Tony Gilroy says he's never written a character like Pedro Pascal's in Behemoth !
So, Tony Gilroy, the mastermind behind some of our favorite movies, has done it again. This time, he’s crafted a character for Pedro Pascal in his latest film, Behemoth, that he claims he’s never written before. Now, if you’ve been living under a rock (or perhaps just binge-watching every episode of The Mandalorian), you might be wondering what’s so special about this character that has Gilroy all giddy.
Let’s break it down. Pedro Pascal, the man who can make even a cardboard box seem charismatic, plays a wayward cellist. You know, because why not? It’s not like we have enough tortured artist tropes floating around in cinema. But here’s the kicker: Gilroy insists that this character is unlike any he’s ever penned. And honestly, considering some of the bizarre characters that have graced our screens, that’s saying something.
In Behemoth, Pascal’s character is described as having soulful depths. Sounds deep, right? But here’s where it gets tricky. While the film has received mixed reviews, with some saying it’s a lyrical love letter to film score musicians, others have pointed out that it might be hitting all the wrong notes. Ouch! Talk about a harsh critique.
The reviews are as mixed as a bag of jellybeans. The A.V. Club raves about Pascal’s performance, while the New York Post suggests the film fails its female characters. Hmm, that’s a bit of a red flag, isn’t it? On one hand, you have a film that’s supposed to celebrate the beauty of music and the musicians behind it, and on the other, you have a critique that hints at a lack of depth for half the population.
Now, let’s not forget about the Hollywood Reporter, which mentions that while Pascal hints at some soulful depths, the drama keeps stalling. Sounds like a classic case of a character study that might have gotten lost along the way. Maybe someone forgot to pack the drama in the suitcase?
The Guardian took it a step further, labeling the film as hitting all the wrong notes. So, if you’re in the mood for a movie that’s supposed to be a harmonious exploration of music but ends up being a flat performance, then Behemoth might be just what you’re looking for.
In the end, it seems like Gilroy’s Behemoth is trying to be a lot of things at once: a character study, a love letter to music, and a reflection on human conduct. But as with any ambitious project, sometimes the execution can fall a bit flat. So, if you decide to check it out, keep your expectations in check. You might just find yourself having a good chuckle at the melodrama—or perhaps you’ll be moved.
Either way, it’s clear that Gilroy and Pascal are trying to bring something fresh to the table, even if it’s not quite hitting the high notes they intended. And who knows? Maybe we’ll all walk away with a newfound appreciation for cellists. Or at the very least, we’ll have some good material for our next sarcastic movie night.
Inspired by: “Tony Gilroy says he’s never written a character like Pedro Pascal’s in Behemoth!” (r/Entertainment)