Category: Reviews

Press/Video: Natalie Portman stars in Sia-scored pop star fable Vox Lux, as a diva derailed by fame

Press/Video: Natalie Portman stars in Sia-scored pop star fable Vox Lux, as a diva derailed by fame

What is the price of success? This age-old question is one of the themes in this grandiose and portentous pop star fable starring Natalie Portman and Jude Law.

Written and directed by actor-turned-filmmaker Brady Corbet, whose debut The Childhood of a Leader was a sinister period nightmare awarded best director and best first feature at Venice in 2015, Vox Lux bears some resemblance to Bradley Cooper’s A Star is Born — although twice as ambitious.

Cooper, after all, was not trying to talk about modern-day terrorism and the death throes of Western consumerism — just the loneliness of life at the top.

Corbet’s film is altogether more far-reaching.

While Childhood of a Leader was about characters bearing witness to some of the most disastrous moments of the early 20th century, Vox Lux is the same idea applied to our own era.

It begins with a “Prologue” title card, accompanied by ominous strings and Willem Dafoe’s voice-over introducing the protagonist, who we see in pastel home-video footage as a girl performing in a lounge room with a Christmas tree.

This is Celeste, and you’re made to understand trouble awaits her.

Corbet propels us next into a high school massacre — with jarring edits and unflinching violence — after which 14-year-old Celeste ends up with a bullet in her spine.

It’s the kind of shocking opening — misanthropic and coolly distant — that reminds you of a 21st-century Lars Von Trier (Dafoe’s narration underscores the impression).

Two more title cards, sectioning the film with biblical self-importance, “Genesis” and “Regenesis”, further cement this comparison.

The doe-eyed, pale-skinned Raffey Cassidy (The Killing of a Sacred Deer) plays Celeste in the first act, set in the late 1990s. She’s a suburban girl with a beautiful voice who’s catapulted to fame after a song she writes about the shooting with her sister (Stacy Martin) becomes a national hit, channelling the nation’s grief.

Jude Law plays her manager, the best character in the film, transforming from a strictly-business chaperone in the first half to an altogether more blurry manager/confidante in the second.

As an adult Celeste is played by Portman, an otherworldly beauty whose glamour is offset by a bratty, almost Jersey Shore vulgarity. In this section Cassidy plays her disaffected teen daughter.

Told with the right psychological nuance, this has the makings of quite a film.

But it’s clear Corbet has more on his mind than Celeste’s personal woes alone, and he pivots the story on the 9/11 attacks, whose aftershocks ricochet through his protagonist’s life in obviously symbolic ways.

Celeste goes from a fresh-faced teenager who’s a lightning rod for national pain, to a woman with a resentful streak, widely regarded with suspicion by the once-adoring public.

It’s a strange meld of macro and micro storytelling, in which Corbet is interrogating the act of myth-making — and how the news cycle turns on its heroes — while also asking questions about how America changed in the wake of 9/11.

He throws a tabloid scandal and another terrorist attack into the mix. Suddenly, Celeste has a PR crisis on her hands.

“I used to be treated like I was a hero,” complains Portman, with a similar anguish to her psychologically imploding ballet dancer in Black Swan.

On the eve of her character’s comeback tour for her new album, events conspire to derail her.

If you’re not quite sure what the film is saying, rest assured there are song lyrics to tell you. “I’m a private girl in a public world,” Celeste sings during the movie’s dreadfully shot concert finale (apparently real-life pop star Sia wrote material for the soundtrack, so not sure how this clanger made it through).

It’s a pity Corbet couldn’t dramatise this story of trauma and fame’s double-edged sword with more subtlety.

Portman, who gets an executive producer credit along with Law, is not the most multifaceted performer, and her part has been written in a way that’s mostly reactive, with not a lot to signal what’s going on beneath the surface. Corbet pushes some of Celeste’s most interesting dramas off screen, to be recounted in Dafoe’s gravelly narration, and we are left to fill in the gaps in her relationships with her family, manager and fans.

What does play out on screen is an interesting but never remarkable backstage drama in which Celeste and her manager try to manage family rifts, grapple with the media, get high and stagger to the gig.

The film’s central reference to 9/11 — and Celeste’s role as a symbol of American victimhood and exceptionalism — remains frustratingly underdeveloped, and sometimes banal.

Corbet’s film lacks the poetry or breathing space to make his statement more eloquently (a far superior film about consumerism, terrorism and youth culture is Nocturama, on Netflix). By the time his heroine is belting out her third-rate songs in a sequined jumpsuit, you can’t help but wish you’d stayed home.

