Even though it’s something of a slick mess, Madonna’s W.E. is just the kind of movie you’d expect from an artist who once, with a delightful lack of irony, declared herself a material girl. A weirdly sympathetic portrait of Wallis Simpson, the woman for whom a king gave up his throne, W.E. is the story of a life told through stuff: Evening gloves, cocktail shakers, baubles from Cartier, little hats trimmed with netting. It’s as if Madonna went back in time and forgot to talk to actual people, to find out how they lived and what they thought — but she sure did a lot of shopping.
And that’s OK, as far as it goes. W.E. is at times comically bad. But it’s also criminally watchable: Even through its many dull patches, places where Madonna apparently felt the need to carefully frame characters in doorways and hallways for no good reason, I couldn’t take my eyes off it. This is Madonna’s second movie as a director (following the 2008 comedy Filth and Wisdom), and it’s obviously her bid to make a classy period picture that people will take seriously. The Weinstein Co., for one, sort of has: Perhaps it’s hoping to repeat the magic formula that worked so well last year with The King’s Speech, a movie set in the same era and dealing with some of the same characters, though the tone and approach of W.E. is very different.
W.E. is actually two intertwining stories — or maybe, more accurately, two stories clumsily rubbing against…
Amanda Swisten Amber Arbucci Amber Brkich Amber Heard Amber Valletta America Ferrera Amerie
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