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5

frankrog29Jun 23, 2019

Vox Lux's grandiose cinematography, score, and voice-over narration imply that the movie is profound, but, much like the pop music it features, it is rather dull and insipid. Natalie Portman and Jude Law are good actors but they can't makeVox Lux's grandiose cinematography, score, and voice-over narration imply that the movie is profound, but, much like the pop music it features, it is rather dull and insipid. Natalie Portman and Jude Law are good actors but they can't make the movie's shallow screenplay compelling. Also, I just wasn't convinced of Ms. Portman as a pop star, especially in the concert scene at the end, in which she is just wandering through the dance moves with no conviction. Some scenes are just awful, such as young Celeste whispering about her dream inaudibly on a hotel bed or the fight between Celeste and the restaurant manager, which is over so quickly that it barely registers. The movie does have a point to make about the superficiality of pop culture and society's exaltation of vapid, corrupt, even psychotic people (e.g., mass shooters) in the media. However, by two-thirds of the way through, the movie has already made this point, and the rest of the film just seems meandering and pointless as a result. Ultimately, the screenplay and direction just aren't effective enough to make this film as profound as it seems to want to be.… Expand

1 of 1 users found this helpful10

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3

RalfbergsApr 29, 2020

This is a typical movie that critics like but for audiences widely I think it will be dividing. For me personally it was too boring, even though it started out really intriguing and I get the idea of the movie, to show pop star's life fromThis is a typical movie that critics like but for audiences widely I think it will be dividing. For me personally it was too boring, even though it started out really intriguing and I get the idea of the movie, to show pop star's life from their side kinda and what they go trough and some extra stuffs to it, for me that was too boring, mainly because - not that much into these kind of movies and for me it got boring too often so I eventually just skipped through it (I did watch more than half of it).

I think that people will for sure like it if they like Sia's music, or are interested in lifes of popstars and what not or like the actors playing it (acting is quite good in this anyway). But take that away and I think this for average viewer is not really that exciting. For me this was kind of movie I ended up watchin half way through and thinkin - will this be another of the movies I watch whole movie and think why didn't I switch it off earlier - so eventually I did skip through it and yeah, for me I felt good that I did not watch the latter part fully.

Having said all that, this movie in my view is for certain type of people and I get that some enjoy it - to each their own. But for me this is a pass (giving it 3, because the idea overall to me felt good at beginning of the movie and like it did have good acting and interesting beginning kinda)… Expand

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2

JanScottfrmOttJul 18, 2019

This review contains spoilers, click expand to view. This snooze fest has no idea what it is or why it should exist. But it is worth sitting through it to watch Natalie Portman humiliate herself as a pop singer in the last big scene. It's hilarious. She is about as bad as bad can get. This has "made for TV" all over it.… Expand

1 of 1 users found this helpful10

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4

TVJerryDec 14, 2018

Comparisons to the current A Star Is Born are inevitable, but there's no comparison on any level. This somewhat experimental film wears its edgy credentials all over the place: random visual styles, quirky editing, heavy-handed, evenComparisons to the current A Star Is Born are inevitable, but there's no comparison on any level. This somewhat experimental film wears its edgy credentials all over the place: random visual styles, quirky editing, heavy-handed, even melodramatic score (not to mention the clunky narration). It follows a young woman as she endures a traumatic event, then goes on to become a pop star. The role is first played by Raffey Cassidy, then after about 45 minutes, by Natalie Portman, Confusingly, all of the other main roles keep the same actors for both time periods. This role gives Portman a chance to strap on a New York accent, become a ranting, self-absorbed rock star with personal issues (nothing new here) and even perform a mini concert (songs by Sia). The film tries to make some statements and dazzle with showy style. Even so, there's still a weirdly compelling aspect that keeps it from being a totally self-indulgent mess.… Expand

2 of 3 users found this helpful21

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5

Brent_MarchantDec 16, 2018

An offering that tries ever so hard to get traction (in a number of ways) but never succeeds in generating any kind of meaningful direction or momentum. Much of the cryptic dialogue and vastly overwritten voice-over narration makes littleAn offering that tries ever so hard to get traction (in a number of ways) but never succeeds in generating any kind of meaningful direction or momentum. Much of the cryptic dialogue and vastly overwritten voice-over narration makes little sense and comes across more like pointless stream of consciousness babble. What's more, for a film about a pop star, there's precious little music in it (what's that all about?). Natalie Portman makes a valiant effort to try and save this patient, but, by the time she finally comes on screen in the second act, the code has already long been called. This is one of those wrong-headed releases that can't help but make me wonder, what was everybody thinking about when they decided to make this one?… Expand

