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Joy (0)

Country: USA

Genres: Biography, Drama

Taglines: In America the ordinary needs the extraordinary every single day.

Director: David O. Russell

Writers: Annie Mumolo, David O. Russell

Stars: Jennifer Lawrence, Hayse Jack, Bradley Cooper, Robert De Niro, ...

Joy has always been fascinated by creating things, This pursuit was always supported emotionally by her maternal grandmother, Mimi. Joy feels that lack of practical support has led to others making fortunes on ideas she came up with years ago but could not act upon manufacturing. Despite being broke, Joy is the person in her extended family to whom everyone has always turned, in the process forgoing her own life, including not having attended college to help see her parents through their divorce. She works in an unsatisfying job as an Eastern Airlines ticket clerk; and lives with her mother Terry who spends all day in bed watching soap operas; her ex-husband Tony, a less than successful aspiring Latino Tom Jones wannabe; and their two children. Added to this mix is her father Rudy, the owner of a failing heavy-duty garage, which is managed by Joy's older half-sister Peggy, with whom she has somewhat of a strained relationship, and for which Joy does the books. Sharon, Rudy's latest ...

100 | 2015-12-07 | Robbie Collin

Since Joy is a David O. Russell film, the presence of a) Lawrence and b) bizarre, fizz-popping explosions of catharsis are to be expected. But the ringmaster of The Fighter, Silver Linings Playbook and American Hustle seems to have mellowed a little, which means fewer outright belly laughs, but a more layered and involving emotional landscape.
Read More: The Telegraph

80 | 2016-01-06 | Ben Nicholson

It's a banana flambé with extra rum that brazenly throws together folksy storytelling, arch soap opera melodrama and a typically eccentric cast into a golden Hollywood crack at the American Dream.
Read More: CineVue

80 | 2016-01-04 | Jamie Graham

Not without glitches but an energetic study of one woman’s refusal to settle for anything less than her share of the American Dream.
Read More: Total Film

80 | 2015-12-07 | Cath Clarke

Lawrence is gritty, real and totally genuine. And, after ‘Brooklyn’ and ‘Carol’, here’s another film that passes the Bechdel Test for proper female characters with flying colours.
Read More: Time Out London

75 | 2016-01-02 | James Berardinelli

The story is quirky and offbeat but the dialogue and acting set Joy up as an engaging late-year repast.
Read More: ReelViews

75 | 2015-12-24 | Sheila O'Malley

Joy doesn’t work entirely, and the structure set up so clearly in the opening sequence is dropped early on for no apparent reason, but I’ll be damned if I didn’t get carried away at the story of a mop sweeping the nation. It’s a lunatic “Mildred Pierce," without the murder.
Read More: RogerEbert.com

75 | 2015-12-23 | Steven Rea

Joy's entry into the world of entrepreneurship has the crazy trajectory of a rocket gone haywire, and Russell's movie is kind of haywire, too.
Read More: Philadelphia Inquirer

75 | 2015-12-22 | Lou Lumenick

Mostly it’s up to Lawrence to wring all the drama and pathos she can out of a battle over patent rights that pushes Joy to the brink of bankruptcy. No surprise that her mettle cleans up all the messiness in Joy.
Read More: New York Post

75 | 2015-12-15 | Richard Roeper

It’s not in the same league as “Playbook” or “Hustle,” but thanks to some memorable set pieces and the best performance by Jennifer Lawrence since her breakout role in “Winter’s Bone,” the sometimes-bumpy journey is worth your investment.
Read More: Chicago Sun-Times

75 | 2015-12-07 | Rodrigo Perez

Playing like a slightly more reflective B-side to the director's greatest hits, his style in this film isn’t for the more cerebral audiences. But for the viewer who relates to family dysfunction, its maddening contradictions and its mercurial tenor, Joy can be painfully funny, engaging and full of relatable heartache.
Read More: The Playlist

70 | 2015-12-25 | A.O. Scott

The movie, in all its mess and glory, belongs almost entirely to Ms. Lawrence. She is the kind of movie star who turns everyone else into a character actor. This is not a complaint but an acknowledgment of both her charisma and her generosity.
Read More: The New York Times

70 | 2015-12-07 | Todd McCarthy

That the film itself is nearly as chaotic as the clan it examines can either be regarded as an admirable artistic correlative or a crippling defect, but the splendidly dextrous cast ensures that this goofy success story, which could just easily be titled American Hustle 2, keeps firing on all cylinders in the manner of the writer-director's previous few outings.
Read More: The Hollywood Reporter

