BEHEMOTH! is a dynamic and handsomely crafted but peculiar film from Tony Gilroy. It’s his most stylish work to date, but also an uneven one, hurt by inconsistent rhythms and some narrative shortcomings. Pedro Pascal is at least delivering a beautifully modulated, grounded performance that never overplays itself, finding considerable emotion in even the lightest of notes. It’s his best film work to date. All of the supporting characters make the most of their screen time but all feel underutilized. The real highlight, though, is the score, with nine elite composers crafting a collection of beautifully textured orchestral pieces across different styles, providing momentum to an otherwise flat character study of a passive man who finally finds something worth caring about again. It comes close to greatness several times but ultimately fails to heed the advice of its own lead character: pick a lane and stay in it, like a train. Instead, it chooses to be a river, drifting between various tones and ideas, sometimes smooth and comforting and other times rocky and rough.