Frank Mengarelli takes a look at the Netflix movie taking the world by storm as he brings us his BLONDE review.

A look at the rise to fame and the epic demise of actress Marilyn Monroe, one of the biggest stars in the world.
BLONDE accomplishes exactly what it sets out to; it absolutely makes you uncomfortable and feel gross, and that’s the entire point. The film doesn’t care about the viewer and highlights their passive apathy of exploration; exploiting whomever for whatever reason.
It exists on its own terms, brilliantly using Netflix as a vessel to expose itself to the masses while capturing civil wars on social media by being championed for the wrong reasons and loathed for reasons that are just as misguided.
So it was marketed as (a nonfiction) biography. It’s 2022 and people are complaining about “false advertising”? Yeah, the photo of you at a Coldplay concert circa 2016 as the lede on your dating app profile is a real banger or whatever.

It’s movies like Blonde that say there aren’t always safe spaces in art. Life can be unforgiving, relentless, and insufferable at times so why can’t films be that way too? Sure, Marvel can curb this or Warner Brothers can say no to that, and that’s fine. This is not that; this is appropriately rated NC-17 and it is an Andrew Dominik picture.
This isn’t a biopic from 1996 starring Julia Roberts as Norma Jean and Tom Hanks as Joe Arthur DiMaggio Miller – it is flagrantly graphic and pitch black, it’s about a subject whom millions think they know and then absorb as their identity; yet have no idea what it was like to have the burden of being the idea of Marilyn Monroe.
BLONDE review by Frank Mengarelli 

Our Rating

Summary
It’s movies like Blonde that say there aren’t always safe spaces in art. Life can be unforgiving, relentless, and insufferable at times so why can’t films be that way too? A tale about the woman who people think they knew without even knowing her or realising the true burden of what it must have been like to be in her shoes.