In Review: Judy

The glossiest of biopics arrives with Judy, Rupert Goold’s adaptation of Peter Quilter’s play The End of the Rainbow that details the final performing days of Judy Garland. In order to prevent homelessness and lose complete custody of her two young children, the faded legend Judy Garland took on headlining a series of concerts in London in the late 60s. The film follows her struggles with stage fright and addictions as she struggles to match her legacy, years of insomnia and anxiety taking its toll on her voice and psyche. It’s a blend of the somber and the splashy, a sometimes inelegant tonal soup that is nevertheless elevated by a transformative performance from Renée Zellweger as Garland in her most tragic days.

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In Review!: “Bridget Jones’s Baby”

Returning from a long absence from the screen, Renée Zellweger is back and in her signature role for Bridget Jones’s Baby – and she hasn’t lost any of the magnetism or ability. Anyone cruelly focusing on perceived changes to her face is in for the rudest of awakenings: she’s still the same old Bridget, the same charming Renée.

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Another in a growing line of sequels arriving long after their built-in sell by date, Baby is actually quite winning in how it captures the original’s appeal without irony or cynicism. First director Sharon Maguire returns (the second installment The Edge of Reason is wisely ignored) and every ensemble member is back, sans Hugh Grant’s Daniel Cleaver. Indeed, not much has changed and that’s all for the better.

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