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Centered in the world of the arts, composer/conductor Lydia Tár (Cate Blanchett) navigates the knives and daggers as a Musical Director for a famous German orchestra; a degree of success that’s also come at a significant cost. Now, her ability to maintain her name, image, accolades, family life, and side interests may have reached a critical breaking point; will she sink or will she find a way to cork the cracks in her hull? Written and Directed by Todd Field this arduously crafted tale of unwinding and power struggle is a tour de force for Blanchett who seamlessly moves between her own worlds, those which she’s created and those which are forced upon her all the while holding composure until a crucial break. Meanwhile ducking between spoken English and German, the power in which Blanchett delivers monologue after monologue is both breath taking and frightening at the same time. Albeit, this two hour and thirty eight minute monster does seem to have some pacing issues and could stand to be tightened up, conversely several sub-plots are left unfinished, strange. Regardless, this is award material at its core and in its star. TÁR is rated R.

The year is 1918 and the Spanish Flu pandemic has the world living in isolation while World War I is wrapping up. For young Pearl (Mia Goth) the absence of her husband (Alistair Sewell) in the military and the pressures of farm life with her mother and ill father (Tandi Wright and Matthew Sunderland) have reached a breaking point. Now, with the chance of fame dangled before her, a new festering hunger will shape Pearl into the woman no one expected her to become. Written by Ti West and Mia Goth and Directed by West, this prequel to the film X (2022) is a delightfully stylized descent into the madness of a farm tool wielding psychopath, all shot in vibrant technicolor with period appropriate camera work and editing. For fans of horror and classic cinema this bloody love letter captures the heart with its morbid hilarity, building tension, and ultimate dissonance. Better yet, the film’s payoff with its final shot into credits caps the entire performance with the perfect kiss hello and goodbye. Worth your time this 102 minute romp doesn’t overstay welcomes and braces us nicely for what’s yet to come. Pearl is rated R.

A close knit group of 20 somethings get together for a hurricane party at the remote family mansion of David (Pete Davidson), but, when an aggressive game of “Bodies Bodies Bodies” appears to get out of control, actual lives are lost. Now, who’s at fault? Getting to the bottom of this whodunnit may cost more than friendships. Written by Sarah DeLappe and Kristen Roupenian and Directed by Halina Reijn, this cautionary Gen-Z tale of privilege, excess, and psychosis is a hilarious mirror to society through the lens of social media distortion, drugs and woke culture. Sharply written, fans of horror may have the plot figured out well before the dark ride ends, but, pithy quippy dialogue keeps the gallows humor rolling as this young ensemble stumbles their way through the eye of a storm. And, running a mere 95 minutes, the brisk pacing doesn’t leave much fat to trim. Clearly stylized with the youth in mind, fans of the horror/thriller genre have a new voice to pay attention to. Bodies Bodies Bodies is rated R.