As a case for a Renee Zellweger comeback, it passes with flying colors, but as a story about the legendary Judy Garland, it's lacking. The film shows Judy in two points of her life: the London concerts in the last year of her life, with flashbacks to the making of The Wizard of Oz. The thirty year gap in between is where the height of her fame is, and that period is untouched and unreferenced. Nobody wants a cradle-to-grave scope…
Reveals absolutely nothing that wasn't communicated better by the finale's ending shot of Jesse screaming in the car. For pedants who need to know EXACTLY where Jesse ended up (not me) or fans overinvested in the character who need to see him one last time (absolutely me).
This is a movie about the ways that men treat women. The "Obvious Misogynist" considers women as a tool for him to control and fuck at his leisure. The "Nice Guy" wants to be a friend and liberator to women, but that interest comes and goes proportional to how much he wants to have sex with them. No matter how similar in intellect and skill we prove ourselves to be, they believe it is up to them to determine our worth, our freedom, even our personhood.
Fuck them. Rock on, Ava.
It's bad enough to be a messy jumble of blunt gross messaging and misogynist ideas, but it's even worse to present them with so much gorgeous cinematography and perfect acting that I keep looking for reasons to like it that never appear.
I don't know much about Tom Ford outside of his fragrance line, and I didn't see his first movie, but he pretty clearly has some problems with women that he needs to get worked out. Nocturnal…