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Movie Review: Tár

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JUANA SUMMERS, HOST:

Author-director Todd Area conceived his new film, “Tar,” a few symphony conductor, with Cate Blanchett in thoughts. Actually, Area says, if she hadn’t agreed to play the half, he wouldn’t have made the film. Critic Bob Mondello says the filmmaker’s religion in his star is properly positioned.

BOB MONDELLO, BYLINE: Conductor Lydia Tar is the sort of well-known one that wants no introduction.

(SOUNDBITE OF FILM, “TAR”)

ADAM GOPNIK: (As self) When you’re right here, then you definitely already know who she is.

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MONDELLO: So in fact she’s getting one…

(SOUNDBITE OF FILM, “TAR”)

GOPNIK: (As self) Lydia Tar is many issues.

MONDELLO: …From Adam Gopnik, the real-life author for The New Yorker, taking part in himself, who’s about to interview her for an viewers that is as desirous to see her as she is keen to be seen. The digital camera is on Lydia, standing backstage as she has a thousand instances in live performance halls and lots of instances in lecture halls. And although you’d assume this may all be second nature, she seems to be as if she’d flee if she may. Till…

(SOUNDBITE OF FILM, “TAR”)

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GOPNIK: (As self) Thanks for becoming a member of us, maestro.

CATE BLANCHETT: (As Lydia Tar) Thanks.

MONDELLO: She’s on and charming, chatting about music and conducting and the way what she does in setting the tempo – the time for an orchestra – is central to its interpretation.

(SOUNDBITE OF FILM, “TAR”)

BLANCHETT: (As Lydia Tar) You can not begin with out me. See; I begin the clock. In my left hand…

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MONDELLO: Somebody this involved with management, you sense, is nearly telegraphing that she’s afraid of shedding management. However as inhabited by Cate Blanchett, Lydia is kind of ostentatiously in management.

(SOUNDBITE OF FILM, “TAR”)

BLANCHETT: (As Lydia Tar) Now, the phantasm is that, such as you, I am responding to the orchestra in actual time…

GOPNIK: (As self) Proper, proper.

BLANCHETT: (As Lydia Tar) …Making the choice about the suitable second to restart the factor or reset it or throw day out the window altogether. The truth is…

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MONDELLO: Lydia is performing and has the viewers rapt. And afterwards, a younger lady approaches, as younger girls apparently typically do. Lydia is the primary feminine conductor of a German symphony orchestra, which makes her a task mannequin. And he or she has a toddler with the girl who’s first violin for that orchestra, which makes her one other sort of position mannequin. As her assistant ushers Lydia away from the feminine admirer and Lydia lingers, writer-director Todd Area offers us our first glimpse of an artist who thinks boundaries do not apply, and that is bolstered differently when she publicly shreds a pupil conductor who’s challenged the orthodoxy of useless, white, male composers at a category at Juilliard.

Her cruelty with the scholar and along with her assistant and even along with her life associate is one thing she doesn’t show at talks with The New Yorker. However at orchestra rehearsals for an upcoming recording of Mahler’s “Fifth Symphony,” she is breathtaking.

(SOUNDBITE OF FILM, “TAR”)

BLANCHETT: (As Lydia Tar) (Inaudible) crescendo.

MONDELLO: Blanchett, whose means with even probably the most extraordinary line has sufficient tonal modulation to make her voice appear a musical instrument, discovered not simply to conduct an orchestra and to play piano however to talk German for this half.

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(SOUNDBITE OF FILM, “TAR”)

BLANCHETT: (As Lydia Tar) Please, please, please, please, you need to watch. (Talking German).

MONDELLO: As spectacular as Blanchett’s efficiency is, it is matched by Area’s script, which rewards shut listening not only for its wit and precision, however for the best way it conveys the dissonance that creeps into Lydia Tar’s life – say, within the musical intervals that distract her – in a distant scream, a police siren, what feels like a doorbell.

(SOUNDBITE OF FILM, “TAR”)

BLANCHETT: (As Lydia Tar) I preserve listening to one thing.

