ΤΟ ΙΣΤΟΛΟΓΙΟ ΜΑΣ ΞΕΠΕΡΑΣΕ ΜΕΧΡΙ ΣΗΜΕΡΑ ΤΙΣ 1.300.000 ΕΠΙΣΚΕΨΕΙΣ.
Saturday, September 28, 2019
ESSENTIAL INDUSTRY AND AWARD NEWS
SEPTEMBER 27, 2019
Renée Zellweger Is More Than a Good Comeback Story
In Judy, which opens this Friday, Renée Zellweger does nearly everything you’re supposed to do to get an Oscar nomination: She plays a real person with the help of prosthetics. She sings. She cries. But as Richard Lawson writes in his essay about the performance, the buzz Zellweger is getting for Judy is not just some obligatory acknowledgment. “It’s a breathtakingly controlled performance,” Lawson writes, “big enough to fill the frame and loom like the real Judy’s legacy does, but not so outsize that it becomes awards-bait kabuki.” And though it’s thrilling to consider Zellweger’s return to the Oscars 15 years after her first win, the performance should stand on its own, he argues. “Zellweger’s is the most persuasive and arresting big-ticket lead performance I’ve seen so far this season, the kind of turn that needn’t be bolstered by an exterior narrative.”
Elsewhere in HWD, Julie Miller talks to Judy screenwriter Tom Edge, who listened to tapes Garland recorded late in her life and was “outraged on her behalf” at the way she had been treated; Laura Bradley looks into how Apple might be learning from Netflix’s mistakes as it works on plans to release its movies theatrically; and Yohana Desta gets the rundown on what’s likely to be your new obsession: a period piece from Downton Abbey creator Julian Fellowes, starring Christine Baranski and Cynthia Nixon as a pair of scheming sisters.