Amy Adams, Christoph Waltz, Danny Huston, Krysten Ritter, Delaney Raye

Tim Burton

If you were to show somebody a painting of a Campbell’s soup can, chances are that they could identify it as the work of Andy Warhol. But show them a piece from Margaret Keane’s equally popular Big Eyes series, however, and although they’d admit their familiarity with the kitschy paintings, they’d be less likely to name the artist, let alone know the strange-but-true story behind them. That’s the subject of Tim Burton’s latest movie, his first live-action feature to not star Johnny Depp in over a decade. But while it’s a bit of a departure for the oddball director, “Big Eyes” is his best film in years, even if that comes off like a backhanded compliment considering some of the garbage (“Alice in Wonderland,” “Dark Shadows”) he’s released.

The year is 1958, a time when it was still fairly unheard of for a woman to leave her husband, but Margaret Ulbrich (Amy Adams) has done just that, escaping the boredom of suburbia with her daughter Jane (Delaney Raye) for a fresh start in San Francisco. It’s there that she meets smooth-talking artist Walter Keane (Christoph Waltz) at a local art fair, and after hitting it off, the two don’t waste any time getting married. Though Walter hasn’t found much success with his uninspired paintings of Parisian street scenes, he notices something special in Margaret’s wide-eyed waifs and rents some space in a nightclub to show off their artwork. When a couple patrons mistakenly credit Walter with painting one of Margaret’s Big Eyes (after all, they both sign their art “Keane”), he doesn’t bother to correct them in order to close the sale. Margaret gets furious when she finds out that Walter has been passing off her work as his own, but he insists that they’re a team, and before she knows it, the lie has grown so big that she’s unable to stop it in fear that the whole Keane empire, and her life’s work, will be tarnished in the process.

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Meryl Streep, James Corden, Emily Blunt, Anna Kendrick, Chris Pine, Daniel Huttlestone, Lilla Crawford

Rob Marshall

It is strange to watch a film like “Into the Woods” in a post-“Shrek” world. When “Into the Woods” first debuted in 1987, and turned fairy tales on their heads, it was a truly unique concept. Why should we accept that all princes and princesses have a happy ending? Why should poor children be allowed to steal without consequence? Why shouldn’t terrible parents pay for the sins they committed in the name of “protecting their children”? Those are all fair questions, and many of them have since been addressed in films like “Shrek,” “Tangled,” and “Jack the Giant Slayer,” to name a few of the characters involved here. All of these films owe a debt of gratitude to “Into the Woods,” yes, but when you take 27 years to go from the stage to the screen, all debts have been paid far in advance. We are now at the point where pop culture has passed “Into the Woods” by, stripped it for parts, and left it for dead.

The Baker (James Corden) and his wife (Emily Blunt) want a baby, but the witch who lives next door (Meryl Streep) reveals to them that she has cursed the Baker’s bloodline with impotency for a crime that his father committed. But she will undo the curse – which will then restore the witch’s beauty – if the two collect four items from previously separate fairy tales: a cow (the one Jack sells for magic beans), a red cape (yep, Little Red Riding Hood), hair as gold as corn (Rapunzel’s), and the golden slipper worn by runaway bride Cinderella (Anna Kendrick), who leaves the prince (Chris Pine) in a hurry every night of the big festival. As their lives intersect, the characters learn things about themselves. Some of the things they learn are good, while others are lessons like, if you kill a guy, be prepared to kill his vengeful wife as well. Wait, what?

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Here’s a great shot of Deena showing off that long and lean body in a black bikini outfit.

Here’s sexy Brandie flashing that incredible smile along with some sexy tan lines as she straddles a chair wearing just her panties.

If you’re looking for beauty and comfort in a vehicle, the Nissan Murano was created with you in mind. Nissan created a distinctive vehicle with the first Murano in 2003 and they’ve aimed high for the all-new, third generation Murano that enters a much more crowded and competitive market for 2015.

Nissan has a very specific demographic in mind for its flagship crossover, targeting empty nesters who will often go out on the town with another couple. The car is designed for adult passengers to interact with one another in a “social lounge” kind of setting, so attention was paid to the experience in the rear seats.

Exterior

Take a look at the slideshow above and you’ll see that this third-generation Murano looks like another design home run worthy of Nissan’s original model. We drove the Murano from the heart of Sonoma wine country out to stunning Goat Rock Park on the Pacific Ocean. You can see the use of glass and the flowing lines of the compelling new design.

Nissan stressed three key elements from the Murano that will show up in future designs – the V-Motion front end, signature lighting and the ‘floating’ roofline.” The roofline in particular stands out along with the boomerang-style headlights and taillights which were originally introduced on the Nissan 370Z. It all comes together beautifully in a package that will certainly appeal to the target demo. The new model also sports a 16 percent improvement in overall aerodynamics versus the previous generation design.

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