Tag Archives: Musical

Movie Review: Tick…Tick…Boom! (2021)

In select theatres and premiering on Netflix Nov. 19, 2021.

There aren’t too many motion pictures chronicling the lives of songwriters who are creating new work in the musical theatre idiom, although All That Jazz and De Lovely are two notable examples, but the autobiographical show about rejection, healing and the creative process authored by Rent creator Jonathan Larson is intriguing fodder for a feature film. Under the first-time directorial helm of Lin-Manuel Miranda, Tick…Tick…Boom! (B) casts Andrew Garfield as Larson on the verge of age 30, living in 1990 New York, waiting tables and hoping desperately the workshop of his futuristic musical Superbia will put him on the proverbial map and somehow rescue him from the punishing grind. Garfield’s characterization is wild-eyed and eccentric, like a mad scientist with dulcet voice at the keyboard; despite spending a full movie with him, the character still feels a bit at arm’s length. The show-within-a-show structure complicates matters a bit too; and Miranda’s scrapbook meets memory play presentation of it all overstuffs a little too much peripheral detail into the mix to prove his savant-like knowledge of the composer’s career. But there are large parts of the film that really resonate, especially fantasy sequences such as a tuxedo and tap style number introducing high-class living, a diner transforming into performance art and an 11 o’clock duet blending criss-crossing female voices like a cosmic moment in time. Amidst a whole bunch of Broadway cameos, Robin de Jesus and Laura Benanti shine in sterling supporting moments. Alexandra Shipp is a powerhouse and Vanessa Hudgins a delight in underdeveloped and bifurcated roles. Garfield largely succeeds in carrying most of the momentum on his shoulders and acquits himself nicely with some soaring final act ballads. It all feels a bit like a less urgent prequel to Rent, what with the starving artists, bohemian living and battle against AIDS tropes, but theatre lovers and those working to create their own opus will find much here with which to relate. Even when the behind the music motifs seem strangely surface, watching Garfield’s Larson is still a wunderkind to behold.

Movie Review: Dear Evan Hansen (2021)

Universal Pictures – now in theatres.

Tunefully tackling mental health, cancel culture and the nature of truth in the Internet age – and none of these topics with much dexterity – Stephen Chbosky’s mixed bag musical movie of Dear Evan Hansen (B-) nonetheless provides an absorbing showcase for an ensemble of female actress/singers who wave into a window of emotions more authentic than that of the film’s male lead. Call it Medicated High School Musical, and call it like it is that Ben Platt’s character translates awkwardly from the Great White Way to the silver screen. Platt is mostly crooning to the mezzanine balconies while Chbosky lenses the actor’s histrionics in awkward close-ups which reveal he is powdered in age-reducing prosthetics to reprise the lauded teenage performance he created nearly a decade ago on stage. The cinema canvas also surfaces flaws in the Broadway source material, namely that the audience is meant to sympathize with a character whose mounting lies prove to undermine his perceived good intentions. The characters breaking out into song isn’t really explained or consistent and can be confusing when one of them actually plays guitar as a plot device; and since emotion is already heightened, there’s often not much higher to go in some pedestrian presentational soliloquies. Were the YouTube fans meant to like the speech or the song? One must suspend a good bit of disbelief. However, let’s get to the good stuff, because there are many highlights in this overlong but often moving enterprise. First, the music is flawless, including two solid new songs to add to favorites such as “You Will Be Found.” The film is chock full of stunning female talent: Amandla Stenberg as an activist classmate whose tune “The Anonymous Ones” is a highlight, Amy Adams and Kaitlyn Dever as a mother and daughter recoiling from tragedy in earnest songs such as “Requiem” and “Only Us,” and Julianne Moore whose final reel “So Big/So Small” is a heartbreaker. Platt does indeed shine in many of his scenes of comedy and intense singing, even though the director should have reigned him in and clarified many aspects of the character. And Colton Ryan as a troubled classmate is so captivating in his two major sequences that it’s surprising he didn’t nab the lead role. Still, the parts of this story that work and surprise have the capacity to genuinely touch hearts and minds about the tug of war of man versus his worst instincts in a quest to belong. The film and its protagonist are often a tangled mess, but musical fans will likely grant Chbosky, Platt and company a full pardon for some of their missteps in bringing such an emotional wallop to the screen.