Vox Lux is in cinemas from February 21.

Source: ABC News

Press: ‘Pop stars are just so much more famous than actors’: Vox Lux star Natalie Portman

Press: ‘Pop stars are just so much more famous than actors’: Vox Lux star Natalie Portman

“Pop stars are just so much more famous than actors,” says Natalie Portman. “It’s a different level of fame – of not being able to go anywhere and have people treat you like a regular person.”

We mere mortals might imagine Oscar-winning movie stars inhabit roughly the same exalted plane as chart-topping singers, but Portman insists not.

“The majority of my day is spent with people who have no idea who I am,” she says. “There are many places I go where I am just treated like another human being, and that’s the best thing. To have a kind, anonymous interaction with a stranger is the thing that gives you hope around humanity.”

Portman is expounding on the differences between these respective types of celebrity because in her latest film, Vox Lux, she plays a former teen pop star on the comeback trail.

“The opportunity to play a pop star was so fun,” she says of the film, which is part A Star is Born and part Bowling for Colombine.

It starts with a schoolroom massacre and ends with 15 minutes or so of concert footage, in which Portman’s single-name pop star Celeste struts her stuff in leotard and glitter make-up, flanked by dancers and singing her heart out.

Over a day and a half of shooting, they repeatedly filmed the entire concert scene, just down the road from her childhood home in Long Island. “We did it a lot, the whole 12 or 15 minutes of dancing, singing, everything together,” she says. “It was really hard but fun. I felt my age for sure.”

We first meet Celeste as a 13-year-old high-school student. She emerges from the shooting with a bullet permanently lodged in her spine and an urge to put her feelings about the situation into song, helped by her older sister Eleanor (Stacy Martin).

When she sings the song at a memorial service, she seems to encapsulate the nation’s grief. Soon, she’s signed to a record label, has a manager (Jude Law), and is on her way to being reshaped as a viable pop product.

The young Celeste is played by Raffey Cassidy, who resurfaces in the second half of the film, set 18 years later, as Albertine, daughter of the grown-up – and thoroughly messed-up – Celeste (Portman).

While Stacy Martin and Jude Law play the younger and older versions of their characters, Portman says writer-director Brady Corbet had two different actors play Celeste because he wanted to show how the music industry can take a person and transform them “into this whole different human being … [who] turns into this creation, a kind of monster”.

Did that aspect of the story have special resonance for Portman, who burst into the public eye as a 12-year-old in Luc Besson’s hitman drama Leon? After all, she has spoken recently about her experience of being exposed to the industry’s sexualisation of young women at such a tender age, and of receiving rape fantasy “fan mail” as a 13-year-old.

“I hope I’m not very similar to Celeste,” she says with a laugh. “I don’t feel very similar to her in my real life. And also I think the pop music and acting worlds are quite different.

“In pop you have this persona who is sort of an extension of your own personality, and in acting you’re really supposed to be very different. You’re more commended if you transform from what people perceive to be your real personality.”

Vox Lux is on limited release from Thursday February 21.

Source: The Sydney Morning Herald

Press: Natalie Portman is a force of nature in intense and stunning “Vox Lux”

Press: Natalie Portman is a force of nature in intense and stunning “Vox Lux”

“The Childhood of a Leader” director Brady Corbet’s sophomore effort behind the camera, “Vox Lux,” is a stunning piece of cinema. This hypnotic and impressive drama will shock audiences with its prologue, a horrific scene involving a school shooting that sets the story in motion, and it will also bewitch or bewilder viewers with star Natalie Portman’s phenomenal performance, most notably during a concert sequence that comprises the film’s finale. In between, there are plenty of ideas — arguably too many — for folks to chew over and digest.

Act 1 of the film, entitled “Genesis,” takes place in 2000-2001 when Celeste (Raffey Cassidy) survives a school shooting and is inspired to write and perform a song at a vigil. Her anthem about anger, violence and grief becomes a hit and she is soon courting a record deal. A mature teenager, she hires a manager (Jude Law), works with the label’s publicist (Jennifer Ehle), and takes dance cues from a choreographer before heading to Stockholm for a performance. This all happens relatively quickly, as Corbet, who employs a handheld camera and speed-motion photography, captures the urgency of the action and the passage of time.