2 of 3 users found this helpful21

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0

ProteusDec 22, 2018

Bomb. Who gave the green light? Jude Law, Portman and nothing come alive. The lighting must have been done by Stevie Wonders less sighted brother. The first half of the film is so dull you could do an errand at Walmart and be moreBomb. Who gave the green light? Jude Law, Portman and nothing come alive. The lighting must have been done by Stevie Wonders less sighted brother. The first half of the film is so dull you could do an errand at Walmart and be more entertained. The second half has Portman as a very unlikable character emoting nonstop but to what end? We don't know. Clean under your refrigerator. Call an old friend. Take a nap. Just Don't go see this movie.… Expand

5 of 8 users found this helpful53

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6

LamontRaymondDec 9, 2018

It's literally a movie in 2 parts. The first part is outstanding - high drama with the school incident, and Raffey Cassidy is outstanding as young Celeste. Her getting in the music biz, learning the studio and the dance moves were allIt's literally a movie in 2 parts. The first part is outstanding - high drama with the school incident, and Raffey Cassidy is outstanding as young Celeste. Her getting in the music biz, learning the studio and the dance moves were all compelling. Even the music video was "cool" and edgy. As soon as the movie jumps 16 years later and Portman takes over as Celeste, the air is let out of the balloon. The story from then on simply isn't compelling at all. And the last 10 minutes is flat BORING. Which is crazy given what's happening there. It's a bummer to say this because I really do like Natalie Portman. She was super likable at a Q&A she did tonight at my theater. (The writer/director, on the other hand, pretty much flat-lined it.. But maybe that's just his personality.) Is it worth seeing for the first half? I'd say so. But just don't go in with any crazy-high expectations.… Expand

2 of 4 users found this helpful22

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8

Bertaut1May 24, 2019

Irreverent and dynamic; the picture it paints of the increasingly indistinguishable divide between celebrity and notoriety isn't pretty though Written by former actor Brady Corbet and Mona Fastvold, and directed by Corbet, Vox Lux takes theIrreverent and dynamic; the picture it paints of the increasingly indistinguishable divide between celebrity and notoriety isn't pretty though Written by former actor Brady Corbet and Mona Fastvold, and directed by Corbet, Vox Lux takes the basic A Star is Born template of a rising pop star, and gives it an angry 21st-century makeover. As a director, Corbet exploded onto the scene in 2015 with the sensational The Childhood of a Leader, with which Vox Lux has much in common - they both examine troubled formative childhood years intertwined with global tragedy; they both use a small group of people to synecdochally engage with larger socio-political issues; they both indict a culture in its death throes. And whilst Vox Lux could be accused of straying into cliché on occasion, and walking a very fine line between portentousness and pretentiousness, this is another superb film from a director who is a unique and exciting cinematic voice.

Divided into four parts ("Prelude - 1999"; "Act I: Genesis - 2000-2001"; "Act II: Regenesis - 2017"; and "Finale - XXI"), Vox Lux begins in 1999 when teenager Celeste (Raffey Cassidy) survives a school shooting. With her sister, Eleanor (Stacy Martin), she composes and performs a song for the victims, which catapults her to stardom, under the watchful eye of a talented, if not entirely scrupulous, manager (Jude Law). With Act I concluding with 9/11, the film then jumps to Croatia in 2017, as a terrorist group open fire on a beach, wearing masks similar to those worn in one of Celeste's first music videos. A neurotic, self-obsessed, and barely functioning alcoholic, the adult Celeste (Natalie Portman) is now mother to a teenage daughter of her own, Albertine (also played by Cassidy), and, struggling to finish an album and put together a tour, the last thing she needs is to be associated with more violence.

Aesthetically, there's all manner of things to be fascinated by. For example; whereas the Prelude and Act I cover two years, followed by a 16-year gap, Act II and the Finale take place over roughly eight hours. Or the existential, adjective-heavy, almost "once upon a time" voiceover narration (provided by Willem Dafoe), which serves as a kind of omniscient chorus. Also aesthetically important are the unashamedly over-produced songs (all written by Sia), and the score by the legendary Scott Walker.

