https://www.indiewire.com/criticism/movies/misty-green-movie-review-chris-rock-1235216282/
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“If such a degree of success even exists, it’s certainly not available to a woman like Misty.”
“Read More: Film Misty Green Reviews TIFF Daily Headlines Daily Headlines covering Film, TV and more.”
“But if “Misty Green,” for all of its messiness, never comes apart at the seams, that’s because Eleazar simply won’t let it, and because Rock wouldn’t forgive himself if she did.”
“Why bother prostrating yourself before a business that doesn’t even want you, Zach asks Misty, when he can get her $300,000 for a single night with a skeezy billionaire in Dubai?”
“Powered by WordPress.com VIP TIFF ‘Misty Green’ Review: Rosalind Eleazar Stuns in Chris Rock’s Raw but Unfocused Hollywood Character Study TIFF: The "Slow Horses" star is tremendous as a faded Black TV actress whose tendency for self-sabotage threatens to derail her comeback role.”
“Even when they walk right past each other on Hollywood Blvd., or audition for the same role on a studio lot.”
“How is anyone supposed to stop chasing the bag when it feels like, even at their lowest ebb, they’re still always close enough to reach out and grab it?”
“The kind of slicked-haired scenester who lurks in the shadows of Los Angeles’ entertainment industry and thrives on the hidden side hustles that have always propped up the innocent corporate fantasia it exports to every screen on Earth, “Zach” is the devil perched on Misty’s shoulder.”
“By David Ehrlich Plus icon David Ehrlich davidehrlich More stories by David ‘Misty Green’ Review: Rosalind Eleazar Stuns in Chris Rock’s Raw but Unfocused Hollywood Character Study Read more ‘Everybody Wants to F*ck Me’ Review: Taron Egerton Does ‘Obsession’ to Every Woman on Earth in Cynical Horror Comedy That Trips Over Its Dick Read more ‘Everytime’ Review: Sandra Wollner’s Infinitely Beguiling Portrait of Grief in the Digital Age Is One of the Most Haunting Films of the Decade Read more September 12, 2026 11:30 pm Add us as a Google Preferred Source 'Misty Green' A24 Share Share on Facebook Post Share on LinkedIn Show more sharing options Submit to Reddit Pin it Post to Tumblr Email Print This Page Share on WhatsApp A raw and biting — or at least vigorously gumming — showbiz character study about a faded Black actress whose entire adult life has been shaped by the peaks and valleys of living in a place that often seems flat on the surface, Chris Rock’s “ Misty Green ” is preoccupied with the relationship between feast and famine from the moment it starts, and by the Los Angeles-specific tendency for those two conditions to remain worlds apart even when they overlap.”
“So yeah, it’s true that Misty is a complicated person in a business that’s still painfully simple in its approach to race, age, and second chances, but it’s also true that her inestimable talents as an actress are equaled by her gift for self-sabotage.”
“He’s the guy who lures her into a nightclub bathroom stall on the eve of her “Dreamgirls” audition, and plies her with all the drugs and dick she would ever need to self-justify not getting the part.”
“Related Stories ‘River’ Review: Jane Levy Anchors a Fearlessly Cruel and Visceral Survival Slasher ‘Purgatory’ Review: This Charming Catholic Coming-of-Age Story Never Quite Ascends As Rock takes pains to remind us in the photo montage that opens his latest and most serrated film (a film that shares its setting’s lack of subtlety), L.A.”
“But Rock’s unkempt script — its “Magnolia”-sized ambitions curtailed by a too-tight five million dollar budget and the visual dexterity of a stand-up comedian — isn’t satisfied with the vertigo created by those concurrent extremes, so it compounds the dizziness by dumping some more shit into Misty’s lap.”
“Enter: her vaguely troubled brother Jay (Daniel Kaluuya, another Brit), who’s released from a psychiatric hospital in the middle of this mess.”
“It doesn’t matter if Misty is going full “Shame” as she belts out a slow and beautiful cover of Radiohead’s “Creep” at a cocktail lounge, or if she’s helping her best friend (Anna Kendrick) try to reconcile her lust for Black men with her engagement to a very white one (Rich Sommer), or if she’s trying to hold back her vomit as she records her umpteenth self-tape audition for the kind of painfully stereotypical role that she needs but prays she doesn’t get, Eleazar’s performance unfailingly burns with the self-defeating fire of a woman who’s looking for freedom in all the wrong places.”
“It’s Misty Green having seven days to move her shit out of her sugar dead-dy’s apartment at the same time as Jordan offers her the chance to audition for a Tarantino-level career rebound: The lead role in an Oscar-bound remake of “Dreamgirls.” (Jordan’s success as a studio director seems contingent on a willingness to fridge his creative ambitions in favor of overseeing palatably Black IP.) One minute she’s bounced out of her apartment and left for dead, and the next she’s being considered for immortality.”
“This is a movie fueled by the rapid oscillation between Los Angeles’ ups and downs, a movie that gets more traction from being good and bad than it would from being a little more of either, but the prevailing irony that holds “Misty Green” together is that Rosalid Eleazar is never anything less than great.”
“Or, perhaps more accurately, a woman who’s looking for freedom from all the wrong things.”
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“Played to wearily ferocious perfection by “ Slow Horses ” powerhouse Rosalind Eleazar in what should be a star-making performance (but you never know in this town!), the almost 40-year-old Misty has developed a full script of excuses for the downward spiral she’s been on since winning an Emmy for a TV show called “Red Eye” in 2008.”
“The film’s worst and most provocative scene literalizes “getting the bag” with a bluntness that comes off less “wry showbiz commentary” than it does “women will go feral for a free accessory,” a moment that briefly sours the whole both things live side-by-side ethos with the sense that Rock is just having his cake and eating it too.”