67 | 2015-12-26 | Marc Mohan

An inspirational, and mostly entertaining, saga, Joy is a Horatio Alger story for the 21st century — but who reads those anymore?
Read More: Portland Oregonian

67 | 2015-12-24 | Peter Rainer

Lawrence is terrific at playing tough, as she also demonstrated in her previous outings with Russell, “Silver Linings Playbook” and, especially, “American Hustle." But maybe it’s time for her to take a rest from him for a while. There’s a lot more to this actress than bold and brassy.
Read More: Christian Science Monitor

67 | 2015-12-23 | Steve Davis

At its best, Joy celebrates the passage of a demoralized woman who finds the steel in her spine. At its worst, it panders in the name of female empowerment, occasionally delivering moments of pseudo-inspiration that ring so falsely it’s difficult to hear anything else.
Read More: Austin Chronicle

67 | 2015-12-07 | Eric Kohn

A sunny ode to capitalism, the movie is a coy advertisement of its own. In that context, it's a whole lot better than one might expect, and loaded with talent unabashedly hawking their wares.
Read More: indieWIRE

63 | 2015-12-25 | Moira Macdonald

While the perpetually charming Lawrence isn’t the worst habit a filmmaker can develop, she’s valiantly miscast here in a story that never quite hits its mark.
Read More: The Seattle Times

63 | 2015-12-24 | Ty Burr

The movie’s a shambles, alternatingly agreeable and aggravating, held together by our interest in its heroine and by Lawrence’s tremendously sympathetic performance.
Read More: Boston Globe

63 | 2015-12-23 | Connie Ogle

What the film truly reveals is something else entirely: how Jennifer Lawrence can elevate any material, any time, even middle-of-the-pack fare like this.
Read More: Miami Herald

63 | 2015-12-22 | Peter Travers

The 25-year-old supernova (Lawrence) again proves she can do anything, moving from comic to tragic without missing a beat.
Read More: Rolling Stone

63 | 2015-12-07 | Jaime N. Christley

David O. Russell proposes that there may be no real barrier between the caustic worldview he wears and the sense of childlike wonder he sells.
Read More: Slant Magazine

60 | 2015-12-24 | Bill Goodykoontz

The script feels not half-finished, but maybe three-quarters. Lawrence does what she can to make up the missing 25 percent, but even she can’t perform miracles.
Read More: Arizona Republic

60 | 2015-12-22 | Dana Stevens

Joy the movie never cohered, for me, into a story with forward motion. The minute the film begins to find its footing in one tonal register, it switches to another.
Read More: Slate

60 | 2015-12-11 | Phil de Semlyen

Another dazzling Jennifer Lawrence performance anchors a blue-collar parable that boasts some inspired moments but never quite gels.
Read More: Empire

60 | 2015-12-11 | David Edelstein

I don’t think Russell has ever directed a scene as phony as the one in Joy’s office where she shows her abiding beneficence to a sweet young African-American couple. Equilibrium makes Russell a dull boy.
Read More: New York Magazine (Vulture)

60 | 2015-12-07 | Peter Bradshaw

David O Russell’s Joy is an intriguing but weirdly subdued and stylised film.
Read More: The Guardian

60 | 2015-12-07 | Tim Grierson

The improvisational flair, unpredictable tonal shifts and overt emotional lurches that highlighted American Hustle and Silver Linings Playbook are here less consistently inspired and affecting, resulting in a heartfelt fairy tale that only soars in spurts.
Read More: Screen International

58 | 2015-12-24 | Steve Persall

Endings have never been Russell's strong suit. This time the beginning also eluded him, and the middle fell into his lap. Joy leaves a feeling of panicked disappointment, as if phone lines are open and nobody's calling.
Read More: Tampa Bay Times

58 | 2015-12-16 | Ignatiy Vishnevetsky

Rough even by Russell’s standards, this grab bag of dropped plot points, visual metaphors, and theatrical cues looks like the underdrawing of a comic drama, only half covered in bright impasto strokes.
Read More: The A.V. Club

58 | 2015-12-14 | Blake Goble

Here’s a film with all the right ingredients and a few too many wrong moves, yet one that’s admirable for trying as hard as it does.
Read More: Consequence of Sound

58 | 2015-12-08 | Drew McWeeny

While [Lawrence] does robust, heartfelt work in the lead in his new film Joy, this is the most miscast she's been in a while, and it's such a strangely imagined film in the first place that it never really gets its bearings.
Read More: Hitfix