But even as narrator Willem Dafoe explains Celeste’s devotion to God, music, and her sister Eleanor (Stacy Martin), there seems to be something else at work here. And therein lies the fascinating subtext of “Vox Lux” — it’s a satire and a cautionary tale told in reverse. The film is certainly being ironic when Celeste states, “I don’t want people to think too hard. I just want them to feel good.” Corbet’s film, about the loss of innocence, is neither breezy nor upbeat. It’s a dense, intense film that mirrors Celeste’s never-ending dream of speeding through a tunnel. It throws viewers into a suspended state, a limbo where one is not always sure of what is being shown, but it is impossible to look away. That’s what makes it great.
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Act 2 of the film, “Regenesis,” takes place in 2017, and opens with a shooting on a Croatian beach. The terrorists wear masks like the one Celeste wore during a video she made back in her teens. Now, Celeste is 31 years old and played by Natalie Portman. (In a canny bit of casting, Raffey Cassidy, who played Celeste in Act 1, plays Celeste’s daughter Albertine in Act 2; Stacy Martin plays Eleanor, Celeste’s sister, in both acts).

Portman arrives in the film like a force of nature, tearing into her role with reckless abandon. Portman is so much fun to watch behaving badly that viewers may actually root for her to self-destruct; she is that entertaining. Her Celeste is a motormouth, as seen in a hilarious lunch scene with her daughter in a New York diner where she rants about Eleanor and begs the counter staff to serve her a decent glass wine in a to-go cup. She gets into a fight with the manager who simply wants a photo. The scene shows how quickly the once-mature Celeste had devolved into an entitled egoist, and Portman delights in making a dramatic exit. (She gets another opportunity in her hotel after a fight with her sister.)

However, Portman never makes Celeste a camp figure, despite her character’s silly hair, makeup, and costumes (all of which are appropriate). She plays her press conference scenes like a performance — giving folks the “show” she thinks they want (or expect) from her — by saying reprehensible or incomprehensible things. Celeste, once meant to be a symbol of strength and resilience, now comes across as unconstrained and unbearable. This may be why she is beloved by fans, but not by anyone who knows her.

Corbet deliberately lets viewers connect the dots and determine what to think about Celeste, her politics and celebrity. The film, which is elliptical at times, also can go over-the-top, but his approach challenges and provokes the audience. There are themes of rebirth, discussions about morality, manifestos of radical nihilism, and ideas about coping with trauma, both individually and collectively, that resonate. But Corbet never insults viewers or holds their hand. A scene late in the film — where Celeste, having consumed copious amounts of drugs before her concert, insists on stopping the car and heading out on to a beach to have a moment of silence — may be earnest, or it may be sardonic; viewers will have to decide for themselves.

Moreover, the film’s big finish, an extended concert sequence featuring Celeste, is an absolutely wondrous. Portman gives it her all, gyrating around the stage in a slinky, too tight sparkly bodysuit while expressively singing lyrics like “I’m a private girl in a public world.” (The vapid songs — which are perfectly chosen — are by SIA, and the thumping beat is likely designed to bludgeon viewers). There is a tension as to whether the trainwreck of a celebrity that is Celeste will make it to, or through, her performance. But such is the magic of this spellbinding film; viewers come to care about Celeste, despite her being such a despicable person. Part of that is Portman’s edgy performance, but it is also Corbet’s remarkable achievement.

Source: Salon

Press: “Vox Lux,” Reviewed: A Tale of Star Power That Misuses Natalie Portman’s Star Power

Press: “Vox Lux,” Reviewed: A Tale of Star Power That Misuses Natalie Portman’s Star Power

With its extremes of experience and banal slightness of content, Brady Corbet’s rock-world melodrama “Vox Lux,” portentously labelled “A Twenty-First Century Portrait,” is an exemplary latter-day entry in the realm of cinematic camp. Corbet’s direction is sober, sombre, earnest, restrained; the film is heavy with allusions to historic events, such as the killings at Columbine High School and the 9/11 attacks, which define the movie’s tone and set the plot in motion. In a way, Corbet is dealing with great issues and making a major display of taking them very seriously. Yet the subject of the film is the burden of a young singer’s celebrity, and the incidental subordination of matters of life and death to the story of a rising and falling star renders the film’s heightened tone absurd, unintentionally comedic—all the more so in that the issue that Corbet approaches with the greatest seriousness is fame itself.

