'Tár' — The Monster's Side of Paradise
A film for the post-MeToo era that inverts the narrative with an ironic coda, Tár depicts the duality of a sensitive artist capable of great evil and vile manipulation.

Nikko and Nora aren't your average siblings. She's a sultry serial killer, and he's her voyeuristic accomplice. She poses as a literature professor who tempts students into her lair, where she teases them with erotic poetry before …
A film for the post-MeToo era that inverts the narrative with an ironic coda, Tár depicts the duality of a sensitive artist capable of great evil and vile manipulation.
While it is more than established that Halston’s life is far from a fairytale, the narrative suffers as a result of the decision to revolve more around sex and drugs than his artistry, it likely does a disservice to his cultural impact by pulling focus from his achievements.
After We Collided is a sequel to last year’s After, which itself was based on Anna Todd’s 2014 novel of the same name, and which was originally published as a Harry Styles-centric fan-fiction on WattPad (a similar path as E.L. James’ Fifty Shades of Grey series).
Mona Fastvold’s nineteenth century lesbian romance is emotionally charged, restrained, and poetic without feeling forced.
I first saw Dear Evan Hansen on the Broadway stage. Apparently, I was so blown away by the magic of theater that I didn’t pick up on the questionable dynamics. The story's clumsy handling in the movie brought those issues to light.
The differences in these films could not be more blatant, and yet Gus Van Sant has found a way to portray the same messages and use the same techniques in each.