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Post by Prometheus59650 on Jan 29, 2023 4:50:11 GMT
Cate Blanchett absolutely earns an Oscar nomination for a stellar performance as thoroughly up her own backside symphony conductor Lydia Tar.
Honestly though, the movie overall isn't worth the performance and I found it remarkably bland. She so fills the space, but since she has no one to play off of beyond some very fleeting moments, it feels empty.
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TAR
Feb 18, 2023 21:56:23 GMT
Post by RobinBland on Feb 18, 2023 21:56:23 GMT
It's a brilliant performance for a weirdly empty film, it's true. I was mesmerised by her, but ultimately I'm not sure the story touched me any way other than a sort of suspended fascination with the art of it all.
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TAR
Feb 19, 2023 19:19:58 GMT
Post by Prometheus59650 on Feb 19, 2023 19:19:58 GMT
It's a brilliant performance for a weirdly empty film, it's true. I was mesmerised by her, but ultimately I'm not sure the story touched me any way other than a sort of suspended fascination with the art of it all. The whole thing might have been better as a one-woman Broadway show. Or, perhaps if the entire narrative had been her at the interview in the beginning of the film, but she's chronicling her own rise and fall and we flash back to those segments of her life. Then I think I would have chalked up some of the hollowness around her to, "Of course she's the person with the most life here, and everything probably DIDN'T happen with the blandness I see. It's all being filtered through that painstakingly- crafted "Lydia" persona where no one is as alive as she is. |
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TAR
Feb 20, 2023 18:42:37 GMT
Post by RobinBland on Feb 20, 2023 18:42:37 GMT
It's a brilliant performance for a weirdly empty film, it's true. I was mesmerised by her, but ultimately I'm not sure the story touched me any way other than a sort of suspended fascination with the art of it all. The whole thing might have been better as a one-woman Broadway show. Or, perhaps if the entire narrative had been her at the interview in the beginning of the film, but she's chronicling her own rise and fall and we flash back to those segments of her life. Then I think I would have chalked up some of the hollowness around her to, "Of course she's the person with the most life here, and everything probably DIDN'T happen with the blandness I see. It's all being filtered through that painstakingly- crafted "Lydia" persona where no one is as alive as she is. Yeah, that would've been a better way of structuring it, because it would've left room for the idea that some, or much of it is just a tall story. If there are enough gaps that the viewer thinks she might be overegging it, it might have been more involving than just watching someone awful and self-obsessed blowing up their own life. "You like unreliable narrators? I'm an unreliable narrator maestro." I did like the progressively dreamlike quality though, like when she's running in the park and she hears those screams. Is it real, or something internal? Then the instance where she follows the young woman she's got the hots for into that apartment block, and descends into Hades. We even get Cerberus. I mean, I didn't care about her predicament at all, and maybe it should've ended around there, because that's about as involved as I got and her eventual comeuppance all seems a bit too pat and contrived. I didn't feel anything at all, except a sort of distanced admiration for the craft of it all. I remembered it, which is more than I can say for a lot of movies I watch these days, but it wasn't memorable because it touched me in any way. That kind of removed, glassy, filmwatching experience is ultimately pretty tiresome. |
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I am so sorry...