Thematically, the film's most salient concern is a deconstruction of celebrity and fame, specifically the 21st-century post-reality TV incarnation of such (there's a reason the closing credits give the film the subtitle, "A Twenty-First Century Portrait"). In an era whereby one can become famous for virtually anything, the film is painfully of its time, saying as much about celebrities and the machinery of fame as it does about celebrity-obsessed culture.

Much of the biting satire is tied into the plot itself, with Celeste building a career off a massacre; gun violence used to sell records. She is literally the beneficiary of tragedy in a world where mass shootings have become so commonplace they can serve as launch-pads for musical careers. Celeste herself articulates an important element of the connection between pop culture and mass murder when she says, "nihilist radical groups perceived as superstars. If everyone stopped talking about them, they'd disappear", which is very reminiscent of the main theme in Natural Born Killers (1994).

Vox Lux doesn't provide any answers to the question of the crossover between pop culture and terrorism - how one might lead to the other, or how both provide opportunities for fame - but that's because there are no easy answers. It's simply the way things are. And the irony at the heart of the film is that in 1999, a mass shooting shaped Celeste, but in 2017, Celeste shaped a mass shooting. This is the nightmare of the 21st-century celebrity wheel of time.

In terms of problems, any film with such lofty aims as mapping the ideological decline of 21st culture onto the rise of a pop star is setting itself a huge task, and at times Corbet's ambitions exceed his reach. Parts of the adult Celeste portion of the film also stray into melodrama, and the fact that the first act is so good does make the second seem a little prosaic in comparison (although the Finale is mesmerising). And although the totality is satisfying, I couldn't shake the feeling that the first act seemed to be setting up for something upon which the second fails to deliver.

Nevertheless, this is a vicious dissection of contemporary culture and the forces that drive it. Both a victim of her time and its desensitised apotheosis, through her, much as he did through Prescott in Childhood of a Leader, Corbet explores questions relating to the interaction between the private and the public. Where are we as a society? What does our obsession with celebrity say about us? What is the cost of fame? Is there any real difference between fame and notoriety?… Expand

1 of 2 users found this helpful11

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0

minokuDec 9, 2018

Boring and no impressive at all. Overrated, even the soundtrack isn't good.

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5

KeithDowDec 17, 2018

This review contains spoilers, click expand to view. Warning: spoilers ahead.

The one piece of tangible film criticism we'll give 'Vox Lux' is that the artistic approach to the sound design is supremely disagreeable, which is a cardinal sin considering the plot is based on the life of a traumatized pop star.

Beyond that, the opening scene is so unexpectedly jarring that it casts a pall over the entirety of the film. Full stop. At first, we planned on holding 30-year old writer/director Brady Corbet accountable for putting such a shocking and downright questionable creative decision on screen. However, perhaps the true crime here isn't that Corbet showed the sickening reality of a school shooting to the masses of this country, but rather that the masses of this country haven't yet moved heaven and earth to ensure that something as grotesque as a school shooting only exists in the realm of fiction.

No rating.… Expand

2 of 5 users found this helpful23

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7

GinaKDec 18, 2018

Natalie Portman gives a wonderful performance in a flawed but interesting film. The story begins with a school shooting and then focuses on one of the victims named Celeste who eventually becomes a rock star (!), played by Natalie Portman,Natalie Portman gives a wonderful performance in a flawed but interesting film. The story begins with a school shooting and then focuses on one of the victims named Celeste who eventually becomes a rock star (!), played by Natalie Portman, the lead singer on an album called Vox Lux. The film is sometimes confusing and sometimes offensively preachy, but through it all Portman manages to hold your interest.… Expand

