Tár is perhaps not the most exciting title ever conceived for a film, but a character as narcissistic as Lydia Tár wouldn’t dare permit any confusion about who’s in charge here. This is her story, and in Tár’s mind that means she alone is the owner of that story. A story, a piece of music, a relationship, a marriage — these are not conversations or discussions, not malleable things that allow for multiple participants. These are possessions, shouldered entirely by their owner, and in a way those possessions define the identity of the owner herself. Any attempt by another to repossess those things, then, would be akin to destroying that identity.
If you’ve ever found yourself in contention with a true narcissist, you know how threatening that idea really is. Here, in Todd Field’s first film in sixteen years (his previous being the excellent Little Children), Cate Blanchett gives her all as the embattled and egomaniacal Tár, a decorated classical conductor on the verge of completing a massive cycle of Mahler’s symphonies. At first, the success Tár enjoys seems well-earned. She credits her mentors, gives back to the community and has amicable relationships with her assistant and her guest conductor. As the recording session for the final symphony approaches, though, we begin to see how Tár’s success has been built on a sinister foundation.
Continue reading Tár (2022)
There’s nothing quite like a good movie villain. If we’re talking about the Marvel Cinematic Universe, maybe you read this statement another way: there’s nothing quite like a good movie villain, anywhere. With the exception of Loki and a few other superbaddies, the MCU’s well-documented track record for weak villains has been the franchise’s persistent shortcoming. In much the same way as the villains of the Bond franchise became less and less interesting with each progressive installment, by this point you basically know what you’re getting in the Antagonist Department. At worst, the MCU gives us a paper-thin doppelgänger for the hero, a bland apocalypse-seeker with vague motivation, or whatever the heck Christopher Eccleston was supposed to be in Thor: The Dark World. At best, the MCU just gives us Loki for like the fifth time.
And then Black Panther came along.
Continue reading Black Panther (2018)
Indiana Jones and the Kingdom of the Crystal Skull has no shortage of detractors. Whenever a beloved film or film series receives a new treatment or installment, most people – myself included – are bound to vocalize their qualms. We said why can’t they leave well enough alone? We said why does everything have to be CGI? With the fourth Indy flick, we said a whole bunch of stuff that shouldn’t be reprinted. So yeah: Crystal Skull is the weakest Indiana Jones for a few reasons. But let’s find something nice to say about it for a change, shall we?
Harrison Ford returns to one of his most famous characters after a quarter-century hiatus (he appeared in one or two movies in the meantime) and most of the old crew returns with him: Steven Spielberg directs from a story by George Lucas, composer John Williams scores the film, and Karen Allen revives the role of Marion Ravenwood. Cate Blanchett plays (ahem, overplays) the primary antagonist Dr. Irina Spalko, and the best things about her are her hair and her name. Among the other new additions to the Indy legend is the consistent use of CGI, which was used sparingly in the first three adventure films in favor of practical effects. It feels at times as if somebody wanted to cram as many CG shots into this thing as possible, and many of those instances are very unfortunately unconvincing. Also: aliens.
Continue reading Indiana Jones and the Kingdom of the Crystal Skull (2008)