You might not think that a biopic about a Hollywood legend on the glide path to her early death in swinging 1969 London and a comic book movie about a villain on the loose in 1970s New York would have anything in common besides titles that begin with the letter J. And yet Judy and Joker are very much alike. They both center on incredibly flashy lead performances with stars who appear in nearly every frame of the picture. They are both unflinching examinations of the toll of mental illness. And they are both astoundingly unpleasant.
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