https://www.indiewire.com/criticism/movies/behemoth-movie-review-pedro-pascal-1235220030/
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“Behemoth!”
“Perhaps that explains why Gilroy doesn’t feel the need to tell Alex that.”
“Real and recessive, Pascal’s unshowy performance resists explaining how Alex feels about the tension between art and money, which he inherited like a family heirloom.”
“Probably, but I sense that he also sympathizes with the fact that his dad never really knew what he was playing for.”
“Powered by WordPress.com VIP NYFF ‘Behemoth!’ Review: Pedro Pascal Plays a Wayward Cellist in Tony Gilroy’s Movingly Atonal Character Study About How People Conduct Themselves The "Andor" creator returns to the big screen with a movie that's smaller and stranger than its title would suggest.”
“Maybe, we think, the music will help make sense of the stray thoughts that kick around his head, or at least turn them into the stuff of a “Stardust Memories”-like funhouse to explore.”
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“By virtue of suffusing that search into its structure and movement, “Behemoth!” effectively submits itself to the same challenge.”
“It’s all too easy to imagine what a conventional filmmaker could do with that same concept.”
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“By David Ehrlich Plus icon David Ehrlich davidehrlich More stories by David ‘Behemoth!’ Review: Pedro Pascal Plays a Wayward Cellist in Tony Gilroy’s Movingly Atonal Character Study About How People Conduct Themselves Read more ‘Verity’ Review: Dakota Johnson and Anne Hathaway Co-Star in a Fun and Frigid Psycho-Thriller Read more ‘Digger’ Review: Tom Cruise and Alejandro González Iñárritu Almost Hit Rock Bottom in Surreal Misfire About Our Collective Self-Delusion Read more October 2, 2026 8:06 pm Add us as a Google Preferred Source 'Behemoth!' Searchlight Pictures Share Share on Facebook Post Share on LinkedIn Show more sharing options Submit to Reddit Pin it Post to Tumblr Email Print This Page Share on WhatsApp Purposefully unfolding like a piece of classical music that’s lost its melody among a maze of overlapping leitmotifs, Tony Gilroy’s “ Behemoth!”
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“The obvious effort that Pascal spent practicing the cello pays off in the scenes where Alex intensely plays the instrument for his own private reasons, as if asking the same thing of himself.”
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“Collective is beyond reproach, as the fake scores invariably echo with the essence of real ones), but little of which is memorable in its own right.”
“Searchlight Pictures will release it in theaters on Friday, December 4.”
“More restless than “Michael Clayton” and even slipperier than “Duplicity,” the “Andor” godhead’s first movie in 14 years might think of itself as a love letter to movie scores and the people who make them, but “Behemoth!” mostly prefers to play the notes between the notes.”
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“He’s spent most of his life staring at a conductor and “waiting for the stick,” but at a certain point he’s going to have to find his own tempo.”
“At least, not until it has to be.”
“Not until the deeply affecting scene where a certain piece is performed with a presentness that suggests Alex’s sense of self has, at long last, been made diegetic.”
“While Gilroy isn’t immune to the sentimental power of music, “Behemoth!” is more interested in using it as a portal — as a way of making sense of how people move through time.”