Pedro United Kingdom: What UK Readers Should Know About Pedro Pascal

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1. Behemoth! review - Pedro Pascal classical music drama hits all the wrong notes www.theguardian.comThe actor stumbles through Tony Gilroy’s forgettable film marred by stylistic gimmicks New York film festival: The actor stumbles through Tony Gilroy’s forgettable film marred by stylistic gimmicks New York film festival: The actor stumbles through Tony Gilroy’s forgettable film marred by stylistic gimmicks Tony Gilroy has built a sturdy career as the director of the Bourne films and show runner of the popular Star Wars spin-off Andor. He directed Tilda Swinton all the way to an Oscar for her remarkable performance in the legal potboiler Michael Clayton. As the first feature film he has directed since 2012’s The Bourne Legacy, the classical music drama Behemoth! promised to be an intriguing return from a master of threading the needle between slick action and deeply felt drama. His new film comes with a score from nine A-list composers who have banded together and called themselves The Behemoth! Collective, a stacked cast and a womanizing central character who looks phenomenal in a tux: “Tár for straight men”, as a friend of mine put it. If only Pedro Pascal had an iota of Cate Blanchett’s charisma or Gilroy came close to Todd Field’s elegant braiding of genres. Our protagonist is Alex (Pascal), an inscrutable cello maestro who has moved home to Los Angeles after nearly two decades on the road. The city offers him regular, if soulless, session work scoring TV shows and movies, as well as the opportunity to be closer to his brother (Will Arnett) and mother, a respected harpist who is suffering from ill health.
2. Will ‘Behemoth!’ Push Pedro Pascal Into Oscar Contention? www.indiewire.comCan Tony Gilroy's 'Behemoth!' put Pedro Pascal into the Oscar race? By providing your information, you agree to our Terms of Use and our Privacy Policy. We use vendors that may also process your information to help provide our services. This site is protected by reCAPTCHA Enterprise and the Google Privacy Policy and Terms of Service apply. In New York Film Festival Centerpiece “Behemoth!,” writer/director Tony Gilroy has created a delicately calibrated film about a cellist (Pedro Pascal) in a midlife crisis. The movie played well at a packed Alice Tully Hall, and afterparty revelers were mildly upbeat. Critics approve (see Metascore) of Pascal’s quiet, almost silent, reactive performance — he carries the movie, appearing in every scene — but the Best Actor category is so crowded that it will be tough for Pascal, who has never been nominated, to squeak past louder thespians like Matt Damon (“The Odyssey”), John Malkovich (“Wild Horse Nine”), Andrew Scott (“Elsinore”), Ryan Gosling (“Project Hail Mary”), and John Turturro (“The Only Living Pickpocket in New York”). So far, Pascal has been recognized for his television work in HBO’s “The Last of Us.” “Behemoth!” marks his most ambitious lead film role to date. blogherads.adq.push(function () { blogherads .defineSlot( 'medrec', 'gpt-iw-article-mid-article-uid0' ) .setTargeting( 'pos', ["mid","mid-article1","mid-articleX","mid-article"] ) .setTargeting( 'viewable', 'yes' ) .setSubAdUnitPath("ros\/mid-article") .addSize([[300,250],[300,251],[620,350],[2,4],[4,2],[2,2],[620,366]]) .setClsOptimization("minsize") ; }); Related Stories ‘Josephine’ Director Beth De Araújo Delivers Powerful Speech Condemning Cornell Rape Case ‘Behemoth!’ Review: Pedro Pascal Plays a Wayward Cellist in Tony Gilroy’s Movingly Atonal Character Study About How People Conduct Themselves The movie’s strength is its innovative music structure, as Pascal’s cellist plays different movie scores in a series of Hollywood sessions that throw his memories back in time. Gilroy deployed nine composers, including James Newton Howard, Michael Giacchino, and Alan Silvestri, whom he calls The Behemoth! Collective. Academy rules call for no more than three composers to be entered for consideration for a movie’s Original Score. But Searchlight hopes the music committee will consider accepting the one Collective in this case. The music branch was flexible about the “K-Pop Demon Hunters” multiple songwriters, who shared their one Oscar. But the “Birdman” drumming score was disqualified as not being music. The two composers on “Arrival,” Max Richter and Jóhann Jóhannsson, were disqualified. But later on, Richter was allowed to include both new material and old on “Hamnet.” blogherads.adq.push(function () { blogherads .defineSlot( 'medrec', 'gpt-iw-article-mid-article2-uid1' ) .setTargeting( 'pos', ["mid","mid-article2","mid-articleX","300x251"] ) .setTargeting( 'viewable', 'yes' ) .setSubAdUnitPath("ros\/mid-article2") .addSize([[300,250],[300,251],[620,350],[2,4],[4,2]]) ; });
3. A-List Star’s Career-Best Performance Is Pitch Perfect www.thedailybeast.comPedro Pascal thrives as a directionless cellist in Tony Gilroy’s moving “Behemoth!” Music is the tissue that connects us to the world, each other, and ourselves. And in Behemoth!, it’s not merely the profession of cellist Alex Serian (Pedro Pascal), but the way Tony Gilroy draws us into his tale. Led by the most nuanced and soulful work of Pedro Pascal’s career, this film about a man navigating a life of glorious melodies and squandered opportunities is a cinematic concerto the viewer sinks into—euphorically, sadly, deeply. Making its world premiere as the Centerpiece selection of the New York Film Festival (and debuting in theaters Dec. 4), Behemoth! is the Oscar-nominated Gilroy’s first official behind-the-camera feature since 2012’s The Bourne Legacy. He’s remained busy in the interim, most notably by ghost-helming 2016’s Rogue One and, to great acclaim, creating and show-running Disney+’s Andor. Despite pairing with a fellow alum from the galaxy far, far away in The Mandalorian’s Pascal, his latest is a distinctly more grounded affair, if no less thrilling, courtesy of a lyrical structure that crashes and tiptoes, soars and plummets, with inviting gracefulness.