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You know, the whole “It’s scenery-chewing taken to mesmerizing levels of you-can’t-turn-away, so-bad-it’s-good grandiosity…oh, and she sounds like Natasha Fatale!” thing. And forgive me, but I’m starting to detect a pesky undercurrent of misogyny in the too-over-the-top-for-words reading of Gaga’s performance. I’ve never claimed to be too refined, but I take “House of Gucci” seriously.
A STAR IS BORN SOUNDTRACK YOUTUBE BRADLEY COOPER MOVIE
She’s earning her buzz the old-fashioned way, by giving a performance that has to be seen, in a movie that’s being talked about the way movies used to be talked about - even if 27 out of 30 people with media megaphones insist that Ridley Scott’s brashly entertaining and accomplished drama is a flamboyantly trivial piece of so-crazy-it’s-fun high camp that no one of refinement could possibly take seriously. But I’d wager that the current of excitement running through the chatter about Gaga in “ House of Gucci” is hitting comparatively higher levels of palpitation.
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Suddenly, she’s ruling the movies like no one else this year.īlack Widow? Godzilla? Venom? Vin Diesel? Michael Myers? James Bond? Well, okay, maybe Bond - or the sandworms in “Dune” - could give Gaga a run for her money. The timing is perfect.” I’m tempted to say the same thing about Lady Gaga. 29, 1968, issue of The New Yorker, Pauline Kael wrote, “Barbra Streisand arrives on the screen, in ‘Funny Girl,’ when the movies are in desperate need of her. Reviewing a lavish new Hollywood musical in the Sept.