so Judy was sublime

I also thought that Judy, which I viewed twice, proved terrific—a "very good" and well-written film. It is quite engrossing and adept visually, with some vivid contrasts and compositions and an astute mixture of mise en scène and montage. The movie is colorful without being garish, and the shades of black are deep and rich. Meanwhile, the concert scenes feel real—full of nervous energy, anticipation, and trepidation, as if the viewer is actually watching live concerts in person. The film is sympathetic towards Garland (portrayed by Renée Zellweger in an effectively stylized blend of edginess and empathy), but it is also objective and ambiguous. She is certainly not a mere, blameless victim, although the movie uses elegantly interwoven flashbacks to reveal the roots of her demise. Indeed, Judy's greatest attribute may come in how the film removes the sentimental veneer of Hollywood's "Golden Age" to reveal the cold, harsh truth of its economic ruthlessness and the inhumanity that it could show towards its performers, especially those—like Garland—who were young, female, or otherwise without power. In other words, while we may correctly yearn for the principles, values, and colorful wonder expressed in The Wizard of Oz, we should not confuse such virtues with the heartless industry that produced such a classic. 

Finally, Judy's coda is poignant and powerful, being how one could interpret it in different ways, especially given the chilling epigraph that follows. As with the overall film, the coda refuses to devolve into needless exposition. The movie's romantic relationship could have used greater depth and intimacy, especially given that it results in born from neediness, desperation, and the fatuous glamour of fame. 

In short, Judy is both compelling and disturbing.