We Need to Talk About Amy Adams’ Hair in Big Eyes
So, yeah. The first production stills from Tim Burton’s Big Eyes have surfaced and even though we had already seen Amy Adams’ wig in set photos, nothing could prepare me for the Sandra Dee/Doris Day biopic realness that she’s giving in this photo. And that’s not a good thing. For a film that has tripped and stumbled in first in its test screening and most recently in our forum Oscar polls, this photo is going to do it any favors. There’s something about Adams’ dead-eye stare that isn’t providing any insight to her Margaret Keane. Yes, I’m probably expecting too much from a single photo but Adams is a fantastic actress with 5 Oscar nominations in less than 10 years to her name. I’m just feeling emptiness from this.
There’s a bit more in the second still that arrived today, with Adams and Christoph Waltz:
Here I’m seeing anger, terror, sadness, disappointment all at once. It feels more evocative of what we’ll see and I want to see more as a result. Let’s hope a trailer is on its way soon to help suss this out.
He is a Rotten Tomatoes-approved critic, accredited by the Cannes Film Festival, Telluride Film Festival, Toronto International Film Festival and more, is a member of the International Cinephile Society (ICS), The Society of LGBTQ Entertainment Critics (GALECA), Critics Choice Association (CCA), San Francisco Bay Area Film Critics Circle (SFBAFCC) and the International Press Academy. Among his many achieved goals with AwardsWatch, he has given a platform to underrepresented writers and critics and supplied them with access to film festivals and the industry and calls the Bay Area his home where he lives with his husband and son.
- ‘La Mas Dulce’ Review: Laïla Marrakchi Gives Visibility to Morocco’s Invisible Workers [B] Cannes - May 19, 2026
- ‘Club Kid’ Review: Jordan Firstman’s Gay Peter Pan Party Boy Tale Gets Raves Across the Board [A-] Cannes - May 18, 2026
- Claire Danes to Receive TV Performer Tribute from Gotham Film & Media Institute - May 15, 2026
‘La Mas Dulce’ Review: Laïla Marrakchi Gives Visibility to Morocco’s Invisible Workers [B] Cannes 
‘Garance’ Review: Jeanne Herry’s Underwhelming Alcoholic Actress Vehicle Deters the Turbulently Brilliant Adèle Exarchopoulos [C] Cannes 
‘Clarissa’ Review: Sophie Okonedo Gets the Flowers Herself in Modern Day ‘Mrs. Dalloway’ [B+] Cannes 
‘Full Phil’ Review: Kristen Stewart is in Peak Form in Quentin Dupieux’s Manic Father-Daughter Comedy [C+] Cannes