For starters, the second time truly is the charm as my second screening of TÁR was (fortunately) not interrupted and called off due to issues with the projector. Imagine how confused I — and all of the Philly critics — were when the sound came on sans picture. In fairness, because TÁR is a film about a musical artist, I thought that the blank screen serving as the backdrop for a beautiful song was an artistic choice. I must not have been the only one, however, because it took about five minutes before it became clear that this was not the case.
Unfortunately, TÁR feels like a film that I should love because it’s one of these artistic “Oscar-worthy” films rather than a film that I fell in love with on my own merit. I can see it being a lot like last year’s The Power of the Dog, which I quite like to be clear. The film will resonate with many, and I’m truly happy for that, but it just did very little for me outside of its technical aspects and Cate Blanchett, who dazzles in her performance. Blanchett plays the fictional Lydia Tár and we examine the rise and fall of this world-renowned composer. But one performance can’t save a film that drowns itself out — much like the audacious musical performances in the film — by its crescendo.
Cate Blanchett stars as Lydia Tár in director Todd Field’s TÁR, a Focus Features release. Credit: Courtesy of Focus Features
Blanchett is stellar as Lydia Tár and I think that we’ve finally found a common ground that everyone can agree on I’m sure that we’ve all played the role of a conductor in our heads as children — using pencils or our fingers instead of a baton — but Blanchett lives it in this performance. The sheer intensity that she displays whenever she is shown conducting in this film just pops off of the screen and it’s in these moments that I would find myself forgetting that Blanchett is playing a role and not actually a conductor. And it’s incredible that Blanchett can easily go from a more calm demeanor to completely unhinged while singing a song about her neighbor’s apartment going up for sale with an accordion (this is by far the highlight of the film).
Florian Hoffmeister’s cinematography, when allowed to have some fun, really stands out. I’ve spoken with Hoffmeister, and that gave me a greater appreciation for the restraint that he shows in his cinematography. One of the instances of this is when Lydia stumbles out of a massage spa and the camera goes from being still to a jarring handheld camera style once she exits the building and the camera follows her. Hoffmeister also does an electric job whenever Lydia takes the stage. It only happens once or twice, but it’s the equivalent of following an NFL quarterback run out of the tunnel for musical artists. The film also ends with a wonderful tracking shot in a theater full of cosplayers.
Clocking in at nearly 2 hours and 40 minutes, TÁR tells the full story of its titular character. Not to be the guy who complains about the runtimes of films, but the film seems to be going for the Drive My Car effect of long-lasting scenes mostly made up of dialogue and only succeeds in the first half of the film. And it’s an admirable effort, sure. Writer-director Todd Field finds a nice balance in the beginning with plenty of scenes that likely last around 10 minutes, but they’re so intrinsically interesting — whether this is due to the performances or the writing is up to you — that the film flies by early on. Once the second half of the film begins, the film finds a much more methodical pace to settle on that teeters between intriguing and dull.
I had heard TÁR described as a “MeToo” story on a podcast or somewhere online, but while there’s no issue with a film handling that — The Assistant and Bombshell are both fine examples of this — TÁR film feels slightly out of touch. In short, Lydia gets wrapped up in a web of trouble that results in a very modern take of canceling. Videos taken from a class are snipped together and conveniently make it seem as if Lydia was vulgarly speaking about masturbation and touching one of her students inappropriately during the class (she was stopping his anxious foot-tapping). This type of editing would get you hired by Wes Anderson, that’s all I’ll say. And I know that this is a small nitpick in the grand scheme of things, but it took me out of the film. The video, paired with the suicide of a woman who reached out to Lydia on a number of occasions, gets her stuck in a web of legal trouble.
Perhaps TÁR is a warning about how you should treat others, or seeing how karma can indeed be a bitch much like Lydia is occasionally shown to be. Whatever the case, TÁR doesn’t exactly hit a home run with its point. For starters, it’s all just thrown in during the final half-hour or so of the film. Yes, the breadcrumbs are laid including a situation involving her assistant (and aspiring conductor) Francesca (Noémie Merlant), but it’s almost as if Field had heard a large number of stories where someone was canceled and chose to infuse all of them into the story.
