subscriber help

such a nasty woman | by maryann johanson

Joy movie review: a mess to be mopped up

by MaryAnn Johanson

Joy yellow light

Even the miscasting of Jennifer Lawrence takes a backseat to the forced quirkiness, which David O. Russell cannot get his cast on the same page with.
I’m “biast” (pro): love Jennifer Lawrence

I’m “biast” (con): nothing

(what is this about? see my critic’s minifesto)

Oh no. Does David O. Russell have his first dud on his hands? I know lots of people aren’t thrilled with his 2004 film I Heart Huckabees (I like it), but for the first time since he realized that Jennifer Lawrence and Bradley Cooper belong onscreen together — theirs is a chemistry that will be the stuff of Hollywood legend, I have no doubt — the result is something that never quite gels. Russell isn’t wrong about Lawrence and Cooper: it’s only when they are paired up here that the movie comes alive. But they’re not paired up onscreen anywhere near enough to pull off Joy as an entertaining whole.

It’s only when Lawrence is zinging with Cooper that I was able to look past how woefully miscast she is as entrepreneur Joy Mangano, who created a mop that can be wrung hands-free and went on to be a Home Shopping Channel superstar, hawking brilliant household devices of her own invention: basically, she hacked housekeeping. Written by Russell (American Hustle, Silver Linings Playbook) and Bridesmaids scribe Annie Mumolo, Joy is only loosely based on the real Mangano, which may have been intended as a way to dodge the fact that Lawrence is at least a decade too young to be playing a woman who was in her 30s when she had only just embarked on her path to business success. But the film sticks closely to the story of a divorced mom who travels a long, hard road before her triumph and vindication (because of course she was doubted by everyone along the way). It’s tough enough early on in Joy to buy the 25-year-old Lawrence (The Hunger Games: Mockingjay – Part 2, Serena) as the mother of two gradeschoolers, particularly when it’s made plain that there were no teenaged pregnancies. (She doesn’t even meet her future husband and the kids’ dad, Tony [Édgar Ramírez: Deliver Us from Evil, The Counsellor], until after she has turned away from going to college.) But by the end of the film, with her children grown and Mangano the magnate of an empire, Lawrence comes across like a little kid playing business-lady dressup.

This isn’t a matter of her talent, which is beyond doubt, but of a presence and a gravitas that cannot be faked and comes only, if it ever comes at all, with actual age. When Lawrence gets to dig into scenes that don’t accidentally emphasize her relatively tender years, she is as extraordinarily engaging as she ever is. The sequences with Cooper (Burnt, American Sniper), as a fictional HSN executive slightly beset with delusions of grandeur (he likens himself to a golden-age Hollywood studio mogul), don’t work merely because of the palpable chemistry between the two of them. They work because Lawrence can turn on her everywoman appeal as her Joy refuses to become a standard HSN Barbie-doll TV presenter and insists on being herself as she demonstrates her product for (hopefully) buying audiences. And this version of herself, the hitherto thwarted inventor given her moment to shine, is far more plausible than the harried mom with a crazy family the rest of the movie insists on forcing her to be.

But even the miscasting of Lawrence takes a backseat to the weirdly stilted forced quirkiness of how Russell casts Joy’s crazy family life. Her parents are divorced, but as the film opens, her father, Rudy (Robert De Niro: The Intern, American Hustle), is moving in to roost in the basement, where her ex, Tony, is also living; the two men hate each other, but the animosity between Rudy and his ex, Joy’s mom, reclusive, dyspeptic Terry (Virginia Madsen: The Haunting in Connecticut, The Number 23) — who also lives in the house — is even worse. (Joy’s two little kids are also here, of course, too.) Russell pitches the cantankerous domestic environment as akin to a messy, lower-middle-class version of a glitzy fantasy soap opera; we know this is his intention because we are treated, by way of comparison, to excerpts from the (fake) ongoing saga of the soap that Terry is obsessed with, which features actual soap stars such as General Hospital and Guiding Light vet Laura Wright. But the cast is never all on the same page here, ranging from Lawrence’s direct and dramatic authenticity to Isabella Rossellini (Enemy, Infamous) — as Rudy’s new girlfriend and an early investor in Joy’s company — verging on auditioning for a part in a comedic David Lynch fever dream.

Russell is too deliberate a filmmaker for this to be accidental, and this cast is too smart and too good for them not to be giving him exactly what he wants. I wish I could see what he was aiming for, and what he saw in his mind for Joy. I’m sure that is a fantastic film.

See also my #WhereAreTheWomen rating of Joy for its representation of girls and women.

yellow light 2.5 stars

Joy (2015)
US/Canada release date: Dec 25 2015 | UK release date: Jan 01 2016

MPAA: rated PG-13 for brief strong language
BBFC: rated 12A (infrequent strong language)

viewed at a private screening with an audience of critics

official site | IMDb | trailer
more reviews: Movie Review Query Engine | Rotten Tomatoes

If you’re tempted to post a comment that resembles anything on the film review comment bingo card, you might want to reconsider.

  • RogerBW

    The trailer seemed to push hard on the “quirky family comedy” side of the story before grudgingly admitting that yeah, OK, there might be a story about a businesswoman in here too.

    Melissa Rauch was born in 1980 and therefore was 35 this year. So were Zooey Deschanel, Olivia Munn, Eva Green, Kristen Bell and Eliza Dushku. There isn’t exactly a shortage of actresses of the right sort of age.

  • Steven

    I really loved Joy. Jennifer Lawrence is the best actress of her generation and deserves a nomination for her great work.

  • I don’t have a serious problem with Lawrence in the role; certainly she’s Russell’s “go-to girl.” Some women do look ridiculously young well into their 30s, and Lawrence was good with what she had.


    The script and the direction were all over the place.

    I think this would have been good as a flat out comedy. What happened to Joy, what she had to go through before she created her first money-making invention, was close-to-tragic. How she finally got the money to improve her life was really quite absurd.

    I felt like both Isabella Rosselini and Bradley Cooper were in a whole different movie, playing more broadly comedic roles (and Robert DeNiro at times too).

    Joy had a pretty good crowd yesterday afternoon, but just having seen The Big Short the previous day, I guess I was hoping for another superior script (or something like American Hustle which I liked quite a bit) and didn’t get it.

  • The other problem with at least one of the trailers – it gave you the ending, the only bit of dramatic tension anywhere in the film. Since I was about Joy’s age and actually owned a Miracle Mop in the early ’90s, I already knew the ending!

  • Denny hill

    The movie ‘Joy’ is based on the fantasy the real Joy Mangano would have you believe about
    her life. She’s not the caring, family-loving person she pretends to be.
    Her father who developed the mop with her had to sue her for his
    royalties and today he has to support himself at age 83 by working as a
    clerk in a museum gift shop, so that he can manage his rent. Maybe the
    real story of Joy Mangano and her bloody mop wouldn’t have been so

  • Citations needed.

  • jihan
  • IntrepidNormal

    I feel like this could have been a good comeback role for Drew Barrymore.

Pin It on Pinterest

Share This