Ralph Breaks the Internet
Mission: Impossible - Fallout
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All Critics (110)
| Top Critics (33)
| Fresh (14)
| Rotten (96)
| DVD (3)
It's hard to hate a movie that escorts us to such lovely locales, but instead of marking the territory as her own, Madonna has directed a potentially provocative story like a virgin.
With "W.E." Madonna gorges on glamour, architectural porn and haute couture but starves the mind.
The film is stylishly shot. And, in weaving the stories of Wally and Wallis, Madonna trusts viewers to move from mood to mood, era to era without overexplanation, the way music-video editing long ago trained us to.
A movie more concerned with how things look than how they feel.
The production is nice looking, and telling the Edward-and-Wallis story from her side is an interesting idea, but it's one that Madonna simply can't pull off here.
A movie that's less about people than the fetishistic obsession with style.
With the right amount of directorial mishandling, you can utterly waste the talent of two actresses who are otherwise first-class.
Perhaps the movie should've been title W.E. C. As in, Who Even Cares....
Madonna's swirl of luxury and grainy jump-cuts merely drift, and then land somewhat in emptiness.
A marvelous 10-car pileup of ostentatious art direction and dated fashion shows in search of reason for being.
Does not end with any cohesive point, but as a study in style and technique it shows a woman enamored with the sensation of classic cinematic values.
Having gone to painstaking lengths to ensure this film assigns [Madonna] oh-so-serious directorial cred that she has sadly forsaken the very energy that makes her a megastar to this very day.
Madonna employs her shallow view of life in this self-indulgent project of pure vanity to tell two insipid stories that hardly blend together, creating an excruciating and unfocused mess about two pathetic women full of self-pity and with no self-respect.
Stylish to the point of being strange. The film seemed lifeless and lacking any significant point or emotion. This film would have made more sense as a photo shoot. "W.E." should be renamed "W.T.F.?"
Not sure what I think of this one. First the pluses.
The movie certainly looks stylish. It's filmed beautifully and I love the outfits and make up used for the "period" parts. Abbie Cornish is great, as is the actress who plays the first Wally. If directing a movie is just about getting things to "look" right and choosing a good cast, then Madonna has done a great job. I did think the "pretty vacant" scene was similar to one in "Marie Antoinette", though.
Now the not so good, the story was a bit hard to follow. I didn't understand Abbie's fascination with the first Wally aside from she was named after her. I also thought it floundered in the parts she "saw" and spoke to the original Wally.
I didn't really understand the relationships with Wally and her husband and the King, and the beating scene, that was kind of out of nowhere. To be honest, the guys in this are pretty wooden and I couldn't really tell one from the other. Not entirely sure which one beat the first Wally and where the miscarriage came into it.
The more modern story was easier to follow.
Wally was pretty much married to a jerk, although I can see where her baby obsession must have been pretty annoying. I couldn't understand why she would even want to be with him considering, let alone have children with him. The security guard guy was a bit creepy too. The bit where he says she reminds him of his dead wife. Um. Great.
Overall, a movie that looks great and keeps you watching, but a bit low on believability.
This film juxtaposes the romance between Wallis Simpson and King Edward VIII with a neglected woman in the twentieth century who entertains an obsession with the story.
This is one of the worst films I've seen in a long time. Madonna is a horrid director. There is absolutely no restraint, subtlety, or character development. It's just bad, bad, bad.
But let's try to take the film on its own terms. The thesis is that history remembers Edward's abdication of the throne and lauds or judges him based on what he gave up for Wallis Simpson. But, the film wonders, what about what she gave up for him? Well, what did she give up? This film doesn't answer its own question. Some may judge Simpson as a home-wrecker, but the most accurate reading of history judges British royal mores, not the actors. And because Madonna has no feeling for British customs, we don't get to see these social pressures in action.
And I still have no idea how the modern day plot informs the British plot.
Overall, anyone with any taste should see any other film, maybe The King's Speech, which overlaps W.E..
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