And all of this is a means to an end which in this case, is the fall of Lydia. By the end of the film, Lydia has gone from conducting some of the most acclaimed orchestras in the world to traveling in other countries and playing in some sort of event with Donnie Darko cosplayers in the crowd. It’s a tragic ending for a character who was on top of the world in the beginning, and I think it’s quite fitting. The final line spoken is a beautiful note to end on, “Sisters and brothers of the Fifth Fleet, it’s time I keep my farewell brief. Never was much with words, once you board this ship, there’s no turning back. The next ground your feet touch will be that of the new world. If any of you have lost your nerve, then step away now and let no one judge.” I just think how we get there is a different story.
Cate Blanchett stars as Lydia Tár in director Todd Field’s TÁR, a Focus Features release. Credit: Courtesy of Focus Features
The film’s just plodding; there, I said it. You can be an exciting film that moves at a snail’s pace (again, look no further than Drive My Car). TÁR does indeed move at a snail’s pace — especially in the second half — but lacks any urgency until the scenes with the orchestra playing kick in (which will wake you up if you’re at a 10:00 am screening). The first hour and a half are quite good — I had to take a bathroom break and clocked the time and was shocked by how much ground we had covered — and I was in for the ride during this time of the film. What happens between this and when the whole “cancel” subplot kicks in? I could probably struggle to put together a few ideas. And this comes just a couple of hours after the film ended!
Perhaps due to the fact that TÁR is a film centered around a composer, there’s very little of Hildur Guðnadóttir’s score. Even early on in the dialogue-heavy scenes, very little, if any, music fills the background. This wouldn’t even be a complaint if not for it coming at the expense of Guðnadóttir, but the Oscar winner deserves better and perhaps the concept album that is set to release next year will change my opinion on things. I’d imagine that her talents were in turn used to arrange the actual music that Lydia conducts, I just wish she had even more of a presence.
TÁR is a case of a well-made film that’s perfectly on track to be a big Oscar player. Blanchett really elevates the film past its flaws for the most part, but the elongated runtime really hampers the film. If not for Blanchett, I think that the flaws would be far more glaring; I guess that’s just the benefit of having a generational talent at the forefront. And the attempt at working in a “MeToo” subplot feels too contrived and merely a passage to get the film on a crash course to its final crescendo.
TÁR held its world premiere at the Venice Film Festival on September 1 and will be released in limited theaters on October 7 before expanding on October 28.
Andrew is an entertainment journalist and film "critic" who has written for the likes of Above the Line, Below the Line, Collider, Film Focus Online, /Film and The Hollywood Handle among others.
Leader of the Kaitlyn Dever Fanclub.
Brooke Markham and VyVy Nguyen in 'Shaky Shivers' (Cineverse)
If you thought that Sung Kang can only thrill you with amazing car stunts, then you are wrong. The acclaimed star is set to take you on an entertaining ride with his directorial debut titled ‘Shaky Shivers’.
The latest horror-comedy film marks the feature directorial debut of Sung Kang, renowned for his roles in the ‘Fast & Furious’ franchise and several other big projects. The movie stars Brooke Markham and VyVy Nguyen, with an ensemble cast including Jimmy Bellinger, Erin Daniels, and Herschel Sparber.
A still from ‘Shaky Shivers’ (Cineverse)
From the very beginning, ‘Shaky Shivers’ grabs hold of your attention with the comedic chemistry between lead actresses Brooke Markham (Lucy) and VyVy Nguyen (Karen). Their hilarious banter and dynamic friendship draw you into their world of magic, mayhem, and monstrous encounters. While a few other characters make appearances, the heart of the film rests on the shoulders of Karen and Lucy, whose relatable and believable friendship makes the story even more bewitching.
One of the best aspects of the film is how Sung Kang skillfully directs the title despite limited cast and limited settings. It still manages to keep audiences engaged and entertained. Kang also pays homage to classic horror films like ‘American Werewolf in London’ and injects fresh energy into the scenes while showcasing his comedic flair.
