The best films of 2010 include a fake documentary, a comedy about Jihad, a vampire story NOT dealing with tacky tween romance, a haunting hillbilly noir, and an elegant tale about clones. Not necessarily the usual cinematic suspects.
Originating as a practical means to ensure financial solvency, the “double feature” may now serve a more profound aesthetic purpose.
Freeman frequently complains about Hollywood's stereotypes about what male and female audiences are willing to watch, yet her own tastes are pretty stereotypical.
The audience already primed for more "happily ever after" will be more than satisfied with the results. Everyone else will wonder what the studio was thinking with this strategy.
Tim Burton’s sweet little film about art and identity doesn’t demand enjoyment of Margaret Keane's big-eyed waifs, but instead an appreciation of her sincerity and expression.