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Renée Zellweger plays Judy Garland in the upcoming movie JUDY. The film takes place in the winter of 1968 and showbiz legend Judy Garland arrives at Swinging London to present a sold-out five-week show at THE TALK of the Town. It's been 30 years since the Wizard of Oz has achieved worldwide fame, but though his voice has weakened, his dramatic intensity has only grown. As she prepares for the show, struggles with the direction, charms the musicians and remembers with her friends and fans, her spirit and warmth shine through. Even her love dreams do not seem to have gone away as she embarks on a flash romance with Mickey Deans, her future fifth husband.
Featuring some of his best-known songs, the film celebrates the voice, the ability to love and the zest of "the greatest artist in the world".
JUDY is also performed by Jessie Buckley, Finn Wittrock, Rufus Sewell and Michael Gambon, under the direction of Rupert Goold. Roadside Attractions and LD Entertainment will be releasing JUDY in theaters on September 27, 2019.
Check out what critics have thought of the movie below!
Guy Lodge, variety:
In the last year before Garland's death in 1969, "Judy" covers London's shambolic residence, which has never been presumed to be her last word. Zellweger delivers a performance while singing, dancing, and collapsing the star to its lowest physical and psychological level: it's a bold and flawless job, but it might not captivate those who evaluate biopic as a & dquo; Olympian exploits technical mimicry. With the help of a makeup, hair and costume expert, his home in Garland is convincing but not exhaustive; It's a very different feat from the amazing and brilliant pipeline that Judy Davis has achieved to achieve an Emmy effect in the 2003 miniseries "Life with Judy Garland: Me and My Shadows".
Stephen Farber: The Hollywood Reporter:
Usurping the identity of an icon is a dangerous business, but Renee Zellweger does succeed in Judy, a look at the last year of Judy Garland's life. As this year marks the 50th anniversary of his death, an event that precipitated the Stonewall riots in the summer of 1969, filmmakers undeniably acknowledged that they had an integrated marketing angle in addition lasting appeal of Garland's name and music. The director Rupert Goold's film sometimes falls, but it's an indispensable choice to find the right actress to channel the diva. This is not the first biopic on Garland. Judy Davis gave an extraordinary rendition in a miniseries on television nearly two decades ago, but in this case Davis was synchronous with Garland's original recordings. As Judy was held during Garland's last performances in London in the winter of 1968, while her voice was not at its best, Zellweger performed the songs herself, and she did a remarkable job without trying to 39 to match Garland at the top of his vocal abilities.
Mara Reinstein, Billboard:
There is also some suspense in hearing Zellweger bend his vocal chops. We do not intend to sing for 45 minutes, a clever decision from Goold. It takes a few more beats to fit the view of Bridget Jonesportraying, a star of the show. (The actress does not get rid of Texas.) Garland, born Frances Gumm, was from the Midwest.) When she finally opens her first London show shouting "By Myself," it's a cross between a pleasant surprise and a revelation. . Zellweger, nominated for Best Actress at the 2002 Chicago Oscars, easily sings and dances in a sequined pantsuit without ever overdoing it.
Peter Bradshaw, the guardian:
Zellweger resolutely takes on the challenge of playing Judy on stage and at school: her eyes fold in tandem with a trembling pout when her feelings are hurt, and sometimes when they are injured, though she may be less convincing with wide-eyed eyes. Garland looks. His gait and position intelligently reflect the feeling of a person who is only 40 years old but who feels older, but who is rejuvenated by the electric thrill of being on stage. Still, the film missed a trick in the way he describes the difficult relationships with his daughter Liza Minnelli (played here by Gemma-Leah Devereux): there is a discreet encounter between them at a party during which Judy undermines Liza's confidence, but is malnourished. Liza herself deserves almost as much mythological and turbocharged drama as Judy, and a mother-daughter encounter between these icons should really be a real success.
Sasha Stone, The Wrap:
Zellweger captures Garland's frail and slightly contracted body, his voice, his appearance and his manners. Things as subtle as the way Garland pronounces the word "wonderful" are not missed by the excellent Zellweger, who brought to the legend a vibrant and colorful life. Although she may not quite match the beauty of this famous voice, Zellweger captures the spirit of how Garland sang.
Eric Kohn, IndieWire:
In her first musical tour since "Chicago" she [Zellweger] sings live and does such a strange job channeling Garland's performative forces that she practically communicates with Garland's ghost. Yet all that power and credibility collapses every time "Judy" returns to the airless melodrama that plagues the rest of the plot: yes, Garland's inability to keep custody of his children is another sad development in its infernal spiral, and drunken collapses set the stage for its demise. But in "Judy", they present themselves as spaces reserved to advance the story.
K. Austin Collins, Vanity Fair:
Judy is neither visionary nor perfect, but she convinces us of her ideas. This is an excellent scaffolding for Zellwegger, who is already a potential bidder for reasons that seem obvious. What I hope not to get lost in the inevitable rewards of scrum – with the way it flattens the movies and actors to make it worthy or not, "likely" or not, is an idea of the absolutely idiosyncratic performance of Zellwegger. At the end of the movie, I wanted more of Judy herself; I ran straight to Youtube to watch interviews with the old Dorothy herself. And I also wanted more from Zellwegger: more performance, more strangeness, more things that make a star a star without the pain that can flow from it.
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