No vivacity, no choice, just tragedy. Nothing more to see here, folks.

Ana de Armas (Knives Out) delivers a truly extraordinary performance as the platinum superstar and icon, while Dominik and his collaborators discover endlessly inventive ways to recreate highlights from Monroe’s iconography.

Blonde is a strange movie. There’s no ducking that. I like it, especially for de Armas’s tour de force, but I can see how others may not.

For a film seemingly invested in myth, it is odd that Dominik has omitted the book’s transformation of Norma into Marilyn. Instead, the film practically jumps from terrible childhood to the star’s assault by a studio executive.