Hollywood loves nothing more than a movie about itself, and this year's Toronto International Film Festival has served up plenty of that. Among them is Misty Green, the first feature Chris Rock has directed since 2014's Top Five. The film follows the titular character, played by Rosalind Eleazar, as a once-celebrated actress desperately clinging to relevance. While it's pitched as a sharp satire, the execution leaves much to be desired, with Eleazar's performance being the lone bright spot in a muddled, overlong affair.
A Familiar Story, Told Without Fresh Eyes
When we meet Misty, she's having a catastrophic week. An Emmy winner whose star has faded, she's on the verge of losing her home, her finances are a mess, and work has dried up—largely because she's earned a reputation for being difficult. She's never far from a line of coke or a joint, and while she's undeniably talented, she's also a walking disaster. Desperate for cash, she's torn between two offers: one from Zach (Adam Driver), a former co-star who enables her worst habits and dangles a shady Dubai gig, and another from Jordan (Chris Rock), a director with a complicated history who's willing to cast her in a Dreamgirls remake that could revive her career.
As a Black woman in her thirties in Hollywood, Misty contends with racism and the ticking clock of ageism. She rejects marriage and motherhood, bristles at the mediocre roles her agent (Topher Grace) sends her, and parties instead of prepping for auditions. But none of this feels new. The commentary on the relentless hustle of stardom is well-trodden territory, and Rock's perspective feels stuck in a pre-streaming, pre-influencer era. The satire lacks bite, and Misty's choices rarely surprise.
Underdeveloped Characters and a Bloated Script
Despite dedicating 103 minutes to Misty, Rock never fully explores her. The supporting cast suffers even more. Driver slips into a caricature of a sleazy Hollywood type, with no depth beyond his sinister veneer. Rock's own character is inconsistent and feels gratuitous, though his scenes with Eleazar carry some weight. Anna Kendrick's Naomi, meant to be Misty's foil, is relegated to the sidelines, popping up only to serve as a sounding board.
The script is in desperate need of editing. Rock tries to tackle racism, classism, sexism, homelessness, abortion, mental health, and more, but there's simply too much to handle. The jokes land with a thud, feeling dated and lacking the irony they need to work. Even the casting of Daniel Kaluuya as Misty's troubled brother—a role that should be a slam dunk—is wasted, as his storyline dramatizes and villainizes bipolar disorder in a way that feels irresponsible.
Rosalind Eleazar Steals the Show
The film's saving grace is Eleazar, who brings a magnetic intensity to every scene. Even when Rock's script pushes Misty to absurd extremes, Eleazar finds a balance between infuriating and vulnerable, revealing the talent beneath the cynicism. Her performance is relentless, capturing a woman torn between pride and desperation. A standout moment comes when she sings "One Night Only" from Dreamgirls, showcasing her stunning voice and proving that both she and Misty have undeniable star power. Eleazar, known for her role in Slow Horses, elevates the material, outshining both Rock and Driver in their shared scenes.
A Disappointing Return
Ultimately, Misty Green is a messy, disjointed film that tries to do too much and succeeds at little. Rock's return to directing, after a 12-year hiatus, is a letdown. While Eleazar's performance is worth watching, the film itself is a slog. For a more satisfying take on Hollywood's dark side, you might be better off revisiting the best of Phil Lord and Christopher Miller or diving into twisty thrillers with a classic feel. Misty Green is a miss that leaves you wishing Rock had aimed higher.