A still from ‘Shaky Shivers’ (Cineverse)
If you are one of those who enjoy unapologetically goofy and fun movies, ‘Shaky Shivers’ is undoubtedly a fun watch. Embracing its campiness, the film doesn’t try to be anything other than an enjoyable ride filled with supernatural elements. The characters have a helpful book of spells that they use to solve problems, which adds a clever and funny element to the story that will make you laugh..
While categorized as a horror-comedy, ‘Shaky Shivers’ leans more towards comedy than horror. However, don’t worry, as the supernatural beings like werewolves, zombies, and witches make their presence known throughout. The practical effects and impressive monster makeup, reminiscent of old-school horror flicks from the 70s and 80s, immerse you in a world of creatures and enchantment.
A still from ‘Shaky Shivers’ (Cineverse)
The plot of ‘Shaky Shivers’ escalates in an exciting and compelling manner, filled with unpredictable twists and goofy surprises. While it may not leave you terrified, the perfect blend of supernatural ambiance and comedic moments guarantees plenty of laughter and enjoyment.
In conclusion, ‘Shaky Shivers’ is a must-watch horror-comedy that delivers on laughs, friendship, and supernatural encounters. With its engaging storyline, talented cast, and Sung Kang’s impressive directorial debut, the film is a delightful addition to the genre. So grab a large tub of popcorn and take your family for this fun-filled ride.
Official posted of 'Sex Education' Season 4 (Netflix)
When the first season of Sex Education came out on Netflix in 2019, it felt pretty daring and exciting for everyone. While there were many shows about teenagers and sex, ‘Sex Education’ stood out because it talked about these topics openly and covered them in a pretty detailed manner. Without any guesses, the show became really popular and is now considered a classic on Netflix. For 3 long seasons, viewers have seen students of Moordale, and everyone around them, dealing with a lot of complications, but now, it’s time to say goodbye to some of our character as the Netflix series has returned for its fourth and final edition.
At the end of Season 3, Moordale Secondary School closed down. This means that Otis, Eric, Aimee, Jackson, Vivienne, Cal, and Ruby have to go to a new school, Cavendish Sixth Form College. Some of them fit in well, while others struggle. And while Otis tries to focus on his therapy work, he finds out that there are other young people who are experts on relationships and sex in town.
Gillian Anderson as Jean Milburn in ‘Sex Education’ Season 4 (Netflix)
One of the strengths of Sex Education is its diverse and inclusive representation. The show shines a light on various sexual orientations, gender identities, and cultural backgrounds, providing a platform for underrepresented voices. Season 4 continues to explore these themes, introducing new characters who add depth and complexity to the narrative. On ghe other hand, the only problem with Season 4 is that there are too many things going on at once. There are so many sub-plots that might distract you at times and make you feel that this story might have looked good if there was another season in pipeline.
Even then, the writing remains sharp and witty, creating relatable and genuine teenage characters who grapple with their own insecurities and desires.
Ncuti Gatwa as Eric Effiong in Sex Education Season 4 (Netflix)
The performances in ‘Sex Education’ Season 4 are consistently strong. Asa Butterfield brings vulnerability and charm to his role as Otis, portraying the character’s growth and maturity. Ncuti Gatwa shines as Eric, capturing both his strength and vulnerability as he navigates new relationships and personal challenges. Emma Mackey delivers a nuanced performance as Maeve, showcasing her character’s intelligence and emotional depth. Mimi Keene is stupendous as well and bring another layer to her character which was so nice to see. Meanwhile, Gillian Anderson does what she is best at: deliver another extraordinary performance.
Emma Mackey as Maeve in Sex Education Season 4. (Netflix)
On the other hand, Aimee Lou Wood continues to mesmerise us with her charm and simplicity. Directors should definitely look at her and give her a leading role soon because she deserves it. Another actor that is surely a star in the making is Anthony Lexa, who portrays Abbi in Season 4. Her performance adds an additional charm to the series and gives a hope to Trans actors that they can too achieve their dreams.
