Vox Sux. Did. Not. Care. For This. Miscast lead. Super odd structure and choice of events to highlight. Just strange. And hifalutin. Some super artsy credits and end credits like its some beautiful French film from the early 70s. It aint.
I can't believe I'm about to say this given I've seen Serenity this year, but even taking that into account, this is probably the worst movie I've seen in 2019.
I feel like this movie is going for something specific and experiential, with some kind of important commentary on modern celebrity culture, but if that's true, it went completely over my head.
Maybe I'm just giving the movie too much credit and it just doesn't have a coherent plot, nothing of particular importance to say, and just has characters acting in bizarre, confusing ways.
It's rare that I regret the time I invested in watching a movie. This is one of those cases. It shouldn't be hard for you to find something better to watch - pick something at random, and chances are it'll be superior.
i can't believe this was the worst movie i've seen in 2019 until now... A MESS
Ouch. I didnt even make it through the whole movie. I couldnt. There were no redeeming qualities in this film. At all.
//EN-GTranslate
Each movie star has its biggest slump in its filmography. For Natalie Portman, Jude Law and Willem Dafoe, this is definitely the picture. This is the first time I've been mentally unable to see the end. Rating 1/10 - Film waste.
//CZ
Každá filmová hvězda má ve své filmografii svůj největší propadák. Pro Natalie Portman, Jude Law a Willem Dafoe je to určitě tento snímek. Letos poprvé, co jsem psychicky nezvládl shlédnout do konce. Hodnocení 1/10 - Filmový odpad.
Irreverent, dynamic, and portentous; the picture it paints of the increasingly indistinguishable divide between celebrity and notoriety isn't pretty though
A story about popular art born amidst violent trauma. A thriller about the remorseless and cannibalistic machinations of fame. An allegory for the calcification of celebrity-obsessed American society. A study of the interactions between pop culture and global terrorism. A bildungsroman about the possible consequences of a troubled childhood. A dark fairy tale about the music industry. A threnody for a pre-Columbine and 9/11 world. The bold, wildly ambitious Vox Lux is all of these. And more. Written by former actor Brady Corbet and his partner Mona Fastvold, and directed by Corbet, the film takes the basic A Star is Born template, and gives it an angry and bitter 21st century makeover, mercilessly torpedoing Bradley Cooper's whimsical paean to Old Hollywood romanticism into neon-soaked glitter-adorned oblivion. As a director, Corbet exploded onto the scene in 2015 with the sensational, out-of-nowhere The Childhood of a Leader, a visually stunning examination of the birth of 20th-century fascism from 19th-century aristocracy. And although Vox Lux, a film about a contemporary pop star, seems to have no thematic connection to Childhood, there are marked similarities between the two films - they both examine troubled formative childhood years intertwined with global tragedy that ultimately produce less than admirable adults; they both use the specifics of a small group of people to synecdochally engage with larger socio-political issues; they both unapologetically indict a culture in its death throes; they are both fundamentally built on asking questions without providing answers; neither is especially interested in conventional psychology or character arcs. There are a couple of problems (the film could be accused of relying too heavily on voiceover; it strays into cliché on occasion; it's front-loaded, with the best scenes happening in the first act; it walks a very fine line between portentousness and pretentiousness), but all things considered, this is another superb film from a director who, at only 30, is already a unique and exciting cinematic voice.
For my complete review, please visit: https://boxd.it/HQcrf
I cannot believe the high ratings this received. I never leave poor reviews. I love artsy film but people had the audacity to say there was pleasant cinematography featured when everything about the way this was filmed was suffocating. There is always something I can pull from a piece of media that I like. Not one thing in this film pulled my attention. I think it could go without mentioning that the music was AWFUL. Camp, but not the good kind. Human hours that I will never get back.
the opening scene was one of the best opening scenes that I've watched. The rest of the movie didn't really live up to it
This movie is a snooze fest and a total mess.
- Characters? Annoying and not compelling. Why does Celeste make pop music? "Because it makes people happy." Haha. Groan. The actress who plays young Celeste had the emotional range of a rock, and Portman played the adult version like a crazy American trailer park lady with a comical accent. Brady Corbe clearly no interest in pop music, and has an extremely low opinion of the masses if he believes that Celeste would be this massively successful pop star in the year 2017.
- Length? So damn long. How come a two hour movie with four acts has so little story to tell?
- The dialogue? Awful. If someone told me this movie was written in Chinese and translated to English by someone who only speaks Portuguese, I would believe them. Natalie Portman’s character pouring out all this “we live in a society” garbage dialog was so cringeworthy.
- Pace? Too damn slow. First 10 or so minutes had potential (I thought this was going to be an interesting look at our society and culture), but it goes downhill from there. The school shooting was realistic considering how very often it happens in America, the terrorist attack on tourists in Croatia, however, completely and totally unrealistic. The gunmen had been wearing masks similar to the ones used in Celete’s music video because .... American poo music is that powerful.
- The purpose of this movie? Who knows? Not even this movie knows. Maybe it’s trying to say something about American pop music and .... its connection to how it influences terrorism in foreign countries? Like, what the actual fuck? And how many tragedies do you need to make a point?
- Accents? Absolutely horrible.
- Narration? Super cheesey. Celeste's innocence being lost at the same time as America's innocence being lost after 9/11 … come on now! So bad.
Geez I couldn't have been more bored.
I wasn't sure what I expected going in, but whatever it was, I got something wildly different. This film has, essentially, two halves that can, honestly, be seen completely independently of one another. The first half is equal parts violent & grim and hopeful & positive, showing the genesis of a pop star emerging from the tragedy around her. The second half of the film is really carried by Portman and feels much less interesting. It's a glimpse into the life of a pop star, but you never end up really caring about Portman's character, her sister, her daughter, or any related character really. And then there's a big performance number before the credits roll. The second half is kind of a mess and doesn't pay off what is built up in the first half, leaving you feeling pretty numb to the film as a whole.
Great performances here, especially by Portman, but I am unsure as to the point the director was trying to make. Still, he has come a long way since his role in the 2004 fiasco that was Thunderbirds, and he does have a lot of talent. Perhaps his next film will be a little more coherent - or perhaps I should attune my mind to the messages he is trying to convey.
I wish I liked this more, but it didn't do it for me.
The subject matter is great and unfortunately still relevant today. How frame can attach itself to a person during the most unexpected, but it's the overall presentation of this idea falls flat.
A true concert film in the sense watching it feels like attending a pop / rock concert. Sadly, they left off the encore that could've tied it all together.
Also, weirdly balanced in the sense that half the cast weren't even trying while the other half were overdoing it to make up for them.
My third eye is open. I will now perform stanning!!!
In all honesty if Natalie's performance had been better, and the music wasn't so awful (like AWFUL @ SIA what is it you doing bb????) this movie would have worked SO well for me. It's just that the darkness of the story has so much potential but i felt like Corbet was afraid to really just go full twisted nightmare, and ended up with a mix of generic story about a pop star and a full on thriller about the pornographic society we live in. Damn it, I really wanted to love this one.
(oh that scene where young Celeste talks about the tunnel in her nightmares THAT'S what the film should have been aaall about... sad)
7/10
I'm not sure how I feel about this one. It's definitely interesting but I'm not sure if I'd recommend it.
Shout by Lightning13BlockedParent2019-04-08T08:21:43Z
smh, you guys didn't know how to have fun. Make way for the baddest sci-fi bitch in the house