‘Tár’ review: Cate Blanchett guns for an Oscar with a seismic role

Clayton Davis MGM and United Artists Releasing have revealed their acting submissions for all of their titles, particularly “Bones and All,” “Till” and “Women Talking.” “Women Talking,” written and directed by Sarah Polley, has opted to put Rooney Mara up in the best actress category while the rest of her female co-stars — Jessie Buckley, Claire Foy, Judith Ivey, Sheila McCarthy, Michelle McLeod, Kate Hallett, Liv McNeil, August Winter, Kira Guloien and Shayla Brown — will campaign in supporting actress. The most prominent male actor in the film, Ben Whishaw, will be the only one campaigning for best supporting actor. Mara enters a very stacked lead actress race that includes Cate Blanchett (“Tár”), Viola Davis (“The Woman King”) and Michelle Yeoh (“Everything Everywhere All at Once”). The universal acclaim for the film adaptation of the popular book could help propel her into the fold, especially given her two prior nominations for “The Girl with the Dragon Tattoo” (2011) and “Carol” (2015).

Peter Debruge Chief Film Critic “Harry Potter” has had many imitators, but none so blatant or irredeemably over-the-top as Netflix franchise starter “The School for Good and Evil,” an extravagant YA costume show from “Bridesmaids” director Paul Feig that follows two friends to an elite academy where the heroes and villains of future fairy tales are trained. The whole idea derives from a book series by Soman Chainani, though it’s obvious where it really comes from: the imagination of J.K. Rowling, who must be positively livid watching what looks like the most expensive episode of “RuPaul’s Drag Race” ever produced. Feig goes full camp here, casting Kerry Washington and Charlize Theron to play the decked-out divas who oversee the enchanted institution’s two sides. The former embodies Professor Dovey, a prissy headmistress in Tweety Bird-yellow threads, who’s always going on about the rules, while Theron’s evil-minded Lady Lesso takes her fashion cues from Ilsa, She Wolf of the SS. Joined by Laurence Fishburne (as the Morpheus-like School Master), Michelle Yeoh (largely wasted as some kind of beauty instructor) and Cate Blanchett (in voice only, as the film’s self-aware narrator), these stars have been given carte blanche to chew the scenery.

In connection with the release of blockbuster queer drama “Tar,” Tracy E. Gilchrist of Advocate Today sat down with film stars Cate Blanchett and Nina Hoss to discuss the significance of narratives that feature LGBTQ+ women.

There was a very special guest at the Pinocchio red carpet premiere – a tiny statue of Pinocchio!

Introduced at the height of her powers, the world-renowned composer-conductor who lends Tár (★★★★☆) its brusque title is meticulous in every detail of how she conducts her life. Lydia Tár strives for perfection in her work, her image, and her bespoke suits, and demands the best from her musicians, students, and staff.But Lydia, portrayed with leonine intensity by Cate Blanchett, has grown increasingly sloppy in one area of her well-tended life.

A long and belated 16 years after his last film (“Little Children,” 2006), filmmaker Todd Field has returned with something of a masterpiece with “TÁR,” starring Cate Blanchett. A bold, audacious, uncompromising work, “TÁR” centers on power and all its forms, its transactional nature, and the way it’s seemingly granted and taken away with lighting speed in our modern world.

Rebecca Rubin Film and Media Reporter After two years of upheaval and unfamiliarity at the box office, there’s something refreshingly familiar about the theatrical release of “Tár.” The acclaimed movie, directed by Todd Fields and starring Cate Blanchett as a world-famous conductor embroiled in a controversy of her own making, generated a stellar $160,000 from four theaters (two in New York City and two in Los Angeles) over the weekend, averaging a mighty $40,000 per location. Next weekend, it’s expanding its theater count (ever so slightly), to 30 new venues in 10 domestic markets. That kind of steady and deliberately paced rollout, one that relies almost entirely on positive word-of-mouth, is about as traditional as it gets for an arthouse film. Yet for most of the pandemic, it was rendered obsolete.

Focus Features’Tár opened in limited release to strong results with $160,000 at four locations in New York and Los Angles for a $40,000 per theater average, one of the best PTAs since Covid and not bad for a 2-hour and 38-minute arthouse film pre-pandemic.

After a pandemic recovery year in which Focus has started many of its releases with larger theater counts, “Tár” is starting with a return to the traditional four-screen launch in New York and Los Angeles, earning $160,000 for a per-theater average of $40,000. With the LA theaters that first got platform releases, the Arclight Hollywood and Landmark Pico, both now closed, Focus has turned to the AMC locations in Century City and the Grove on Fairfax to release “Tár,” while releasing it at the Angelika and AMC Lincoln Square in New York.

Margot Robbie is opening up about Lady Gaga taking on the Harley Quinn role in the Joker sequel alongside Joaquin Phoenix. Joker: Folie à Deux is reportedly a musical and the Born This Way crooner will play the villain Robbie has portrayed in three different films: Suicide Squad, Birds of Prey and The Suicide Squad.

Today Focus Features opens Tár, the strikingly original return of Todd Field, in four locations in NY and LA. The film premiered at Venice winning star Cate Blanchett Best Actress as musician and conductor Lydia Tár. Early this week, it seemed to mesmerize a sold-out Allice Tully Hall at the New York Film Festival.

Two-time Oscar winner Cate Blanchett is back and better than ever in Focus Feature’s latest drama, “Tár.”Written and directed by Todd Field (“In the Bedroom,” “Little Children”), the intense film gives audiences a peek behind the veil at what it really means to hold absolute power over others. Centering on an award-winning composer who has accomplished more in her career than many, the drama interrogates if acclaim is worth its sacrifices. Here’s how to watch “Tár” when it comes out on Friday, Oct.

Cate Blanchett is opening up about her take on method acting, especially when it came to her new film, TÁR.

While it was always his ambition to be a filmmaker, twenty, thirty years ago, director Todd Field was known as an actor, working with Penelope Spheeris, Nicole Holofcener, Jan de Bont, and even Stanley Kubrick in “Eyes Wide Shut” (1999). That quickly changed in 2001; Field’s directorial debut, “In The Bedroom,” would earn five Academy Award nominations, including two for Field for Best Picture and Best Adapted Screenplay.

There is a line at the beginning of Todd Field‘s celebrated new film “TAR” that notes its subject, fictional conductor Lydia Tar, is many things. She’s an EGOT winner.

Ethan Shanfeld Cate Blanchett stunned audiences on Monday night at the New York Film Festival with her commanding performance as Lydia Tár — a fictional celebrity composer who experiences a grand fall from grace after her past comes back to haunt her. When writer-director Todd Fields premiered “Tár” last month at the Venice Film Festival, the film generated instant Oscar buzz and received a six-minute standing ovation. Now, it’s gearing up for a limited release in select theaters later this week. On the red carpet at the North American premiere of “Tár,” Blanchett spoke with Variety about the parallels between Lydia Tár’s ferocious musical ambitions and her own illustrious acting career.

Cate Blanchett appears on the cover of Harper’s Bazaar’s 10th art issue and shared about how she selects roles and challenges herself creatively.