A still from ‘Sex Education’ Season 4 (Netflix)
The final edition tackles difficult topics with sensitivity and care, highlighting the importance of consent, communication, and understanding in relationships. The show’s ability to tackle these issues head-on without becoming preachy is a testament to its thoughtful storytelling.
While the final season of ‘Sex Education’ does have some pacing and narrative issues, the strength of the performances, the thoughtful exploration of important issues, and the show’s commitment to inclusivity make it a satisfying and engaging watch. It’s bittersweet to say goodbye to these beloved characters, but the legacy of Sex Education will undoubtedly leave a lasting impact on the television landscape.
Sex Education Season 4. (L to R) Mimi Keene as Ruby, Asa Butterfield as Otis in Sex Education Season 4 (Netflix)
In conclusion, ‘Sex Education’ Season 4 continues to deliver a standout and boundary-pushing narrative that explores sexuality, identity, and personal growth with humor and sensitivity. Despite some minor flaws, the show remains a shining example of inclusive storytelling and offers a heartfelt farewell to its beloved characters.
Some goodbyes are hard and this is certainly one of them.
Eve Hewson and Oren Kinlan in a still from 'Flora and Son' (Apple TV+)
Flora and Son, directed by John Carney, tells the compelling story of Flora, a single mother struggling to navigate the challenges of parenthood and find her own identity. Starring Eve Hewson as Flora, the film dives into the complexities of motherhood, relationships, and the power of music in bringing people together. There have been a lot of musicals in recent times that take a very complex route in telling a story, but Flora and Son is a bit different than all of them. The story is really simple and that’s what makes the film such a treat to watch.
The movie opens with Flora enjoying a night out at a club in Dublin, only to end up in a disappointing hook-up. Flora’s life is far from perfect, as she grapples with her troubled teenage son Max (Orén Kinlan) and a less-than-supportive ex-husband, Ian (Jack Reynor). Flora’s interactions with Max are often tense, filled with sarcastic banter and strained attempts to connect with him. As a single mother, Flora faces numerous hardships and setbacks, leading her to doubt her own potential. Her attempts to do right by her son are often met with indifference or resistance. However, a pivotal moment occurs when Flora acquires a guitar for Max, unaware that it will have a profound impact on her own journey. Flora’s decision to learn to play the guitar leads her to Jeff (Joseph Gordon-Levitt), a songwriter and teacher based in California. Despite the distance between them, their connection is palpable, and through music, they bridge the gap. Jeff encourages Flora to embrace her creativity and express herself authentically, unlocking a passion she didn’t know she possessed.
Eve Hewson in a still from ‘Flora and Son’ (Apple TV+)
The performances in Flora and Son are exceptional, particularly Eve Hewson’s portrayal of Flora. She effortlessly portrays a range of emotions, from humor and charm to vulnerability and raw emotion. Hewson’s nuanced performance brings depth and authenticity to the character, making her relatable and captivating. It will be a travesty if she is not spotted by a big filmmaker and gives her a chance to lead another extraordinary movie. On the other hand, Joseph Gordon-Levitt is soulful and gives a performance that is really enchanting. The chemistry between Hewson and Gordon-Levitt, even through virtual interactions, adds an extra layer of depth to their characters’ connection.
Carney’s direction creates an intimate yet heartfelt atmosphere in the film. The use of music as a driving force in the narrative is a testament to Carney’s storytelling prowess, showcasing the transformative power of melodies and lyrics. One of the film’s strengths is its refusal to tie everything up neatly in a predictable manner. Instead, Flora and Son choose a more realistic approach, leaving some loose ends and logistics unresolved. This choice allows the characters to continue their journey of self-discovery, leaving viewers with a sense of hope and possibility.
Eve Hewson and Joseph Gordon-Levitt in a still from ‘Flora and Son’ (Apple TV+)
In conclusion, Flora and Son is a touching exploration of a single mother’s journey to find her voice, both as a musician and as a parent. With exceptional performances and a thoughtful narrative, the film resonates with authenticity and emotional depth. Carney’s direction and the film’s emphasis on the transformative power of music make Flora and Son a standout family drama. The simplicity and innocence is what makes it such a heart-warming watch. This film will make your heart sing.