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A TREAT. FASCINATING. Director Lipes is a classic cinéma vérité practitioner in the mold of Albert Maysles and Frederick Wiseman.
What audiences end up with word-wise is a hackneyed, completely derivative copy of old Hollywood romances, a movie that reeks of phoniness and lacks even minimal originality.
Silence is not the absence of sound. It's a physical place, a destination with value and meaning in a chaotic world, somewhere arrived at with difficulty and left with regret.
Things get better when Joy hears about a televised way to sell products and makes a connection with QVC. She convinces an executive there, played by Bradley Cooper, to let her appear as herself.
Audiences looking for a rich, textured, cinematic experience will be put off and disconcerted by an image that looks more like an advanced version of high definition television than a traditional movie.
What's most troubling about this witless mishmash of whiny, infantile philosophizing and bone-crunching violence is the increasing realization that it actually thinks it's saying something of significance.
Death is supposed to be the great equalizer, but that's never true. Death is random, capricious, unconcerned, a flagrant player of favorites. It keeps its own counsel, so much the better to profoundly shock by its actions.
Baseball endures at least in part because it is a contemplative sport that delights in nuances. Not a brazen game, eager to sell its thrills cheaply, but rather an understated affair that must be courted if its to be loved.
"Joy" is based, albeit loosely, on the life of Joy Mangano, an entrepreneur, inventor and QVC shopping network star with the mega-selling Miracle Mop. Jennifer Lawrence is excellent as Joy, but the film starts off on the wrong foot with woeful depictions of her background as the only sane person in her dysfunctional family.