both. While it's disappointing the film never gets as in depth as it could, perhaps it's not such a bad thing that The Liberator leaves us wanting to learn more.

 Rating: 3.5 out of 5

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Joel McHale joins 'Beware the Night'; Anton Corbijn to direct 'Life' ; Danny Huston open for 'Big Eyes'

* Joel McHale will take a turn for the dramatic by joining Eric Bana in Beware the Night, a supernatural produced by Jerry Bruckheimer and directed by Scott Derrickson. Sean Harris (Prometheus) is also coming aboard to co-star alongside Edgar Ramirez and Olivia Munn. Bana plays a New York street cop "who has put his faith in religion behind him, but now finds himself targeted by the devil in the form of possessed soldier". McHale will play Bana's partner, a tough and experienced cop. He'll be seen soon in the fifth season of NBC's Community, and recently joined signed on for Blended, the romantic comedy with Adam Sandler and Drew Barrymore. [THR]

* Anton Corbijn (The American, Control) will venture back into biopic land by directing Life, which explores the relationship between movie star James Dean and photographer Dennis Stock. Written by Luke Davies, the 1955-set story takes place just before Dean's breakout in East of Eden, and chronicles Dean's discovery by Stock, who then travels the country taking photos of the actor commissioned by Life magazine. The images would go a long way in establishing Dean as a cinematic icon. Corbijn's next film, the espionage thriller A Most Wanted Man, opens later this year and stars Philip Seymour Hoffman and Rachel McAdams. [TheWrap]

* Tim Burton continues to cast up Big Eyes, his biopic on the life and career of artists Margaret and Walter Keane, who became known in the 1950s and 60s for their depictions of doe-eyed children. Amy Adams and Christoph Waltz are set to play the couple, and now Danny Huston (X-men Origins: Wolverine) is joining as a gossip reporter who loves his liquor. The story centers on the years-long dispute between Walter and Margaret during their divorce, where he tried to claim credit for their work. The case went to court where Walter was famously humiliated and his career ruined.

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Head-spinning new trailer for Ari Folman's 'The Congress' with Robin Wright

After making a splash at Cannes in 2008 with the brilliant animated war film Waltz with Bashir, Ari Folman is finally making his long-awaited return to the Croisette with The Congress. Drips of information have come out about it over the years, with the most recent update back in 2011 when some early imagery was released, suggesting a film that would look on the surface a lot like 'Bashir' had. But now that that the first trailer is here, it's clear The Congress is something entirely different.

Based loosely on Stanislaw Lem's The Futurological Congress, Robin Wright stars as a version of herself as her career is fading in the digital age. In a bid to stay relevant and secure a means of supporting her son (Kodi Smit-McPhee), she allows her image to be copied and used infinitely, losing her identity in the process. The live-action part of the film features Danny Huston and Harvey Keitel cheesing it up pretty badly, while Wright appears to be on the top of her game. However, it's when the psychedelic animated aspects take over that it truly comes to life, blending 3D animation with what appear to be some wild black & white sci-fi elements.

The Congress will premier at Cannes during the Directors' Fortnight.

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Review: 'Hitchcock' starring Anthony Hopkins and Helen Mirren

Hitchcock is hardly the first film to ever explore the rather neurotic personality and eccentric creative process of Alfred Hitchcock. In fact, there's another movie in HBO's The Girl that explores much the same territory in a way that filmmaker as a creepy old letch lusting who simultaneously lusts for his blond starlets while taking glee in causing them distress. Thankfully, Sacha Gervasi, who last helmed the excellent rock doc Anvil: The Story of Anvil, has chosen to go in a totally different direction with his film.

A devilishly entertaining behind-the-scenes glimpse at the making of a cinema classic, Hitchcock is based on Stephen Rebello's book, Alfred Hitchcock and the Making of Psycho, and while it touches upon the director's many disturbing quirks, there's no desire to languish in them. Rather, we accept his failings as part of the whole that makes up one of the most fascinating minds in movie history.

But Hitchcock wouldn't be quite as much fun without Anthony Hopkins' uncanny performance, which isn't a rigid characterization so much as a creation all his own. The film is wildly speculative for the most part, so it makes sense to allow a bit of freedom in the way everyone is portrayed, and clearly Hopkins is relishing in the experience. The same can be said for Helen Mirren as Hitchcock's wife, Alma Reville, who shows her usual strength, poise, and cheeky humor as the woman who helped hold everything together. More than just his wife, she was his creative partner and the driving force for much of his greatest works. While Hitchcock and Alma's relationship difficulties are well- documented, screenwriter John McLaughlin dreams up a potential love triangle involving screenwriter Whitfield Cook(Danny Huston). Alma is eager to establish herself outside of Hitchcock's sphere, a prospect which drives him a little nuts. This particular part of the film dominates much of the story, which is unfortunate because it's the least interesting aspect because it's largely untrue. McLaughlin and Gervasi find the greatest success when detailing the personal and professional difficulties Hitchcock faced in getting Psycho off the ground.

Set shortly after one of Hitchcock's greatest and most gaudy achievements, North by Northwest, the director has hit a point where those critical folks in the Hollywood media are wondering if perhaps he should quit while he's ahead. Looking for inspiration and finding none in the usual stack of potential projects, he would ultimately discover fresh glee in Psycho,  Robert Bloch's novel on horrific murderer Ed Gein(Michael Wincott), who killed a few women but was most notable for his obsession with his mother, which only increased after her death. Through imagined conversations we see how Hitchcock sympathizes and even relates to Gein, getting into the mind of the killer.