1 of 3 users found this helpful12

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5

moviemitch96Dec 13, 2018

This film follows a young teen girl named Celeste (played by Raffey Cassidy in the first half,who also ends up playing her daughter, and then in the second half as an adult by Natalie Portman), who survives a school shooting and goes on toThis film follows a young teen girl named Celeste (played by Raffey Cassidy in the first half,who also ends up playing her daughter, and then in the second half as an adult by Natalie Portman), who survives a school shooting and goes on to write and perform a song to pay tribute to the victims, propelling her to stardom in the process. The film looked rather intriguing to me based on the trailers, and Portman's always been one of my favorite actresses. While the film certainly has a lot to say and provides some interesting social commentary on the price of celebrity and fame, unfortunately, the film ended up being mostly just flashy and colorful with an ultimately underwhelming and straightforward story, not to mention an abrupt ending that doesn't really satisfy. Furthermore, it honestly became more difficult to sympathize with the character of Celeste once Portman started playing her in the second half, since the character becomes a snob and a bratty diva, which I understand was the point, but that didn't make it necessarily enjoyable to sit through, though I will give Portman credit for playing the part rather well and really dazzling in many moments, particularly towards the end of the film. Jude Law is also worthwhile in his supporting role as Celeste's manager, and Willem Dafoe even narrates a handful of scenes throughout the film. Overall, it's a colorful spectacle with a side of social commentary on celeb status and capitalizing on fame through whatever means necessary, but it ultimately just felt underwhelming and maybe even a little pretentious to me at times, which disappoints me considering how intrigued I was by this film and it's premise initially, and how much I like Natalie Portman usually.… Expand

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4

MarkHReviewsDec 17, 2018

The opening scenes of “Vox Lux” are nothing short of magnificent. Willem Dafoe’s narration grounds the film and helps to create an anticipatory gravitas. There are unforgettably horrific visuals, exacerbated by jarring cutaways and aThe opening scenes of “Vox Lux” are nothing short of magnificent. Willem Dafoe’s narration grounds the film and helps to create an anticipatory gravitas. There are unforgettably horrific visuals, exacerbated by jarring cutaways and a jiggling camera. All of this contributes to a sense of disorientation while also creating deep excitement about what’s to come. Then the credits begin to roll, as if the film has concluded. The viewer is literally squirming with anticipation. Unfortunately, the balance of the film is a series of missed opportunities and, ultimately, an over-long denouement.

Thirteen-year-old Celeste (Raffey Cassidy) is a survivor of a grisly school shooting on Staten Island. Unable to put her adolescent thoughts and feelings into words, she co-opts a song written by her sister for her part in the memorial service. The video goes viral, and mononymous Celeste is born, instantly whisked away to Manhattan for demos, production meetings and, eventually, a trip to Stockholm to cut her first record with a legendary producer. One intuits that it’s all moving much too fast. Celeste’s rapid rise to celebrity status and her too-soon loss of innocence parallel many of the events, particularly the burgeoning cynicism, of the culture around her. September 11 is thrown in at the end of this sequence, just in case we miss the point.

The final segment features a 31-year-old Celeste (Natalie Portman), filled with cynicism and self-loathing, fueled by booze and drugs. As some have observed, this is “A Star is Born” for the bubblegum set. The film concludes with Celeste performing in her hometown, hoping for a comeback from a series of personal and professional disasters in 2017. To her credit, Portman does her own singing in this closing sequence, although her power-pop repertoire hardly calls for the vocal range of Freddie Mercury.

Where the film fails is as metaphor, analogy or any sort of clear-eyed social commentary. Claiming to offer “A Twenty-First Century Portrait,” director Brady Corbet (“The Childhood of a Leader”) creates a picture frame that contains eye-catching colors but no real depth, texture or context. Is Celeste’s loss of innocence inevitable? Is success always a result of whim, chance or random circumstance? Is the will to succeed always based in insecurity, if not self-loathing? Does success always come at another’s expense? Perhaps “Vox Lux” is mirroring contemporary culture simply by failing to take a clear stance on anything. Alternatively, this film’s ultimate contribution may be its confirmation that truth and self-awareness are hard-earned. Unfortunately, “Vox Lux” turns out to be cotton candy - an airy confection with only the appearance of substance.… Expand

1 of 3 users found this helpful12

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10

nokyam1Dec 7, 2018

The songs written by Sia are excellent in themselves and never drift into simple pastiche. Scott Walker once again provides a striking, pounding orchestral score. With Vox Lux, Corbet has delivered a towering film, a unique uncompromisingThe songs written by Sia are excellent in themselves and never drift into simple pastiche. Scott Walker once again provides a striking, pounding orchestral score. With Vox Lux, Corbet has delivered a towering film, a unique uncompromising vision that reveals the darkness on the edge of town that lurks in the depths of the spotlight. It’s funny, thrilling, deadly serious and achieves genuine depth.… Expand

