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Renée Zellweger was certainly impressive, what with the year-long vocal coach and the willingness to risk comparisons to Judy Garland, but I found the film a bit generic. The two scenes that held my interest were the party scene with Liza Minnelli and the London visit of the ex-husband played by Rufus Sewell. Both pointed to a wider context to Garland's life than the film was willing to provide. The only framing we get are the auditions and filming of The Wizard of Oz, and these are designed (somewhat effectively) to frame Garland as an unequivocal and absolute victim. Consequently, I found myself pushing back more than I imagine the film intended. The Liza cameo makes you question Garland's narrative that it is all about her younger kids, and Sewell's performance suggests he's seen cycles upon cycles of this sort of behavior. Even Stan & Ollie had more nuance. But I allow for the possibility that the film assumed Garland remains iconic enough that everyone will just know the parts of her life that are elided from the film. It's a delicious, high-wire act from Zellweger, but it seems to not have any ambitions beyond putting its lead into Oscar contention.