The story is divided into three parts; in the first, labelled “Prelude 1999,” Celeste Montgomery (Raffey Cassidy), thirteen going on fourteen, a middle-school student in New Brighton, Staten Island, is gravely wounded in a school shooting. She recovers, and in the movie’s second section, “Act I: Genesis 2000-2001,” she and her older sister, Ellie (played by Stacy Martin), write a song, which Celeste performs at a church service. Somehow (in the era before social media) it goes viral, Celeste becomes a teen pop sensation, and, despite her religious background, begins to live it up, culminating in a night in a hotel with a rough-hewn hard rocker.

In the second act, “Regenesis 2017,” Celeste—now played by Natalie Portman—has a teen-age daughter, Albertine (also played by Cassidy), as a result of that one-night stand. This “act” is also launched by a terrorist attack, one in which the attackers wear masks resembling the ones made famous in one of Celeste’s videos. Celeste’s life is in disorder—she is an alcoholic and a drug abuser, and she has been the subject of scandal, after injuring a pedestrian while driving and making racist remarks about the victim. Her “rebirth” depends on Celeste’s coming-home concert to her native neighborhood in Staten Island, where the 1999 shooting took place—and it also involves a reconciliation of sorts with Ellie (still played by Stacy Martin) as well as with Albertine (who has, for the most part, been raised by Ellie). “Vox Lux” illustrates that snarky aphorism that celebrities remain, throughout their lives, the emotional age at which they became famous. But the movie stands the concept on its head, depicting the eternal adolescence of Celeste as both a burden for her family and her entourage (even for herself) and also the wellspring of her success—of her ability to connect with an audience.

What is it that makes a person from a seemingly ordinary background able to create something, with their very presence, that will incite the devotion of millions of people? What’s it like for them to become famous, to face the daily demands of fame? In short, what’s it like to be a brand, to be beloved by millions as an image of oneself, and how does an artist’s public identity correspond with her private life—which may be forced into the spotlight with one false move?

The unrealized attempt to address these questions is, by far, the best thing about “Vox Lux,” even if it’s there only as a sketch. There’s a thread of psychological insight running through the film, the notion of idiosyncrasy, distinctiveness: Celeste is introduced into the film when she alone, among the students in her middle-school class, doesn’t cower from the shooter but stands up and tries to engage him (in prayer, she tells him). Her effort doesn’t dissuade him from shooting her; it only suggests that, even in eighth grade, with no obvious talent that makes her a child of destiny, Celeste is different. Her musical ability is middling at best. Rather, what she displays is, in effect, leadership—standing up to shift and shape a situation, to change it.

Yet Celeste’s gift is a paradoxical one: it’s empathetic but impersonal, a connection that’s more a matter of impulse and desire, and that’s subject to a similar volatility, instability; it remains, ultimately, all about her. It arises from the same impulsiveness as do her rage and aggression. Corbet suggests that Celeste’s destructiveness is born not of her art but of her fame—that it’s entirely a by-product of being wrenched from her home and her family at too young an age and having her self-image distorted by her public image. “Vox Lux” is a coincidental retort to this year’s version of “A Star Is Born.” Bradley Cooper’s film says, in effect: work hard, be good, and your luck will make itself—unless you have the misfortune to have a traumatic background to overcome, in which case it will eventually overtake you. But Corbet’s film could be called, with apologies to Ozu, “A Star Is Born, But . . .”: the transformation of Celeste into a star comes off without a hitch. Rather, her biggest trauma turns out to be fame itself; despite her stable family background and her virtuous intentions, Celeste (a rather on-the-nose starscape name) is overtaken by the mechanisms and the power of celebrity itself.

The thread of insight, thin but strong, makes the unfortunate dramatic incarnation of the film all the more disheartening. From the start, by tying Celeste’s first flush of fame to a historic event of tragic scope; by depicting the Twin Towers as icons of that time and then the new One World Trade Center (the home of The New Yorker’s offices) as an icon of the movie’s present-day section; by depicting another, recent, fictional act of terrorism that (in a heavily messagizing bit of historical feedback) borrows a trope from one of Celeste’s music videos, Corbet replicates the ugly media phenomena that he decries, the banalization of such grave experience through their reproduction in media. The film is narrated in a wanly philosophical and sententious voice-over, which Willem Dafoe delivers in an oracular, seen-it-all voice. (Hard to blame the actor; his tone is that of Corbet’s direction throughout.) “Vox Lux” sinks under the weight of its own bombastic earnestness. Unfortunately, it pulls one of the best modern actresses, Portman, down along with it.