Not everybody thought Psycho would be a success, and the studio certainly wasn't expecting a straight and violent horror from the unquestioned master of suspense. Refusing to finance it, Hitchcock and Alma risked everything to foot the bill themselves, and the film is great at capturing the subtle pressures of such an undertaking. Every issue is amplified, from Hitchcock's concerns with actress Vera Miles(Jessica Biel) with whom he's had past problems, to the constant badgering by studio execs who seem anxious for the film to fail: "Thank God we have 'Cinderfella' for the holidays!" 

While there was quite the initial uproar over the casting of Scarlett Johansson as Janet Leigh, she's fantastic as the actress who clearly admires Hitchcock while also being wary of his reputation. While we don't get to see him nearly enough, Brit actor James D'Arcy is a dead ringer for the shy and effeminate Anthony Perkins.  The casting is superb and inspired all the way around. Most of all, Hopkins and Mirren, who to the best of my knowledge have never been paired up before, have a remarkable lived-in chemistry that makes them a joy to watch.

Another in a recent trend of movies that celebrate the history and love of big Hollywood cinema, Hitchcock relishes in the details of such a major cinematic achievement. Unable to use any actual footage from Psycho, we see the recreation of the iconic shower scene(along with Hitchcock's surprising brutality there), the director's demands of loyalty from his crew, and his gift for hyping his own projects.

Hitchcock isn't especially deep, but it's smart, whimsical, and nostalgic in a way that the similar My Week with Marilyn failed to be. Gervasi, in his first narrative feature, has managed to transport us back to a time when movies were cherished. Hitchcock himself probably would have preferred a more macabre version of the story, but what we've got is a real pleasure.

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First trailer for Nicolas Cage action thriller, 'Stolen'

If you're going to have the unpredictable Nicolas Cage doing his best impression of Liam Neeson in Taken, then it's crucial that a twist be thrown in there to make it uniquely Cage-ian. In the upcoming action thriller, Stolen(formerly Medallion), that means Cage will be racing through the busy city streets hunting down a runaway taxi cab driven by an unrecognizable, shaggy-haired Josh Lucas. Sounds just ridiculous enough to work.

The first trailer for Stolen has been released, which has Cage playing former thief, Will Montgomery. Newly released from prison and looking to turn a new leaf(that never goes well), his hopes are dashed when his former partner(Lucas) goes nuts and kidnaps Will's daughter in order to get his cut of $10M they stole years earlier. Will only has a few hours to rescue her from the back of a Medallion taxi cab before time runs out. We get to see Cage kicking some butt in an elevator, ducking S.W.A.T. team fire, busting a few banks, and leaping across the top of parked cars like he's Action Jackson or something. Malin Akerman turns up as Riley, a potential love interest, while Danny Huston shows up as the slimy authority figure he's always so good at playing.

Simon West(The Expendables 2) is directing, reuniting with Cage for the first time since Con Air. With Cage recently agreeing to join The Expendables 3, we may be seeing a lot more of these two in the future. Stolen hits theaters on September 14th....

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Toni Collette, Michael Stuhlbarg, and Danny Huston join 'Alfred Hitchcock and the Making of Psycho'

Ok, so casting on Alfred Hitchcock and the Making of Psycho is running downhill now(that's a good thing, folks), with Jessica Biel joining this morning in the role of Vera Miles. Now four more names have been added to the film, including one in a role that casts the entire story into a different light.

Toni Collette, Danny Huston, Michael Stuhlbarg(Boardwalk Empire) and Michael Wincott(Robin Hood: Prince of Thieves) have joined the Sacha Gervasi directed film. Anthony Hopkins stars as Hitchcock, following his obsession with seeing the classic horror completed despite numerous professional and personal roadblocks. Collette will play Hitchcock's assistant, Huston as Whitfield Cook, and Stuhlbarg as old school super agent Lew Wasserman. Wincott, best known for playing bad guys most of his career, will play Ed Gein, the murderer who was the inspiration for the Norman Bates character.  How Gein figures in is anybody's guess, but possibly he'll factor in to Hitchcock's research when making the film? Maybe it's something more?

Helen Mirren, James D'Arcy, and Scarlett Johansson will co-star when production kicks off next month. [Variety]

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New look at 'The Congress', from the director of 'Waltz with Bashir'

Hopefully, patience is a virtue to those of who have been waiting for Ari Folman's follow-up to 2009's animated Waltz with Bashir, one of my favorite films of that year, and chronicles his own experiences during the Lebanon War. Titled The Congress, this rather ambitious sounding film is something totally different, for one it's an adaptation of Stanislaw Lem's short story, The Futurological Congress, and is a mix of live-action and animation.

The story is a big leap from 'Bashir's' personal perspective, in that it's essentially science fiction, centering on an aging actress(Robin Wright) who takes one last job to make ends meet and support her kid(Kodi Smit-McPhee). Her decision has some pretty awful consequences, as the studio takes her image and scans it in order to use her likeness as frequently as they wish, making her irrelevant.  Danny Huston and Paul Giamatti make up a part of the cast as well.

Folman recently revealed to Cinemascopian that the film is progressing along steadily, but we've got darn near a year until we see anything concrete....


 Folman: We just returned from a round of rough-cut screenings in Israel and Europe. The film has 70 minutes of live-action and 50 minutes of animation, the live action part is locked (except for the effects) and the animation is still in the Animatic phase, but most of the designs are done. We’re now going into an insane journey of finishing the animation in 10 months, in five different countries: here, in Jaffa, Poland, Belgium, Germany and Luxemburg. After that, post-production. The movie should be done by January 2013.

As you can see from the newly released image above, the animation style looks to be very similar to that of Waltz with Bashir, and I think it's pretty clear who's who in it. The guy on the right just has to be Danny Huston. For a better look at the progress Folman has made on The Congress, check out this video from last spring. I can't wait!

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