Movie Review: The Prom (2020)

Now streaming on Netflix.

Cue the catchy overtures, swirling footlights and confetti cannons because the unhinged and hilarious musical movie event of the year is hoofing its way into the streaming services of Middle America. Down-on-their-luck Broadway stars shake up a small Indiana town as they rally behind a teen who wants to attend the high school dance with her girlfriend in director Ryan Murphy’s joyous musical The Prom (A-). Luminous newcomer Jo Ellen Pellman is the friend of Dorothy at the film’s center whose big-hearted journey down the mellow brick road to the year’s big party involves larger-than-life troubadours who imbue the townsfolk with star quality, bravery, tolerance and a beguiling Bob Fosse tinged talent called “zazz.” Casting for the ensemble is simply inspired, including delicious diva Meryl Streep, foppish godmother James Corden, oblivious blowhard Andrew Rannells and spunky day-drinking chorus girl Nicole Kidman. Murphy deftly balances a tender central tale with acerbic showbiz insider antics for a film entertaining, uplifting and heartbreaking in equal doses. If anything this celebrity goodie bag may be overstuffed with too much, but it’s hard to resist a singing and dancing variety show packed with ample doses of genuine homespun love. The themes of acceptance and reconciliation are a well timed clarion call to the better angels of our national consciousness, and it’s all gift wrapped in glitter for the age of Twitter. The glorious music, clever lyrics and fabulous choreography come together with precision especially in the youthquake euphoria of tunes such as “You Happened,” “Time to Dance,” and “Unruly Heart.” Keegan-Michael Key as the high school principal gets a lovely grace note in an ode to theatre called “We Look to You,” earning the first of many tear-jerking vignettes. For musical lovers, this Prom is a punch bowl of sweet and tart ingredients sure to rouse, stupefy and please.


Available on Netflix.

Movie Review: Hamilton (2020)

Hamilton available on Disney+

After all the accolades afforded Lin-Manuel Miranda’s late 1700s historical hip hopera, its stage director and now movie helmer Thomas Kail scores the mic drop of best filmed play as well. If Disney’s Hall of the Presidents pulled a Night at the Museum, springing to multiethnic sung-through life on a spare set with a turntable, you’d have a beginning approximation of the experience that is Hamilton (A). This political pageant with shades of Jesus Christ Superstar and a mixtape of modern music genres depicts a new American nation engaged in a battle for its soul with its titular renaissance man (played by Miranda) making unexpected impact on the laws, lifestyle and legacy of tender through-composed territory. Themes such as the duel between independence and interdependence and the multidimensionality of a man give the proceeding a glorious gravitas. Kail’s multi-camera presentation of the live performance plunges viewers right into the ensemble, dotted with audience reactions and even a one-minute intermission helping punctuate some theatrical conventions such as Act 2 double castings. All the creative moments – from the graceful choreography to cabinet meetings staged as rap battles to fancy flashbacks with the exceptional Renée Elise Goldsberry and show stoppers like Leslie Odom Jr’s “The Room Where it Happens” roundly resonate in close-up. It’s as exciting as a document of a sassily syncopated staged play can be on screen. Plus it’s a satisfying document of a highly resonant work made even more profound as a nation still grapples with identity and destiny.