50 | 2016-01-02 | Andrew O'Hehir

From a narrative and cinematic point of view, the problem with Joy is simple. Russell is almost totally uninterested in the story of how Joy Mangano explored a bizarre and unknown new business model and became its first self-made tycoon, and as a result we aren’t interested either.
Read More: Salon.com

50 | 2016-01-02 | Lawrence Toppman

The 25-year-old Lawrence is too young – Mangano was 35 when the mop took off – but compelling to watch. Yet in “Silver Linings Playbook,” Cooper, De Niro and Russell all supported her with fine work; here they lie back and make the movie a one-ring circus where she has to be acrobat, bareback rider and clown. That’s too much to ask.
Read More: Charlotte Observer

50 | 2015-12-24 | Kenneth Turan

Despite some quite engaging sections, "Joy" is, unlike previous Russell films, dragged down more than it is inspired by its chaotic ambience, a film whose variations in tone can't be overcome.
Read More: Los Angeles Times

50 | 2015-12-24 | Michael O'Sullivan

Even Lawrence, in the end, is a letdown. As entertaining and committed as she is — and she’s easily the best thing about Joy — the actress ultimately can’t sell a souffle that’s half baked.
Read More: Washington Post

50 | 2015-12-23 | Mick LaSalle

Joy never completely loses its way. But it almost does, and it never quite arrives.
Read More: San Francisco Chronicle

50 | 2015-12-22 | Brian Truitt

There’s a Miracle Mop at the heart of Joy, though the movie is such a mess that even it would have a hard time cleaning up.
Read More: USA Today

50 | 2015-12-22 | Melissa Anderson

Russell enthusiasts — and I consider myself one — often applaud the director's abiding interest in the messiness of his characters' lives, most vividly on display in American Hustle, a movie animated by flamboyant dissemblers and depressives. But the disorder found in Joy is a reflection not of any quicksilver dynamics among the actors but of the odd tonal shifts in the film itself.
Read More: Village Voice

50 | 2015-12-15 | Matt Singer

Joy has none of the energy or precision of any of Russell’s recent efforts. Not even Joy Mangano could invent a mop good enough to clean up this mess.
Read More: ScreenCrush

50 | 2015-12-14 | Roger Moore

Russell sets out to frustrate, and he does. And Joy never rises above that, an aggravating, un-fulfilling and empty night at the cinema with great actors trapped in an overdue flop from people we were just starting to figure were flop-proof.
Read More: Movie Nation

50 | 2015-12-10 | Michael Phillips

Lawrence is very good in the role, as far as the role goes. But the script never jells; the comedy feels forced and mechanically boisterous, particularly in the crucial early passages.
Read More: Chicago Tribune

50 | 2015-12-07 | Justin Chang

Despite another solid performance from Jennifer Lawrence, anchoring Russell’s sincerely felt tribute to the power of a woman’s resolve in a man’s world, it’s hard not to wish Joy were better — that its various winsome parts added up to more than a flyweight product that still feels stuck in the development stage.
Read More: Variety

45 | 2015-12-07 | Alonso Duralde

This is a rare misstep for Russell, who in the past has sold us on all kinds of stories, whether they’re as indescribable as “I Heart Huckabee’s” or as traditional as “The Fighter.” Unlike his indefatigable heroine, however, Russell just can’t seem to close the deal on Joy.
Read More: TheWrap

42 | 2015-12-09 | Leah Greenblatt

If only Russell trusted Mangano’s true story. Instead, he’s turned her life into a over-staged mess of awkward exposition, contrived dialogue, and characters so willfully unreal they feel acrylic.
Read More: Entertainment Weekly

40 | 2015-12-23 | Joe Morgenstern

Joy is at its annoying worst when it’s clamoring to be antic, and at its brilliantly funny best when Joy and her adversaries — including one played by Bradley Cooper — are deadly serious about business as mortal combat.
Read More: Wall Street Journal

40 | 2015-12-23 | Gersh Kuntzman

Joy is joyless.
Read More: New York Daily News

35 | 2015-12-10 | Tasha Robinson

Joy has neither comedy nor nuance going for it. Every character feels like a half-sketched first draft, awaiting development that never comes.
Read More: The Verge

12 | 2015-12-25 | Kate Taylor

If his direction is erratic, the script he wrote with Annie Mumolo (Bridesmaids) has gaps you could drive a truck through and dialogue filled with painfully obvious exposition of plot, motive and theme.
Read More: The Globe and Mail (Toronto)