Best known to some as the showrunner on Star Wars TV show Andor, Gilroy has an extensive career in Hollywood as a screenwriter, from Armageddon to four Jason Bourne movies, including 2012’s The Bourne Legacy, which he directed. Perhaps his greatest triumph, though, is his first film as director: 2007’s legal drama Michael Clayton, which saw him nominated for two Oscars.
As we discover along the way in Gilroy’s non-linear script, Pascal’s Alex Serian is a former child prodigy (in one of the cuter moments, we see him playing his instrument, aged 6, on Johnny Carson’s chat show) from a musical family.
Talented though he may be, after 20 years on the road, he’s back in Los Angeles scraping a living, whether it's in orchestras recording movie scores or even playing music at posh birthday parties.
View Green Video on the source website“People love dysfunction,” says Andy, as he tries to get his sibling on his podcast, although, in truth, it’s hard to see that Alex enjoys the turmoil he’s sucked into.
Gilroy’s script certainly indulges in big tonal shifts, from a central character exiting the story in an unexpected way to an almost farcical sequence as Alex sneaks around a luxurious mansion, looking for evidence in a subplot best left unspoken of here.
Not all of it works, mind. The structure is wilfully obtuse at times, leaving us with an impressionistic story that doesn’t quite gel in a way you’d hope.
Gilroy also brings in great actors for even tiny scenes, like Arrested Development’s Alia Shawkat, Matthew Lillard and Hank Azaria.
Yet swaying between black comedy and bleak drama, it’s sometimes too much of a leap for audiences to truly make. But at least for the army of Pedro Pascal fans out there, there’s plenty to feast on, in what might be his sexiest role to date.
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