Movie Review: Cats (2019)

A B- for Universal Pictures’ new musical film

Don’t judge a talented ensemble by its misbegotten digital feline fur cover. Once you get past the regrettable and slightly creepy augmented Snapchat aesthetic, Tom Hooper’s adaptation of the musical Cats (B-) hits some pretty nifty notes. Ardent evan-Jellicles of Andrew Lloyd Webber’s classic tuner based on T.S. Eliot’s poems about ragtag whiskered strays vying for redemption will find there’s a terrific theatrical bravura and a deft, often dreamlike showmanship beneath the layers of the bizarro production design. After a high-energy and effective opener, there are admittedly a few comedic clunkers (I’m looking at you, Rebel Wilson and James Corden!) before the likes of Dame Judi Dench, Sir Ian McKellan and even Taylor Swift put their impish imprint on some rather well sung, elaborately staged and choreographed kitty ditties. Some of the scale and CGI effects defy logic, but you’ve got to suspend belief a bit anyway since you’re watching a fantasy about crooning human/cat hybrids after all. This material has never been known for having a cogent plot; in fact, Hooper shapes and improves the narrative though-line a bit from its stage origins with a sense that the characters are caught up in an actual contest. Ballet impresario Francesca Hayward is divine as the spirited protagonist, as are talented dancer/singers Robert Fairchild and Laurie Davidson in some of the less star-driven roles. Jennifer Hudson does a helluva “Memory,” and the new Lloyd Webber song “Beautiful Ghosts” (sung by Hayward, lyrics by another T.S., Ms. Swift) provides a lovely contemporary counterpoint. The film’s feral spirit can lull you right into its bonkers universe; and even though not every sequence lands on its feet, the film will undoubtedly bring joy to many as it survives multiple derisive deaths to at last experience safe harbor in the loving protection of cult fans.

Movie Review: Frozen 2 (2019)

Weak sequel scores a C-

Chris Buck and Jennifer Lee’s Frozen 2 (C-) features lovely animation of an autumnal enchanted forest, but the most prominent lingering act of nature from the film is that of treading water. Unlike the first film’s brisk telling of a fairy tale anchored by sisterly love and icy ditties, the sequel meanders into a hodgepodge of splintered themes and subplots which fail to coalesce into anything revelatory or majestic. Mediocre songs, average new characters, recycled sight gags and over-reliance on flashbacks and folklore from the first film make this excursion feel more like a cash grab than a logical extension of the story. None of the voice actors gets much of a chance to shine, and the directors’ experimentation with a number of formats for songs and detours on the plot path doesn’t do the follow-up any favors. Luckily for parents who couldn’t get the earworm “Let It Go” out of their head, there’s not much of a tune or tale to remember this time around.

Movie Review: Rocketman (2019)

Rocketman is the musical biopic of Sir Elton John

Dexter Fletcher is the director who finished filming Bohemian Rhapsody after its filmmaker was dismissed and further flexes his love of musical storytelling in the Elton John biopic Rocketman (B-), a motion picture whose blissed-out protagonist is rather hard to get to know, even after a whole film about his life has unspooled. Taron Egerton is convincing and charismatic in the lead role, and Jamie Bell is also enjoyable as Bernie Taupin, the musician’s longtime lyricist and friend. The story, told in both the musical style of characters breaking out into song and sequences reenacting live performances, gets glowing support in terms of flamboyant costumes, buoyant choreography and Bryce Dallas Howard in a juicy role as the musician’s mum. Unfortunately the plot is inert, and stock characters like the agent/love interest played by Richard Madden are crocodiles who fail to rock. Many of the jukebox musical numbers come to brilliant life with delightful orchestrations, especially “Saturday Night’s All Right for Fighting,” “Tiny Dancer” and “Your Song.” However, some favorites from the catalogue are oddly missing or marginalized, and John’s character choices are mainly muddled in a drug and alcohol fog. Much more bittersweet than celebratory, the film is crying out for a drying out, and the ultimate detoxifying denouement is begging for an audience still standing by the end, but sorry seems to be the prevailing word.