2 of 9 users found this helpful27

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10

AcleverusernameFeb 11, 2019

This movie is extremely underrated and misunderstood. Many casual viewers likely erroneously assumed this was going to be another surface-level, cookie-cutter piece of fluff like "A Star is Born" that never deviates from Freytag's Pyramid andThis movie is extremely underrated and misunderstood. Many casual viewers likely erroneously assumed this was going to be another surface-level, cookie-cutter piece of fluff like "A Star is Born" that never deviates from Freytag's Pyramid and neither requires nor provokes further thought. That's not what this movie is. In fact, it's not even about the music industry or the main character; those are merely vehicles to guide the wide-ranging commentary on humanity in the 21st century. Once you realize that fact, you can begin to understand the true content of the movie, and it's pretty deep. The cinematography is brilliant, the acting may seem wacky at times but that is deliberate, and the realism is more, well, real than the supposedly "historical" music documentaries released in 2018. Easily the best film of the year, albeit one that probably won't be appreciated now. When movies replace books in English classes, this will become the new "Great Gatsby" or "All the King's Men".… Expand

1 of 5 users found this helpful14

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8

PanchogulApr 13, 2019

Natalie Portman es quien lleva las riendas de la película, su desempeño es impecable, sin embargo, la trama y los factores de la misma no llegan a ser del todo interesantes, es buena, pero le faltó fuerza.

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8

alejandro970Jan 20, 2019

Portman looks eloquent as a pop singer, but lacks of something for make the whole thing work so good as "Bohemian Rhapsody". The high-speed sequences are some pissing and the narration courtesy of Willem Dafoe is needless. Any similarity withPortman looks eloquent as a pop singer, but lacks of something for make the whole thing work so good as "Bohemian Rhapsody". The high-speed sequences are some pissing and the narration courtesy of Willem Dafoe is needless. Any similarity with real life is not coincidence.… Expand

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6

JLuis_001Mar 4, 2019

Natalie Portman stars in this story that doesn't come to deliver an innovative story. After all a lot of films talking about the dark side of fame have already been done before.
And even if the comparison isn't the most fair, it can be saidNatalie Portman stars in this story that doesn't come to deliver an innovative story. After all a lot of films talking about the dark side of fame have already been done before.
And even if the comparison isn't the most fair, it can be said that this film has some reminiscence to Black Swan.

But this film isn't Black Swan and the narrative is not the most dynamic, especially because there are moments where it's inevitable to think this story is a bit overloaded with pretentiousness. But it manages to save itself and become more enjoyable because of the work of the actors and the music.

As I said, Vox Lux doesn't come to re-invent anything but it does feel more sustantial than other films that deal with the same theme. Especially because Portman's character isn't someone devoted to her art but someone who doesn't have more than that because of the decisions she took for her life.
Therefore that side of the story doesn't fall into a cheap romanticism of dreams and illusions of an artist who began at the bottom and then made it big, and that's perhaps the greatest strength of this story.… Expand

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5

amheretojudgeFeb 24, 2019

Wrap It Up.

Vox Lux Corbet has a concept and an avant-garde panache on exploring that concept. The result is surprisingly one big mixed bag of feelings. Unfortunately, "cheated" is one of them. Not for its incompetency or some bourgeoisWrap It Up.

Vox Lux

Corbet has a concept and an avant-garde panache on exploring that concept. The result is surprisingly one big mixed bag of feelings. Unfortunately, "cheated" is one of them. Not for its incompetency or some bourgeois method, but for the hope it offers us. Among so many fumbles and in-congruent long take unedited shots- or so it seems like- there are moments where he steals the show with genuinely moving scenes and just good, fine writing. Also it is hard to summarize this film and not use "over this and over that". It does take the maturity of its concept for granted, the style that has helped us get in on this vision of Brady Corbet; the writer-director, is also the anchor that weighs it down.

