Madonna’s W.E

Which shows all the directing restraint of a kid with a new box of paints and not much more focus, Madonna’s W.E. is a glorious mess of a disappointing costume drama. Fans who complain Madge is getting harsh critical reaction for her first try at directing a substantial feature film because of who she is have it wrong — she’s getting more attention than this quite-average picture deserves.




However, to make movies, even after a less-than-stellar acting career and a poor first directing effort with 2008’s Filth and Wisdom, Madonna seems determined. “Let me try that!” she seems to be exclaiming, with every odd camera angle or strange sped-up bit of business that makes W.E. often take on the feel of a music video. Perhaps that feeling of musical déjà vu explains why the hangers-on of the Hollywood Foreign Press Association gave her a Golden Globe for Best Original Song for the entirely forgettable “Masterpiece,” which she wrote and sang for W.E.

Has nominated W.E. for Best Costume Design although The Academy Awards have passed her over for Oscar recognition for best song. It has a good chance, even against Anonymous, The Artist, Hugo and Jane Eyre. That’s where the movie’s only strength lies: it is a series of gorgeous Art Deco tableaux. Arianne Phillips’s costumes are divine and Martin Childs’ production design is lovely to behold as we’re immersed in the rare air of the royal set. However, beyond the good looks of W.E., there’s little to keep attention from wandering during this simplistic and silly effort. It’s not surprising that Alek Keshishian, the director of the Madonna concert pic Truth or Dare, he's Madonna’s co-writer on the often-naïve script — which is elevated from its clunky, high-school drama-class dialogue with occasional witty lines.