Tár

Blanchett gives a colossal tour-de-force performance that may be the finest of her career… The answers Fields supplies are not always satisfyi...

"TÁR" is ambitious, unusual, forceful, and ultimately frustrating, an emotional epic that’s also a nose-against-the-glass view of classical mu...

A significant leap in maturity, control and confidence that takes risks at every step. What’s more, they consistently pay off in a transfixing...

This tale of ambition and its cost – and its collateral damage – is Blanchett’s movie, and she delivers a tour de force in every scene.

Much like Lydia herself, Tar is a skilful, polished and fascinating piece of work, but it’s missing a beating heart.

Few will resist Blanchett’s bravura, occasionally monstrous performance… The ending is for the ages.

It is genuinely hard to imagine anyone but Blanchett being able to pull this off so successfully.

It’s a phenomenal picture, supported by top-tier crew…

[Blanchett’s] performance will pierce you like a conductor’s baton through the heart…

It’s a total knockout, both austere and dryly hilarious, and its quality is impossible to consider separately from its colossal lead performance.

Tár’s mostly riveting two-and-a-half-hour saga turned out to be oddly clarifying. The film does tell its story in an elliptical, at times confoundi...

I didn’t want it to end.

[Odessa A’zion] is just wonderful.

The adjectives that come to mind to describe Tár apply also to its protagonist: Todd Field’s third film is magisterial, enigmatic, self-contradicto...

One of the boldest and most exciting new American movies I’ve seen in years.

Cate Blanchett is captivating as formidable, world famous classical composer in Todd Fields’ frustrating study of the cult of genius.

Tar isn’t based on a true story but it possesses an emotional and intellectual honesty that makes it seem more real than countless made-for-ma...

The film’s shifting tones create a Russian doll effect. Out of what appeared to be a character study pops a frigid comedy; from that emerges a horr...

The social provocations are ultimately secondary leitmotifs in a work that strives first to make a fully rounded and fully angled fictional ch...

Perhaps the best thing that can be said about Tár is that it is far more than a mere vehicle for one showboating performance. And even if it w...

The movie makes no excuses for Lydia’s behavior, and Blanchett’s performance faces it squarely.

The match of larger-than-life actress to larger-than-life role is perfection.

Works more as psychological portrait than narrative freighter, putting you in the room with (and in the head of) a professional control freak...

Blanchett does it all here: Speaks three languages, plays piano, conducts with what looks to my untrained eye to be pretty fair stick technique, an...

Playing a formidable maestro, [Blanchett] proves herself one as well.

The film wields its intelligence and style with total effortlessness, and its every move holds your gaze like a baton’s quivering tip.

From its very first moments, Tár announces itself as an event. It’s not just another movie—it’s an immersive visual and aural experience.

TÁR wants us to consider the costs of greatness, for the artist determined to achieve it and those who suffer under that determination. What’s perm...

Both harrowing and masterful – as art often is.

Field, in the parlance of the world he depicts, conducts this all with aplomb. He dazzles without showboating.

И почему фильм с Кейт Бланшетт претендует на "Оскар"

Tár had me in its clutches from the overture.

An unforgettable character in contemporary cinema.

The film is a genuine tragedy -- a black comic tragedy, but a tragedy nonetheless. When great artists betray their talent by treating it...

Even if you take out the timely "cancel culture" bent, "Tár" works as a really intriguing exploration of the mostly uncharted world of cl...

There’s great heady stuff going on and also really weird fun in this film too.

A tightly wound masterpiece that slices through class anxiety and power.

A singularly strange offering…

A stark, shattering work but there’s a lot of meat on the bone, and Field gives viewers plenty to chew on… Tár is both Field and Blanche...

The film represents a daring and quite comprehensive immersion in a rarified world and features a lead performance the likes of which doesn’t...

Tár has intellectual heft, and watching her deploy it is breathtaking. Blanchett pours equal parts charisma and intimidation into her career-best p...

The sets harken back to the vintage ‘30s, and the dark streak of humor and make this one irresistible viewing for the Halloween season.

Blanchett responds with perfect pitch. Her eyes are like spies, missing nothing, and her smile is a charmer’s knife.

It’s not as immediately gripping as his previous work, but it lingers like perfume.

Grappling with what it means to be an artist in the modern era has seemingly brought the best out of both Field and star Cate Blanchett, who has un...

TÁR is breathtaking entertainment, beautifully tailored in luxe, eerie Euro sleekness… That fine craftsmanship is all anchored by Blanchett’s alter...

You will leave the theatre with questions, arguments, demands – but most of all a supremely fulfilling sense of satisfaction.

That Tár, for the most part, engages intelligently with highly charged sociopolitical issues that have fueled innumerable idiotic think pieces is j...

Start engraving the name Cate Blanchett on the Oscar for Best Actress. As a virtuoso classical music conductor blindsided by cancel culture, s...

Tár is about power, guilt and the always tantalizing question of whether the art can or should absolve the artist for being who she is.

Through a stunning performance by Cate Blanchett, Todd Field tells a story about modern culture, and what happens when a cult of per...

TÁR’s engrossing spell starts to dissipate over its final third, and yet this is that rare film about a creative person that feels neither sel...

Less a movie than a seductive deep dive into an unraveling psyche of a woman who’s simultaneously defined by and apart from the world she has...

Blanchett… [turns] the movie from a moderately interesting and topical one into something quite beautiful.

A film of rare elegance and sophistication.

I am not sure that all the film’s disparate and intriguing tics and hints and feints all come satisfactorily together, but what a colossal per...

[Todd Fields] plays it icy cool, shooting Berlin in elegantly muted tones and orchestrating his drama with a surgical precision worthy of peak...

Lydia herself is so compellingly constructed, a perfect synthesis of hypocrisy and denial, that Field’s shortcuts never cost the film much of its n...

This is the bleakest and funniest film about systemic sleaze since Promising Young Woman.

It’s the refreshing treatise underpinning this provocative, often uncomfortable but always mesmerising character study. That people are messy and c...

It is brilliant, and it is singular. Like many great films, it is also, on a certain, deep-down level, a horror movie.

Todd Field’s TÁR brings a sober, moderated nuance to a third-rail issue that all but demands polarization.

TÁR is that rarest of items: a prestige awards contender that’s also a genuine art film.

It’s basically everything you are certain will bore you to death, but it doesn’t here. It’s riveting. The film is 157 minutes long and doesn’t...

The movie belongs to Blanchett, in a turn so exacting and enormous that it feels less like a performance than a full-body possession.

Delightfully bonkers on the surface, this inventive extravaganza from the directing team called Daniels (Daniel Kwan and Daniel Scheinert) has a de...

It bridges the past and 2022, when the Emmett Till Antilynching Act defined lynching as a hate crime.

As masterful as the character it portrays, TÁR is a textured, finely calibrated, stunningly composed, and thoroughly contemporary study.

Tár is mesmerizing. Cate Blanchett’s masterful performance captivates the screen for nearly three hours.

As time ticks towards a deadline, audiences will be rivetted and hoping that these emotionally scarred women find the strength and resolve nee...

[Field] moves smoothly from dry backstage comedy to something like gothic horror.

The expansive supporting ensemble is all great and they all get their solo moments, but throughout the entirety of TÁR, there’s never any doubt Cat...