VÉRN ON TÁR
By now if you’re the type of person who would see TÁR but hasn’t seen TÁR you’ve probly already heard that TÁR is good and you don’t need me to sell you on it. It is indeed a great acting vehicle for Cate Blanchett (HANNA), a really smart and thought-provoking character study, and just an all around engrossing, original cinematic experience that doesn’t fit any of the templates of the kind of stuff I normally watch, and is all the more captivating for it. So I would encourage you to go through with it.
It’s written and directed by Todd Field, who we of course know mainly as the actor who played Nick Nightingale in EYES WIDE SHUT, and he was also in EYE OF THE EAGLE 2: INSIDE THE ENEMY, BACK TO BACK, TWISTER and THE HAUNTING. He suddenly became an acclaimed filmmaker with IN THE BEDROOM in 2001, then LITTLE CHILDREN in 2006, and then he disappeared into a puff of smoke until finally returning last year holding TÁR above his head like baby Simba.
Blanchett plays Lydia Tár, famous and respected classical composer and conductor, introduced to viewers as well as a live New Yorker Festival audience within the movie with a torturously long list of credits and achievements. She’s giving a faux-humble-but-clearly-very-impressed-with-herself Q&A, saying all her clever lines and opinions, explaining her interpretations of the meanings of famous musical works, brushing off being the first female conductor of the Berlin Philharmonic and being called “maestro” and not “maestra.” The audience loves her. She says she’s experienced no gender bias. Maybe just no other woman in history was ever qualified until her. That must be what it was. (read the rest of this shit…)
SICK is a new independently produced slasher picked up by Blumhouse and Miramax (?) but sent straight to the Peacock streaming service. For me it was a must-watch-immediately because it’s the latest from John Hyams, who has been a top director in my mind since 
M3GAN is a nice little treat – a killer doll/robot movie with a solid execution of the premise, a good sense of humor, and plenty of personality. And as a Blumhouse/Atomic Monster production it’s got a decent budget, so the effects are excellent. It’s a similar idea to the okay-not-great 
There I was the other night with both physical and mental lists of all the recent movies I want to catch up on, scrolling through them on the various streaming services, failing to decide which one to watch first. So then I clicked on one I never heard of before called MY NAME IS VENDETTA (2022). Very productive.
ATHENA is an astonishing piece of filmmaking. I have no idea how they did it. I have one (1) huge issue with it, which prevents it from being one of my top movies of last year, but it’s a big ass spoiler that I will deal with separately at the end of this review. And you may disagree with me, so don’t worry about that for now. What’s important is that this is a thrilling cinematic experience and about as epic as a movie could feel while clocking in at less than 100 minutes. And it’s on Netflix – it’s one of the ones that actually wouldn’t exist if they hadn’t funded it – so it’s a very accessible way to get knocked flat on your ass by a concussion grenade of impeccable spectacle.
RESURRECTION is an interesting 2022 horror-thriller you can find on disc, VOD or Shudder. I saw the trailer play before movies many times and found it kind of intriguing, but I could never remember the name. I must’ve confused it with the 1909 D.W. Griffith short, or the silent films from 1910, 1912, 1917, 1918, 1923 and 1927, or the pre-code Tolstoy adaptation from 1931, or the Italian one from the same year, or the 1943 Mexican film, or the 1944 Italian one, or the 1958 German/Italian/French one, or the 1960 Russian one, or the 1968 British one, or the 1980 one starring Ellen Burstyn, or the 1999 Russell Mulcahy one I still haven’t seen although you guys really convinced me I have to and then Vinegar Syndrome even put it out on blu-ray, or the one from 2001 or 2010 or the three from 2016. But this is a different RESURRECTION, the one starring Rebecca Hall (
THE BIG 4 is the new one from Indonesian writer-director Timo Tjahjanto, who gave us 
THE PHANTOM CARRIAGE is a phantom movie that came well before 
JOE KIDD (1972) is Clint Eastwood’s only movie directed by John Sturges (
Well, would you look at that? Guillermo del Toro (
