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Film reviews

TAR Review

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The tempo is strong, there is non-stop excitement, and Cate Blanchett’s performance in TAR will blow her audience out of the water. TAR is a work of art that displays brilliance on many levels.

In TAR, Blanchett is Lydia TAR, a composer-conductor and first-ever female director of an important German Orchestra. With a focus on Western classical music, she has a ton of projects and new evolving talent to be shown to the world. She has an assistant named Francesca (played by Noemie Merlant), and a partner Sharon Goodnow (played by Nina Hoss), and she feels her successful life is never going away. Slowly though, issues begin to arise as her ego takes over her. She begins to reject evolving talent among the musicians. The social media about her begins to show some red flags, and she feels Francesca is going behind her back. Regardless, TAR, the accomplished composer and musician, does not stop to deal with her problems. She keeps going, and Blanchett’s performance takes the film to new levels.

The tensions in TAR are harsh, and the problems are realistic. TAR always needs be the hero. She never lets anyone in to discuss her errors or the other talents around her. It is all about her. And her self-absorbed mindset carries irreparable consequences, including an emerging musician committing suicide.

I was astounded by the writing of TAR. Blanchett’s character is honest, if flawed. The film shows how cutthroat many artists can become, and how those who are accomplished become more into their own accomplishments than supporting others. The question of the film is whether TAR’s career is on the line and, sadly, it may be. Her defense to being fired centers on her background, her fan base, her awards, and her tenure track. But will this be enough?

Director Todd Field knows his approach to TAR, displaying the actors’ knowledge, craft, and their egos. Blanchett’s role has a massive ego. Her performance is enthralling and she is amazingly concise with her tone of voice and speech in the film. TAR is directed with marvelous vision and, again, Blanchett’s performance is astonishing. TAR may be the best film of the year. It is visionary and daring, and I loved it. Four stars for TAR.

Film reviews

Amsterdam Review

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David O’Russell is a director who delivers unique and brilliant aspects to his directing style. With Amsterdam, O’Russell brings a strong narrative with a variety of characters whose backgrounds are genius, who relate well, and who add pros and cons to the film’s central conflict. Amsterdam also has an inviting, catchy plot. But my issue with Amsterdam is that it’s less exciting than O’Russell’s previous films. The storyline is on par with its conflict, but the presentation just seems a bit mediocre. Despite the mediocrities, though, Amsterdam’s narrative remains concise.

Among Amsterdam’s impressive lineup of characters is Burt Berendsen (played by Christian Bale), Valerie Voze (played by Margot Robbie), Harold Woodman (played by John David Washington), Milton King (played by Chris Rock), Detective Hiltz (played by Alessandro Nivola), and other big names in the film. Of all these amazing characters, I would give Bale credit for the most brilliant acting. And not only is his characterization and performance unique, but he does the narration in many parts of Amsterdam. Burt explains his relationships with many of the other actors, and how they all go way back. O’Russell shows in Amsterdam that he knows how to keep background as a steady focus while staying in tune with the present focus.

The time frame in Amsterdam is the 1930s. For those who find the film’s characters sketchy, many of the characters have an odd background, making the film even sketchier. Three of the characters— nurse, a doctor, and a lawyer—witness a murder, and they end up being framed for the murder. The incident spawns all kinds of political and other underlying issues due to the racism of the times.

I felt like O’Russell was trying to take almost a Wes Anderson approach with this film. His narration felt at times like a version of The Grand Budapest Hotel (2014), one of my favorite Anderson films. At other times Amsterdam felt like a lighter version of O’Russell’s American Hustle (2013). And even though Amsterdam is less exciting than O’Russell’s other films, the much-detailed background from the narrative is vibrant.

So unlike some of O’Russell’s other films, don’t expect to jump from your seats much with Amsterdam. Again, the film has an inviting narrative, but it’s just not very exciting. It’s quirky, but not so much with the suspense or danger. In my view, Amsterdamjust lacks enthusiasm. Two and a half stars for Amsterdam.

Film reviews

God’s Creatures Review

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God’s Creatures is a film that is about protecting the ones we love most. It is also about irreparable consequences, that can sometimes come with being protective. In the film’s approach, God’s Creatures is dark and ominous. The film starts out with some positivity. That would be among family, friends, and those that reconnect after harsh times. The happiness does not last though with God’s Creatures. The tension only grows as more conflicts or deceit begins to be realized.

The setting is set in Ireland, in a fishing village. The cinematography is brisk in its unsettling continuity. With being shot in a negative format of 35 mm projection (with Kodak), the lighting is more natural in the film’s gloom. The web of deceit and dishonesty awaits. The technicality only keeps fading to negative tones.  Emily Watson is a mother, and Paul Mescal plays her son. Both are at the center of what is wrong in God’s Creatures. The small town is one that is hard to hide secrets in, and God’s Creatures is set for destruction among relationships.

In God’s Creatures, Watson plays Aileen O’Hara. She is a mother that has a job working with catching oysters. They go through distribution in the fishing village she lives in. Her life though, comes to a dramatic change. Her son Brian (Mescal) comes home. He has been living in another country for a while after a rough past. He decides to come back home. He hopes to have a fresh start after his previous troubles. He starts to pick up some shifts back at home in the fishing village. Aileen tries to keep hope in herself for Brian’s improvements. This all changes though when the authorities reach out to Aileen. They tell her they believe Brian is a criminal for a crime. As a mother, she wants to protect her son. Aileen lies for Brian. Her lie though begins to add fuel to the fire for her friends, family, and worst of all Brian.

As Aileen must face the reality of her choice to protect her son, she must also understand how it can impact her life as well. With Brian’s importance to her, she believes there is faith. It will require more drastic decisions though. As Aileen says, “We’re all God’s creatures in the dark.” Aileen wants to know her son will be ok. It is not guaranteed though, especially since she is dishonest for him. God’s Creatures paints a clear picture of the consequences for lying and the choices one’s made to protect their children.

In the film, the world of happiness and peace comes to a halt. God’s Creatures is a film where the title speaks for itself, and it does so with its breathtaking cinematography. It also does so with its mesmerizing performances by Watson and Mescal. God’s Creatures is destructive by cinematic and artistic nature. The underlying issues are enigmatic and engrossing.

God’s Creatures is not an uplifting film. It is realistic though. The harshness is clear as to why it is happening. The tough love is in-depth, and the light is hard to find. With the fishing village though, the answers may be around many fragments of the film’s setting. Three stars for God’s Creatures.