The extraordinary tale of Harriet Tubman's escape from slavery and transformation into one of America's greatest heroes, whose courage, ingenuity, and tenacity freed hundreds of slaves and changed the course of history.
American car designer Carroll Shelby and driver Ken Miles battle corporate interference and the laws of physics to build a revolutionary race car for Ford in order to defeat Ferrari at the 24 Hours of Le Mans in 1966.
Thirty years after starring in "The Wizard of Oz (1939)," beloved actress and singer Judy Garland arrives in London to perform sold-out shows at the Talk of the Town nightclub. While there, she reminisces with friends and fans and begins a whirlwind romance with musician Mickey Deans, her soon-to-be fifth husband.Written by
Make-up Designer Jeremy Woodhead had to prosthetically extend the tip of Renée Zellweger's nose slightly to better match Judy Garland's profile. Dark gray contact lenses were used to approximate Garland's dark brown eyes, and a cropped walnut-brown wig was fashioned to resemble Garland's iconic hairdo. See more »
The opening scene of Judy and Louis B. Mayer walking around the set of The Wizard of Oz is wrong. The set shown is completely inaccurate. The poppies would not have been on an adjoining set, and they were wrong in size and color. See more »
Louis B. Mayer:
What do you see beyond this wall? Picture it. You've got an imagination; go ahead. What I see is a small town in the Midwest. A handful of churches, somewhere for the farmers to get drunk together. Maybe a salon for their wives to do their hair on the holidays. I visit these places. These are the people who send us our profits. Who send us your wages. I make movies, Judy, but it's your job to give those people dreams. The economy is in the gutter, and they pay for you. And I'll ...
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Sometimes an entire movie boils down to a lead performance, and JUDY is one of those examples. Fortunately, Renee Zellweger is more than up to to the challenge. Zellweger does more than just an imitation here - sure, the ticks and mannerisms that have been copied and parodied for decades are all on display, but, the actress goes for, and largely, attains several more layers.
The script follows the "Last Days" scenario seen in so many bio-pics. The doomed character. The flashbacks. The final triumph. The various side characters who represent assorted people throughout that person's life etc. etc..
Still Zellweger is strong enough to overcome most of the cliches. The rest of the cast does well, but outside of Jessie Buckley as her London assistant, they don't get much to do (Michael Gambon in particular has, almost literally, nothing to do). The Production, music (nice to hear a new Gabriel Yared score), and, most critically, the makeup and hair all work to give us a fairly convincing glimpse of Garland's final months in 1969. Theater Director Rupert Goold keeps the viewer focused on his main character despite some melodramatic passages in Tom Edge's screenplay (based on Peter Quilter's play). The nicest touch is a scene with a male couple (Andy Nyman and Daniel Cerqueira) get to spend a night hosting Judy in London. It's a warm human moment that also pays homage to Garland's relationship with the gay community (a status that she bequeathed to her daughter Liza).
Zellweger delivers a strong performance that keeps JUDY moving along, if not always smoothly.
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