Vox Lux

This film showcases the personal evolution of someone thrust into the spotlight through dramatic events and dealing with the new trauma that comes from fame. There was so much potential to make this film an unapologetic critique of how the media treats celebrities (particularly women) and the mental toll it takes on said celebrtities but instead ends with a ten minute concert and no real stances or closure. The entire cast is incredible and the cinematography beautiful. It's worth a watch, just know you won't be satisfied.

This film suffers from the same kind of poor choices which would cause someone to, say, make a 9/11 disco musical. It wields an enormous subject and chooses to focus on the most irrelevant aspects of any reaction to that subject.

It doesn't really matter what you want to say - the bizarre, unresolved context for the setup feels faintly obscene and eventually bankrupt. If the point of the film is to illustrate the shallowness of reactions to terror and violence, then it failed to say that. Instead, it looks more like a statement about the parallels between self-expression, terrorism, self-obsession, or losing your identity to celebrity, or something... By the end of the film I was deeply annoyed.

Hats-off the all of the professionals who clearly know how to make an impressive film here. But this story however, is a mess of intensity looking for a point. I believe that it fails eventually because of the indigestible premise.

You will think Vox Lux would be about the perils of pop music. It starts off with a horrifying school shooting.

13 year old Celeste Montgomery (Raffey Cassidy) survives but is shot in the neck. At an event held to remember the victims, Celeste sings a song that she co-wrote with her older sister Ellie. It becomes a hit and Celeste gets picked up by a pop manager as she encounters instant fame.

The second part of the film concentrates on the adult Celeste (Natalie Portman) in 2017. She is a jaded unhinged pop diva. Cynical and hard as nails who has encountered booze, drugs and infamy. Celeste actually lost her vision in one eye while drinking cleaning fluids. She was involved in a multi million dollar lawsuit as she ran over a man and then was racially abusive towards him.

Celeste is about to start a tour to promote her new album. Her daughter Albertine (Raffey Cassidy) who has been raised by Ellie has recently lost her virginity. Celeste becomes unsteady and incoherent with booze, her daughter's sexual experience and a terrorist attack in Croatia which might be linked to her music. At one point it looks like Celeste is in no fit state to perform at the concert.

Vox Lux is deliberately episodic in structure and never joins up properly. The caustic narration by Willem Dafoe paints the movie as a warning of the corrosive effects of stardom. Celeste has long ceased to be a real person. The ending at a pop concert feels strangely muted, sudden and unsatisfying. Portman excels as Celeste just as Cassidy who plays dual roles but the film has nothing new to say.

The reviews and trailer for this film promised a strong performance by Natalie Portman as a troubled pop star. While some of the praise for her role in "Vox Lux" may be somewhat overhyped, she does give a generally good performance in this drama directed by Brady Corbet. She plays Celeste, a now-famous pop star who survived a school shooting in 1999. The film gives viewers a grip on how those who get too all-consumed in the superficiality of pop music culture can lose control over their lives, although sometimes the dialogue and writing during these scenes can sometimes feel almost too on-the-nose to be truly impactful on the viewer.

The film is stunningly shot, and its score is often stirring and potent. Jude Law's supporting performance is outstanding, providing a powerfully subdued complement to the main narrative as Celeste's manager. With the exception of the memorial song sung by a young Celeste at a vigil for the shooting victims about ten minutes after film's commencement, the rest of the film's songs (which are pop-based) are generally not too appealing. However, this is likely intentional, as Corbet's direction is intended to make the viewer critique popular culture and its effects on music and society, as well as the possibility that our social obsessions may breed tragic and wretched acts. Despite such potentially-thoughtful commentary, it's not clear by the end of the film what Corbet really wants to say or offer as a message to the narrative besides simply saying that excess tackiness is bad. While superficiality is an important topic, for a film that poses far deeper, existential and angst-filled questions, the film's attempts to thread loose ends of its messaging before the film's finale (a pop concert) feel somewhat skimpy. The film's stronger elements would make it worth of recommending to those who like Natalie Portman and can appreciate sometimes-audacious and challenging films. 7/10

Natalie Portman stars in this very unusual, intriguing but flawed film that explores several different genres in tackling pop culture and its sordid grip on the national consciousness at the dawn of the new millennium. Is this a satirical bombardment? One could argue. Is it a tragic indictment? Definite possibility. One thing it is not is straightforward.

This film gets by on the strength of its performances and its committed portrayal of the poisonous celebrity lifestyle and the emotional toll it exacts. Portman is explosive as the grown-up pop star who came from humble beginnings and found her survival of a horrific school shooting catapulting her into national prominence when she performed a song at a televised vigil. Jude Law is sharp as her gruff, street-smart manager who early on helps transform her from a victim of tragedy into a gaudy, commercialized monstrosity. Raffey Cassidy shines in dual roles as the pop starlet in her younger days, and as her teenage daughter in the film's second half.

There are drawbacks. A dry, detached voiceover narration by Willem Dafoe is more often a glaring distraction than an enhancement. And the film's simplistic juxtaposition of acts of terrorism and concert tours only tentatively conveys the theme of the intertwining of tragedy and pop culture. The film is obviously trying to echo its plot thread that takes hold in the beginning but it seems so faint by comparison.

Thought-provoking but more for the thesis that it tackles than for its actual achievement, this film is worth watching. How well it succeeds depends on how you view Portman's performance. Does she eviscerate the entertainment industry as immoral with a lightning-rod portrayal of wasted youth? Or does she dilute the film's impact by giving a performance that is too much of a caricature to constitute an allegory? Decide for yourself.

I freely admit that this film is not for everyone while acknowledging that I myself found it quite compelling. Finally, a splendid array of well-performed songs and a sterling soundtrack add to the film's favor. Recommended.