Portman is an actor of contradiction, one of the most dramatically expressive performers of her generation, a true classic movie star: the kind whose tremendous emotional radiance flashes brilliantly even in repose, the kind that depends more upon her mere presence than upon her performance, the kind that could be discovered by a studio talent agent when she was sitting at a luncheonette counter (as Lana Turner actually was). Portman (like Turner) isn’t primarily an actress of dialogue; of course, she performs it fluently, intelligently, expressively, but not spontaneously; the calculation shows. Her voice isn’t her most distinctive instrument. Rather, her speech is like a kind of background music to the singular power of her facial expressions, her gestures, her gaze, her presence. She’s one of the great physical actresses of this era.

Unfortunately, Corbet has Portman do for the role of Celeste what she did for her Oscar-nominated performance in “Jackie”: she takes on an accent—in this case, a stereotypical white working-class Noo Yawk accent. (There’s a whole sidebar to be written about its use as a mark of cinematic authenticity.) Here, Portman channels what seemed, at first, to be the style of Lorraine Bracco, or maybe that of Cyndi Lauper; but when I heard one particular line of dialogue (in which Celeste tells Ellie, “You look like a retard”), the comparison leaped out: intentionally or not, Portman’s performance resembles that of Margot Robbie in “The Wolf of Wall Street.” The difference is that Robbie’s performance isn’t a psychological portrait but a character turn, and a comedic performance in a movie that is, also, a comedy (albeit a very serious one). Portman’s turn in “Vox Lux” is nearly as funny, unintentionally, as Robbie’s is by design. Corbet’s ponderous direction allows her only a few moments that reveal, in brief but quietly explosive visual asides (such as one in a mirror, and another on-stage), the art that makes her the star that she is.

Source: The New Yorker

Press/Review: Natalie Portman and Julianne Moore Go for Broke

Press/Review: Natalie Portman and Julianne Moore Go for Broke

In Vox Lux and Gloria Bell, respectively, a pair of best actresses show what they’re made of.

There’s nothing surprising, exactly, about Sebastián Lelio’s Gloria Bell, at least not if you’ve seen Sebastián Lelio’s Gloria. Gloria Bell is a remake of that great 2013 Chilean film (not a remake of John Cassavetes’s Gloria—that one already got a remake in 1999), about a woman in middle-age, divorced and an empty-nester, who’s struggling to find traction. It’s an almost exact replica, minus the setting (the action has been moved from Santiago to Los Angeles), and it’s equally amiable and sweet and sad. Gloria Bell does have some American movie star lift, though, in the form of a delicate but purposeful Julianne Moore.

Gloria lives a quiet kind of life, working in insurance and tending to her adult children when they’ll let her. She has her small passions, particularly dancing, which she does most often at what appears to be a discotheque for the almost-AARP set. Gloria Bell’s soundtrack is full of disco and easy-listening stuff from the 1970s and ’80s, presumably the music that was popular when Gloria was in her salad days, and Moore slinks and grooves and sings along to these tunes with her usual natural expressiveness.

Though there is something a little self-conscious about Gloria when she dances, maybe because she’s also out to meet men. Twelve years divorced and maybe a little lonely—we can only infer that, as Gloria Bell’s script is sparing with its emotional exposition—Gloria could use some company. She finds that in John Turturro’s Arnold, much more recently divorced and still entangled with his ex-wife and dealing with difficult daughters. As much as there is a traditional plot to Gloria Bell, it’s in its tracking of that relationship, as the two—both laden with, and of course made wiser by, decades of personal history—negotiate their way into each other’s lives.

But really, Gloria Bell is more of a felt film than a strictly narrative one. Lelio weaves some casual visual poetry into the film, bursts of color and motion that briefly hint at something surreal just on this film’s margins. He mostly relies on Moore, though. With good reason! She’s such a precise actress that the most minor of shifts, in tone or pose or expression, communicates a whole internal arc. It’s one she rides all the way to the film’s glorious (heh) close, a moment when Gloria starts finding herself anew in all the fullness of what she already has. Which is to say, herself—her body, her life, her perspective on the world. This is a subtle Moore performance, and yet it still does a lot, offering a kind of permission to singleness that feels generous and kind.

Movies like Gloria Bell tend to be referred to as small. Which makes some sense, given that it’s set in the here and now and doesn’t go for any high drama. But there is expansive emotional terrain being explored here, a landscape of setbacks and disappointments and moments of cautious hope that Moore articulates beautifully. Moore won her long-overdue acting Oscar four years ago, and this is the first role she’s had since that’s allowed her to use the full range of the piercing intelligence that so animates her best work. Moore is a true empath, understanding how much the little details of a character’s life come to bear on the bigger picture. Her work in Gloria Bell is almost therapeutic in all its rich insight. We’re lucky to have her.

