Adams is the ap­ple of

The Irish Times - Friday - The Ticket - - FIL REVIEWS -

BIG EYES Di­rected by Tim Bur­ton. Star­ring Amy Adams, Christoph Waltz, Krys­ten Rit­ter, Danny Hus­ton, Ter­ence Stamp, Ja­son Schwartz­man, Jon Polito. 12A cert, gen­eral re­lease, 105 min Dur­ing the 1950s and 1960s, the work of out­sider artist “Keane” be­came in­ter­na­tion­ally known and won ad­mir­ing glances from Andy Warhol and celebrity sub­jects Joan Craw­ford and Natalie Wood.

The paint­ings (and sub­se­quent mer­chan­dise) were sold un­der the name Wal­ter Keane, but were, in fact, pro­duced by his wife, Mar­garet.

This swin­dle and its subse- You have to feel some sym­pa­thy for the folk be­hind the third film in this fal­ter­ing fam­ily fran­chise. The death of Mickey Rooney and Robin Wil­liams, reg­u­lar cast mem­bers, dur­ing post-pro­duc­tion en­sured that a cer­tain melan­choly would hang over Se­cret of the Tomb. On the other hand, the film­mak­ers now have a handy ex­cuse for the mirth­less si­lence set to spread through the world’s cin­e­mas.

This re­ally is a hope­less project that makes lit­tle of the orig­i­nal film’s few good ideas and adds no new ones worth quent le­gal fall­out form the ba­sis of Big Eyes, the new film from di­rec­tor Tim Bur­ton.

Mar­garet Keane, the artist whose kitschy saucer-eyed waifs have been creep­ing peo­ple out for decades, seems like an ob­vi­ous biopic choice for Bur­ton.

Her most fa­mous sub­jects could eas­ily pop­u­late the same spooky or­phan­age as cre­ations from Ed­ward Gorey’s non-Vic­to­ri­ana Vic­to­ri­ana, cre­ations that have tra­di­tion­ally cast a long, in­flu­en­tial shadow across Bur­ton’s gothic oeu­vre.

Sur­pris­ingly, how­ever, Big Eyes shares hardly any DNA with Ed Wood, Bur­ton’s last stab at biog­ra­phy (and ar­guably his great­est film) en­dur­ing. As all US films must be about fa­thers and their sons, Ben Stiller’s ha­rassed mu­seum guard is now jug­gling the noc­tur­nal man­age­ment of pos­sessed arte­facts with day­time su­per­vi­sion of a mildly re­bel­lious teenage son. When the an­cient tablet that makes the ex­hibits live goes on the blink, they all must travel to the Bri­tish Mu­seum for some sort of recharge. Cue the Queen’s Life Guards. Cue Tower Bridge. Cue Trafal­gar Square. Cue London Call­ing by the Clash. Hang on. Can Joe Strum­mer

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