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MONDELLO: After incomes eight Oscar nominations together with his first two movies, “In The Bed room” and “Little Kids,” Area took 16 years to plan “Tar.” And contemplating the nuanced stability he is placing between Lydia’s predatory, manipulative habits and the aesthetic perfection of her work, it is arduous to begrudge him a second of that point. With Blanchett on the heart of nearly each scene, “Tar’s” portrait of an artist who makes an attempt to conduct life and is upended by her conduct in life feels so fiery and passionate it blisters. I am Bob Mondello.

(SOUNDBITE OF LOS ANGELES PHILHARMONIC PERFORMANCE OF MAHLER’S “SYMPHONY NO. 5 IN C-SHARP MINOR – 4. ADAGIETTO. SEHR LANGSAM”) Transcript offered by NPR, Copyright NPR.

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Movie Reviews

Game Changer Movie Review: Ram Charan and Shankar deliver a grand political drama

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Game Changer Movie Review: Ram Charan and Shankar deliver a grand political drama
Game Changer Story: Ram Nandan (Ram Charan), an upright IAS officer, is committed to eradicating corruption and ensuring fair elections. The film juxtaposes his modern-day battles with the historical struggles of his father, Appanna, highlighting a generational fight against systemic injustice.

Game Changer Review: The highly anticipated film Game Changer, directed by Shankar and featuring Ram Charan, Kiara Advani, and Anjali alongside SJ Suryah and Srikanth in pivotal roles, is a political action drama that delves into the murky waters of corruption within the Indian political system. Shankar, renowned for his grand storytelling, makes his Telugu directorial debut with Game Changer. His signature style is evident in the film’s lavish production and narrative structure. The story, penned by Karthik Subbaraj, weaves together action, drama, and social commentary, though it occasionally leans heavily on familiar tropes.

Ram Charan delivers a compelling performance in dual roles, seamlessly transitioning between the principled Ram Nandan and the rustic Appanna. As the central figure of the story, he carries the narrative with remarkable ease. While his portrayal of Ram Nandan is high on style and swag, it is his heartfelt performance as Appanna that truly resonates with the audience.

Kiara Advani, as Deepika, plays Ram Nandan’s love interest. Her character moderates Ram’s anger and inspires him to take up the IAS. While Ram and Kiara light up the screen, their love track feels somewhat clichéd. Anjali, as Parvathy, gets a meaty role as Appanna’s wife, championing his principles and cause. The emotional depth she brings to the story bolsters the film’s core.

Srikanth, as Bobbili Satyamurthy, surprises with his antagonist role. His dynamic interactions with Appanna add layers to the narrative. SJ Suryah, known for his distinct style and mannerisms, delivers yet another solid performance as Bobbili Mopidevi.

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The film opens with Ram transitioning from an IPS officer to an IAS officer, featuring a stylish action sequence where he settles old scores. The first half chronicles his journey from a fiery college student to a committed civil servant. Although it employs some usual tropes and forced humour, the first half ends with an interval twist, setting the stage for an engaging second half. The latter part of the film takes a different trajectory, transitioning into a politically driven narrative rooted in the soil. The screenplay, treatment, and even the colour palette shift to complement this transformation.

Thaman’s musical score elevates the film, with a soundtrack that complements its themes. Tirru’s cinematography captures both the grandeur and grit of the story, employing dynamic visuals that enhance the viewing experience. Editing by Shameer Muhammed and Ruben ensures a cohesive narrative flow. The production values reflect Shankar’s commitment to high-quality filmmaking, with grandiose visuals in the song sequences. “Jaragandi” stands out as the highlight track, while the popular “Naanaa Hyraanaa” is yet to make its way into the final cut. The team has announced its inclusion starting January 14.

While Game Changer impresses with its grand visuals and socially relevant themes, it falters in areas that detract from its overall impact. The narrative occasionally veers into predictability, relying on familiar tropes of love, political corruption, and systemic injustice. The screenplay’s didactic tone, though impactful at times, can feel heavy-handed, leaving little room for subtlety.

