I don’t know what this movie was trying to say about anything. Vox Lux stars Natalie Portman as the adult Celeste, a survivor of a school shooting as a teen who became an international pop star in the months after. Is there something writer/director Brady Corbet wants to say about the transformation of tragedy into mass entertainment? The dulling effect of an entertainment industry to grind up human beings and re-purpose them into shiny, inauthentic, easily marketable figurines? I don’t know. I warily thought as we open on an upsetting school shooting, “I don’t know if the final product will justify this tone,” and it doesn’t. There are decisions that feel like they should mean something, like having the same actress, Raffey Cassidy (Tomorrowland), play both young Celeste and her eventual teen daughter, but what? It feels like an idea looking to attach to an interpretative message. Then there’s a modern terrorist group dressing like one of Celeste’s iconic music videos. She distances herself from the violence and even publicly challenges the perpetrators. This will obviously come back and mean something, drawing upon her own beginning stages of fame derived from the bloodshed of others, right? Or during her big concert the terrorists will invade and attack her, bringing the main character face-to-face with the ramifications of hubris. None of these things happen. Instead, Portman enters the scene at the 45-minute mark and proceeds to lash out at others, lament her parenting deficiencies, gets drunk, and then puts on her show. That’s it. It’s like Vox Lux forgot to be a movie for the final 20 minutes and just becomes a numbing series of EDM pop dance numbers. Portman is actually very good and digging deep into her anxious, entitled, and spiraling pop star, rounding out her dimmed humanity when Corbet cannot. There’s a solid storyline here between the adult Celeste trying to reconnect with her teen daughter who she’s been neglecting. This isn’t it. The pretension level of the pedantic exercise made me think of Lars von Trier as filmed by Darren Aronofsky. Skip it.
Nate’s Grade: C-