Only the confidence in Madonna's direction and the tightness with which the film's two plots are intercut make this a defensible film. It's vapid, to be sure, suggesting it will defend Wallis Simpson from a feminist perspective. It does, but only through dialogue, never through an actual depiction that humanizes the woman. Andrea Riseborough, to her credit, fleshes out Simpson in a warm, witty performance. Meanwhile, Abbie Cornish is playing a woman of the 21st century who only cares about idealized love and getting pregnant. Yikes.
Nevertheless, W.E. is delightfully romantic, melodramatic, and charming. Abel Korzeniowski's score secures him as the most exciting composer working in cinema today. Arianne Phillips' costumes are sublime.
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