Existing on the whole other end of the acting spectrum, but in a good way, is Natalie Portman’s bonkers turn in Brady Corbett’s sophomore feature, Vox Lux. A dark and daring film about a pop star named Celeste whose public identity is forever tethered to a childhood tragedy, Vox Lux is not easy viewing. Indeed, there were many walkouts during the premiere screening in Toronto (at least in the balcony, where people could safely skitter away without the filmmakers seeing).

I can understand why, to an extent. Corbett is an ambitious provocateur, marrying ugliness with filmic beauty in a way that borders close to cruel manipulation. I’m thinking in particular of the film’s opening, which depicts a school shooting with harrowing bluntness. It’s an excruciating scene, and I’m not sure that what follows really earns all that initial torture.

Still, Vox Lux is worth keeping with if only to get to Portman, who shows up about halfway through the film. In the first stretch, young Celeste is played by Raffey Cassidy, as Celeste surfs a surreal wave of viral fame from a memorial service to the beginnings of major music career. She’s shepherded along, with kindness and a faint whiff of creepiness, by Jude Law. (His character is just billed as “the Manager.”) Cassidy is a curious creature, still and watchful with a slightly sinister, dark-eyed stare. I gather Celeste is supposed to be a little unsettling, as she turns what we have to assume is some post-traumatic stress into a quickly intensifying hunger for stardom.

Corbett and his cinematographer Lol Crawley stage some gorgeous and ominous moments in this first half, the film moving with a gliding, Kubrickian menace. There’s a particularly striking sequence, sped-up and grainy, in which we see Celeste and her sidelined sister traveling to Sweden, young teenagers on the make, living a whole riot of adolescence in just a minute or two. (All while Willem Dafoe narrates.) Corbett, whose first feature, The Childhood of a Leader, made a notable festival rumble three years ago, is definitely a talented technical filmmaker. Much of Vox Lux is arresting to look at and listen to (Scott Walker composed the film’s keening score).

It doesn’t come together, though, neither in form nor idea. The commentary Corbett is making on how fame and tragedy intersect, heroes and villains existing on different sides of the same coin, forever in perverse dialogue with one another, is muddled. (So muddled that I could be totally wrong about what Corbett is trying to say.) I appreciate the way he so violently insists that we confront the reality of school shootings—that they are frequent enough to become a cinematic trope, as device-like as a car chase. And yet Vox Lux’s aggression doesn’t push us anywhere profound, or even coherent. It’s a lot of flail with not a lot of payoff.

Then again, enter Natalie Portman. As adult Celeste, Portman immediately makes clear what was not at all apparent in Cassidy’s stiff portrayal of the character: Celeste is a tough-cookie daughter of Staten Island, with a swagger to match her gnawing egomania. Portman strides into the movie with such a burst of broad energy that it feels like she quite literally walked in from another movie. It’s a go-for-broke kind of performance, as full-tilt as her actorly brinkmanship in Jackie, and nearly as successful. Portman’s Celeste is outsize and theatrical, and yet like Moore’s far quieter work, there’s also a lot of specific stuff going on.

As Celeste yaws wildly from rage to drug-addled self-pity to steely straight-talker, Portman steers the performance with a beguiling control. It’s a thrill watching her dive into something like this, continuing her startling and exciting transformation from ingenue to nervy character actress. (At the moment, Vox Lux feels like the third performance in a trilogy, begun with Black Swan and followed-up by Jackie.) I’m sure there are some who think it’s all too much, that it doesn’t fit the context of the movie. On the latter point they’d be kinda right. As for the former, maybe my tolerance for “much” is higher than others, but I love the scale that Portman is working at in Vox Lux. It’s fun and perceptive, a well-observed embodiment of a certain kind of brassy person, encased in fabulous pop star clothes.

Vox Lux ends with an extended concert scene (the song snippets were written by Sia) that goes on for too long and suggests Portman’s dance abilities are perhaps better suited to ballet. She’s still there, though, going hard at this fascinating performance in a movie that can’t quite keep up with her frenzy. Corbett is certainly one to watch, so long as he hones his inquiry and becomes a bit more discerning about his eager creative impulses. Portman, on the other hand? I hope she keeps dancing as fast as she can.

Source: Vanity Fair