Early in “Judy & Punch,” a wife who’s just helped her husband perform a vigorously slap-happy puppet show in a desultory corner of 17th century England poses the question, “Do you think the show really needs to be that punchy?” “That’s what the people like,” he replies with a shrug. “They like punchy.
They like smashy.” People still like punchy and smashy, of course, and “Judy & Punch” sees to it that its viewers will be longing for a bit of the old ultraviolence by the end of this particular enterprise.
The film is both a deconstruction of myth and a twisted origin story for a slapsticky form of puppetry that was quite popular a couple hundred years ago, but it’s also a gory little bit of provocation that makes fun of bloodthirsty
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