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‘Judy’ is a film that celebrates Garland's legacy, and while the film is a little generic in its storytelling, Zellweger’s truly phenomenal performance pulls you into this behind the scenes to look at one of Hollywood’s greatest stars. - Chris dos Santos Read Chris' full article... https://www.maketheswitch.com.au/article/review-judy-zellweger-goes-for-oscar-gold-in-mid-core-biopic
Renée Zellweger remembers how to act in this simple biopic, delivering her best performance since Cold Mountain in 2003, however despite the good intentions, the film cannot help feeling like a vehicle to grant nominations to its lead actress in the coming awards season, instead of saying something more interesting about Judy Garland.
Judy clicks her heels three times to transport us to a world of melancholy and self-destruction. Somewhere over the rainbow lies Judy Garland. An innocent, fragile and talented young actress who infiltrated silver screens and rapidly shot to fame. The voice of an ethereal angel. MGM’s golden girl. But behind the lavish productions and beneath that unimpeachable smile, was an undisputed amount of pressure. A malleable marionette susceptible to the puppetry of Hollywood. A product of ruthless executives. Garland was no longer a person. Her individuality brutally reaped by higher authorities, manipulating her into believing she was physically unattractive. Starving, pill-popping and overworked. That was the cruel life of Judy Garland. The glistening glitter and the iconic voice, mere facades masquerading the suppressed pain. Unfortunately though, her repressed childhood and early stardom steered Garland into a life of alcohol and substance abuse. The yellow brick road wasn’t so golden after all. Goold’s biopic (and part adaptation of the Broadway play) dramatises her later career, forced to perform a sell-out tour in London due to her unreliability in the States. Her unworkable state being a consequence of substance abuse. Clumsily walking out into the spotlight that she undoubtedly adored. That inevitable lust for fame. A legendary status. Trapped, her battle for the custody of her children raged on. Torn between the natural instinct of motherhood, and the only element of her life she’s ever known. Her profession. Edge’s screenplay, whilst surface level on certain aspects which merely imitated a biographical article instead of further sentimentalising Judy as an individual, eloquently explored the dangers of fame at such a vulnerable age. The inability to have a voice. To be bossed around by studio executives who see her as an asset rather than a human being. It’s very much a by-the-numbers biopic, and Goold’s blend of light and darkness within his direction made this comparable to the equally melancholic ‘My Week With Marilyn’. Snippets of fans announcing their adoration for their idol, empowering the eponymous star even further. That joyous search for justification. But the sorrow never fades. Goold’s constant tone of desolation throughout, whilst teetered on unnecessary melodrama, honed in on the impact Garland made. There’s nothing more tragic than witnessing an individual undergo self-destruction, and Goold rarely distracts us from this. It all comes down to the central performance. The actress who is in every scene, devoting her soul into the character. Ladies and gentlemen, Zellweger became Garland. Astonishingly embodying her right from the immediate title card. I’ll be irrefutably disappointed if she does not garner awards for her performance. Not only is it a career best, it’s quite simply the best of the year. The nuances, the voice, the erratic body movement. Rarely does a performance make me lose sight of who is actually acting. During that final rendition of “Over The Rainbow”, my eyes moistened. No longer was I seeing Zellweger, but Judy herself. It was cathartic. It was reincarnation. It was divine. Goold bravely shot the performances as one take sequences for the most part, which has to be applauded for artistic integrity. It did however make the lip syncing incredibly obvious which frustratingly pulled me out of the film. No fault of Zellweger’s stunning performance though. Rising star herself Buckley deserves some praise for her crystal clear performance. Such delicate clarity against the chaotic Garland. Would’ve liked to have seen more from Gambon and Sewell, but appreciate the film is solely focussed on Zellweger. The film wouldn’t work without her. Garland has never been depicted with such compassion before, and it's an amalgamation of quality over quantity. It’s not big. It’s not flashy. It’s just honest. Garland herself would’ve been proud, and we will never forget her. But please, do bring a box of tissues with you...
I don't want to dismiss the hard work that Zellwegger put into playing a version of Judy Garland, but I **do** want to dismiss the script entirely. _Judy_ takes the most boring, trite and overused direction that it possibly can at every single opportunity. _Final rating:★★ - Had some things that appeal to me, but a poor finished product._
Renée Zellweger must be up for an Oscar nomination for this, frankly, dazzling performance as Judy Garland. She really does shine and, to a certain extent, help us who didn't experience Garland at her peak first hand get a sense of just what a true - and flawed - star she was. Clearly, there will never be another original, but I don't think Renée is trying to be a mimic in this film - anyone who attempted that would really be on a hiding to nothing. That's is why I found her performance so captivating - it is personal. Sadly, though, there isn't much depth to the rest of the film - Jessie Buckley (good in "Wild Rose") stands out, but otherwise it is a little humdrum.
Joseph learns that his son and his companion have just perished in an accident. They were expecting a child via a surrogate mother in Belgium. What will become of their future baby? Is Joseph the legitimate grandfather? Carried by the promise of this birth which will prolong the existence of his son, the sexagenarian goes to meet the young Flemish woman with a fierce and indomitable character.
A young woman, coping with the death of her father, embarks on a quest to meet a Hollywood star with whom she has become obsessed.
Seven-year-old Adrian is growing up in the underground drug scene of Salzburg, usually famous for culture and classical music. His mother Helga is torn between her drug addiction and her love for her son. Despite this, Adrian has a happy childhood, the best of all worlds. But it is tested to the limit when the authorities and child welfare services find out about Helga's addiction.
French pop diva Dalida candidly discusses a number of the songs that made her a phenomenal success across Europe, the Middle East and Japan in this celluloid chronicle of the beguiling singer. Dalida - who earned 45 gold records - talks about "J'attendrai," "Besame Mucho," "Paroles Paroles" and other hits. The video also includes previously unreleased pictures shot in exotic locales and footage spanning the singer's 30-year career.
When the cameras rolled, Doris Day wore a happy face, never hinting at the pain she endured in her personal life. This documentary brings viewers close to the real Doris Day through the eyes of her friends and family members and with the help of film footage, newsreels and photographs. What surfaces is a complex picture of an equally complicated woman who faced problems far more formidable than her cinematic image revealed.
Although he is unanimously credited with having democratised opera, making it accessible to the greatest number, focus is rarely put on the strategy he devised and implemented in order to carry out his actions, nor what his actions reveal of the man and artist, and of the resulting metamorphosis from opera singer to pop artist. Through this angle, this film sets out to pay tribute to the man who summed up his credo, obsession and life’s work, in the following way: “They led the public to believe that classical music belonged to a restricted elite. I was the way to prove to the world that was wrong.
Just Ask Him is a romantic LGBT short film about an out high school kid gathering the courage to ask his soccer jock crush to a dance.
The first-born son of a wealthy Mexican businessman, Simon is doted upon by his father, Don Andres. But as Simon grows older, he displays a fondness for dressing in women's clothing and playing with dolls, and is eventually banished from home and disinherited. He then finds work as a performer in a nightclub that his father patronizes. Not recognizing his son as a beautiful young woman, Don Andres discloses some surprising secrets of his own.
Biopic about the Rothschilds, a Jewish family whose members rose to the top of the European banking community during the Napoleonic era.
A Beverly Hills hairdresser runs around town on the eve of the 1968 presidential election trying to make heads or tails of his financial and romantic entanglements. His attempts to gather the money to open his own salon are continually side-tracked by the distractions presented by his many lovers.