It is basically a double edge sword, overstaying its welcoming and overtaxing its audience for their patience, it looses the grasp over them and the film. The narration is separately allotted clips for Willem Dafoe to fill in and then also are other empty shots of locations that feels like an awkward open void that no one took care of. Craving for the stillness in the film is one thing and halting the narration to savor it is another. Often or not, you find yourself to be in a head scratching position in order to reach for the maker's vision.

He isn't delivering anything upfront which is good since it challenges the viewers to up the game but then is also guarding this apparently precious material through excruciating antics of his that is nothing but a chunk of cliched picks of this genre. Aforementioned, the concept makes it all worth exploring, especially since it puts the film itself on trial. Questioning these celebrities and the darker side of the show business, it is lopping off its own branch with an axe.

A fine model to look forward to only if itself wouldn't have been an Oscar bait. Young Celeste and Albertine played by Raffey Cassidy has done a marvelous work on playing these both completely different characters. Jude Law's character is the most juiciest and would be fun to play, and his performance respects that piece of art equally. But as anticipated it would always be Portman's film. Her version of the on camera and off camera behavior of the pop stars is just a delight to watch.

Her sassiness and insults comes in handy, what's fascinating to behold in her performance, is the incapability to pretend in front of the reporters and public. Even her performance has got that uneasiness and also at time cheesiness that mocks these famous personalities from all directions. She is the champagne part of the evening, her bubbled up anger in a calm flashy world that she revolves around, sparks up our night to have one more glass unapologetically. Vox Lux is sort of a new sheriff in town, the vision of Corbet has a big voluptuous heart in it, disappointingly the narration is of seen-this-seen-that conflicts.… Expand

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9

LajaleaaFeb 10, 2019

"The business model relays on the costumer's unshakable stupidity."
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( 95/100 ) . Vox Lux es la segunda obra de Brady Corbet, un chico que creció actuando en la escena dramática de Hollywood de los 2010's y aparece en películas de culto como"The business model relays on the costumer's unshakable stupidity."
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( 95/100 )
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Vox Lux es la segunda obra de Brady Corbet, un chico que creció actuando en la escena dramática de Hollywood de los 2010's y aparece en películas de culto como Mysterious Skin (2004), Funny Games (2007), Melancholia (2011), entre otros. Cuando lo vi en Mysterious Skin lo consideré como una personalidad interesante de seguir. Sin embargo, después de algo de tiempo le gané indiferencia. A pesar de eso se ha aparecido intermitentemente en varías películas que buscan construir el cine de cultura en Estados Unidos y después de ver Vox Luz siento que, para él, estar al perímetro de esas experiencias le ha permitido formar una opinión amplia y crítica del espectáculo americano.
Vox Lux, protagonizada por Natalie Portman y Raffey Cassidy, relata la historia de supervivencia de una chica en una jungla capitalista y consumista. Después de un evento nacionalmente trágico, la jungla social catapulta incidentalmente la carrera de esa chica quien crece para entender y defender la complejidad de su propia postura de privilegios y ventajas. Esa postura fácilmente la coloca como una ignorante en un mundo que tiene tantos puntos de fuga, sin embargo ella luchará por su propio centro.
La magia máxima en la película es la facilidad con la que introduce los discursos. Narrada por Williem Dafoe y orada por Portman, Corbet presenta el guión más accesible y, aún así, complejo del año. Cada linea y cada escena está cargada con discursos emocionalmente pesados, filosóficamente complejos y brutalmente razonables. Ellos presentan la lógica detrás del valor (para mi, un antivalor) de la competencia. La competencia social, espiritual, económica, cultural y familiar. Todo nace de la observación que Corbet ha tenido de su propia cultura, una cultura con una total influencia política y que se alimenta del ámbito espectacular. Corbet toma esa política y la cultura del entretenimiento y descubre una reacción social increíblemente indignate ante los ojos de millones, pero justa ante los ojos de pocos miles. La palabra clave es Pop. La cultura pop nació en Estados a través de la música popular. Fue la gente de color, el jazz y la fusión de varios géneros que creció la apreciación por el arte de consumo masivo a nivel nacional. Posteriormente eso se convirtió en una cultura masiva la cual, bajo los permisos, errores y presencia de la política, se convertiría en un estilo de vida. Un estilo de vida que se define en cantidades materiales y cualidades superficiales.
La crítica, entonces, se hace hacia la política, quien abre puertas para permitir escenarios horridos, macabros, sin valor espiritual y de alta demanda de consumo. El consumo, entonces, nos lleva a la plataforma del entretenimiento, quien alimenta inmesurablemente esa necesidad de mantener las torres de fama y los puentes sociales que llevan a los centros de atención, todo decorado por una joyería de egoísmo, vanidad e ignorancia emocional: "El éxito".
El ingenio detrás del proyecto no solo es excelente: enamora; y Portman, Cassidy, Dafoe y Jude Law brillan en la forma en la que presentan cada capa narrativa, pues actúan con excelencia. Por parte de la visualización, no solo hay una simbología importante en varias escenas, sino que Corbet crea una sátira visual que se siente deficiente y exagerada (especialmente en el acto final) que busca revelar una piel no tan "especial" del entretenimiento. Como proponiendo la duda de "¿Realmente ésto es la gran cosa?". Y la música que Sia produce y escribe para la película lo corrobora. Ya hablaré de ello en mi reseña del soundtrack, pero a grandes rasgos, la música, que también es una ironía, expone el lado más plástico e inútil del espectáculo y qué, aún así, es mundialmente aclamado.
Con la intención de concluir este escrito, solo mencionaré que la película termina con una sonrisa. A pesar de que se expone que nuestro mundo está inundado de ignorancia social, también hay orgullo, preocupación y amor inevitable que alimenta esa ironía existencial. Y también, a pesar de que todo esté perdido, realmente no lo está, porque son pocos los que pueden vivir al perímetro de esa perdición, son pocos los que la observan y están dispuestos a exponerla y desnudarla. Corbet es uno de ellos, emancipado de la expectación y promovedor del pensamiento crítico. Inspira.… Expand