Overall, Game Changer is a well-executed commercial film. Shankar’s grand scale and Ram Charan’s brilliant performance, combined with strong supporting roles and technical excellence, make it a compelling watch for enthusiasts of the genre.

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‘Better Man’ movie review: Robbie Williams is a chimp. (Just go with it.)

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‘Better Man’ movie review: Robbie Williams is a chimp. (Just go with it.)
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Music biopics are too often predictable, formulaic and, let’s face it, dull. One way to liven them up, however, is to venture way outside the box and make the central subject an anthropomorphic animal. And while an alligator Freddie Mercury in “Bohemian Rhapsody” or a sloth Bob Dylan in “A Complete Unknown” might have been bridges too far, a chimpanzee Robbie Williams defies logic and somehow works in “Better Man.”

Director Michael Gracey’s admirably eccentric biopic/jukebox musical (★★★ out of four; rated R; in select theaters now, nationwide Friday) still boasts the signature tropes of its ilk and the career-tanking vices of many a “Behind the Music” episode. Yet the fact that the ultra-cheeky Williams is inexplicably presented as a bawdy CG ape man (given cool moves and voice via performance capture by Jonno Davies) matches the fantastical nature of the British pop star’s bananas rise-and-fall-and-rise-again tale.

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The movie also has a lot in common with Gracey’s most famous effort, “The Greatest Showman,” featuring well-crafted, effervescent musical numbers doing what they can to make up for oversentimentality and an unfocused narrative.

Narrated by Williams himself, “Better Man” chronicles his life starting as a little simian dude playing soccer in the streets with his mates – and failing to impress his peers. Like his father Peter (Steve Pemberton), Robbie wants to be somebody and slowly he begins to embrace a charismatic, wild-child personality that wins him a spot in the boy band Take That. His brazen and outrageous personality wins over some like pop-star girlfriend Nicole Appleton (Raechelle Banno) – and his many fans – but irks many others, from his bandmates and manager (Damon Herriman) to members of Oasis.

The middle of the movie is where “Better Man” finds its groove. Robbie sings “Rock DJ” and his group pogo-sticks through London’s busy Regent Street in the film’s most spectacular sequence. And as the insecure Robbie goes down a bad path, he’s forced to literally fight the conflicting parts of his pop-star persona. Drugs and being a selfish jerk threaten everything, of course, and seeing a chimp go through the out-of-control partying instead of a normal dude is a bit different. The family drama peppered through the film leans too earnest, leading to an ending that pours on the schmaltz way too hard. Brash simian Robbie is a lot more fun to watch than soppy simian Robbie.

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No one’s ever going to play a primate like the brilliant Andy Serkis in his “Planet of the Apes” films. Davies does a good job at moving in such a way that’s human but also a little bit wild, which adds to the hyperrealism of a proudly oddball movie. It doesn’t completely explain why exactly Williams is a chimp in the biopic – he’s said he feels “less evolved” than others, and Nicole calls Robbie an “animal” during a fight – but it makes that bizarre choice a little less head-scratching.

Interestingly, the best part of “Better Man” is Williams. He sings the songs throughout the movie – including nifty new tune “Forbidden Road” – and his fabulous narration hilariously slings jabs and adds an emotional gravitas to his screen counterpart’s struggles. When the film goes most over the top, Williams’ commentary keeps it grounded.

“Better Man” isn’t perfect – as a straightforward effort, it doesn’t hold a candle to, say, “A Complete Unknown.” But it’s never boring, either. And the film is easily the most idiosyncratic of its kind, at least until that inevitable Barry Manilow biopic featuring a yeti.

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Research: How Top Reviewers Skew Online Ratings

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Research: How Top Reviewers Skew Online Ratings
Online platforms from Amazon to Goodreads to IMDb tap into the so-called “wisdom of the crowd” to rate products and experiences. But recent research suggests that more experienced buyers tend to select better products and therefore expect higher quality, which leads them to rate more stringently. This means that higher-quality products could paradoxically receive lower average ratings than their less-sophisticated competitors. Researchers used data from IMDb, a leading movie platform, to document this bias, and propose an easy-to-implement algorithm to adjust ratings to better align with external proxies of quality.
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