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10

ocaliensMar 10, 2019

Simply the best. Stunning. Mesmerizing. I haven't been this blown away by a film in a long time. This is mark of true filmmaking. Not afraid to take risks and we are all rewarded for it. Bravo

0 of 3 users found this helpful03

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5

bataguilaMay 6, 2019

La historia es mala, es un dia en la vida de Britney Gaga, siendo pedantes, y termina del orto. Lo unico bueno es la 1ra escena

0 of 0 users found this helpful00

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2

Mauro_LanariJun 15, 2021

(Mauro Lanari)
In the period between the US school massacres and September 11, "a portrait of the 21st century" symbolized by the life of a Faustian popstar ("One for the money. Two for the show. Three to make ready. And four to go"),(Mauro Lanari)
In the period between the US school massacres and September 11, "a portrait of the 21st century" symbolized by the life of a Faustian popstar ("One for the money. Two for the show. Three to make ready. And four to go"), reincarnation of Nina from "Black Swan". Corbet's ambition is boundless, the result detestable: histrionics and arrogance to build an apologue on the faults of lightheartedness, an allegory that is all too obvious and discovered on the intrinsic guilt of what looks away ("I don't want people to think" - Celeste declaims - "I just want them to feel good"), denunciation of a world whose superficiality is largely replicated.… Expand

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8

JordanLaytonApr 30, 2020

Torn about the messaging this movie is trying to get across. The dangers of child stardom and the **** and marketability of trauma are there, but it was done in a way that felt a bit more honest than the usual "A Star Is Bord' formula.

InTorn about the messaging this movie is trying to get across. The dangers of child stardom and the **** and marketability of trauma are there, but it was done in a way that felt a bit more honest than the usual "A Star Is Bord' formula.

In being more honest, the message is muddled some, but maybe this film is attempting to critique that trope BY being a bit more honest to those people that do rocket stardom at a young age, showing them as clearly flawed people, but still people whose morality isn't quite as black and white as most of these types of films make their stories out to be. Context was provided throughout the story for characters' actions and moods by Willem Dafoe's narration, which I felt really enhanced the honest approach the film was going for. Natalie Portman gives a phenomenal performance as per usual. My main critique is the choice to use the same actress to play both the main character and that main character's daughter in the second chapter of the film. It was just a bit jarring. Even though there's an argument to be made that it was done to show an inheritance of all of the troubles of the main character, I don't feel there were enough beats for that particular facet of the story to warrant such a jarring choice. Liked this one a lot. Btw, note to not watch R-rated films on planes. They edited out so much language that some scenes were actually difficult to follow.… Expand

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