Movie Review: Mary Poppins Returns

For a physical production practically perfect as Rob Marshall’s Mary Poppins Returns (C+), its makers should have spent some tuppence on the sequel’s songs and screenwriting and provided its glum protagonist with a jolly holiday from all the topsy turvy plot contrivances. The lavish set design, resplendent costumes and meticulous vintage Disney animation are all in fine form, and the movie opens and closes very, very well. There’s just a lot of filler material that’s super- califragilstic- expiali- average in between. Emily Blunt’s taciturn take on London’s cloud nanny gets eclipsed in all the madcappery, and Marshall’s tenuous grasp of tone does few favors for Ben Whishaw, Colin Firth, Meryl Streep or Lin-Manuel Miranda, the latter projecting for the balcony seats even though he’s on the Cherry Tree Lane where it happens. While passive protagonist MP tries to save two generations of Banks children from eviction and from their own imaginative inertia, it’s unclear for whom the audience is even supposed to cheer. Plus the youngest kids (the true heart of the film) frankly seem pretty well adjusted at the beginning of the movie. Marshall brings little razzle dazzle in the form of fresh choreography, aside from a song trying to make fetch happen for lamp lighters (was that a skateboard ramp at one point?) And oh, don’t name check the bird lady just to wing-flap out of another plot hole. Despite the lovely craft, the art of the film’s storytelling is lacking. The fact that there’s not one single element this belated sequel improves on over the original shouldn’t sway families from seeing it, and there are indeed some tender and nostalgic moments; but this spoonful of chutzpah proves mild tonic.

Movie Review: A Star is Born (2018)

Director Bradley Cooper’s unlikely remake of A Star is Born (B) throws in all the tropes of a good melodrama: it’s a Rose of a Love Story packaged within a gritty and naturalistic ‘70s film aesthetic. It’s also a vanity project seemingly stripped of vanity, and Cooper and leading Lady Gaga pull the heartstrings in one of the most spectacular love affairs since Rocky Balboa met Adrian Pennino. He’s a rockabilly musician fighting the demons of addiction; and she’s a moonlighting waitress and his singer/songwriter salvation with a pop music career on an upward trajectory. Their romance and music soar, for the most part; and when all elements are working in precision, it’s amazing to behold (their first duet as well as a stunning finale are alternately indelible and incredible). There’s just too much predictable not-very-good filler stretching the experience into an unnecessary “Oscar qualifying” length (movies with long running times have more pedigree, so they say, and this feels way longer than its 127 minutes!). The on-screen lead lovebirds also co-wrote the stirring music with help from the likes of Diane Warren, Mark Ronson, Lukas Nelson and Jason Isbell. There’s a long stretch of story without a new song that seems to lack oxygen because of it. Overall, the film is a marvelous star vehicle for the pop icon, who de-glams and leaves it all on the screen. I’m not sure a glimpse of Gaga’s lady was fully necessary; nonetheless the musician proves a revelation of an actress in every frame. Cooper is a bit too Sling Blade in his role with a distracting drawl that doesn’t fully match his character, and Sam Elliott is inexplicably cast as his brother (you know, the kind of sibling who is about 40 years older). Cooper’s directorial debut is intentionally messy around the edges; and there are times it feels he has captured the magic of love on screen. It’s far from original, but like a play with a soul-stirring revival, it’s worth seeing for these stars’ fetching takes on the roles.

Movie Review: Mamma Mia! Here We Go Again

Alas sometimes these super sequel troopers leave you feeling like a number two. Ol Parker’s Mamma Mia! Here We Go Again (C+) has a lot working against it: soundtrack of ABBA B-sides as opposed to the first film’s greatest hits, a largely missing Meryl Streep (whose credibility helped elevate the preceding film to its guilty pleasure status) and the lack of the musical whodunit propelling the original’s narrative. Still, many of the songs soar with giddy delight (“Waterloo,” “Angel Eyes and “I’ve Been Waiting for You” are favorites), and it’s fun to see the assorted cast of characters cavorting on a lovely Greek Island once more. Lacking a consistent or cogent new plot, Parker goes full Godfather II with flashbacks to Streep’s younger self lovingly played by Lily James. She’s good, but neither she nor present-day Amanda Seyfried can quite heed the script’s S.O.S. It’s all rather obligatory but watchable, and both a spry director and a game ensemble give their all with the paltry lot they’ve got. Thank you for the music; no thank you for the cash grab.

Movie Review: Saturday Church

Saturday ChurchThe coming of age musical fantasy Saturday Church (B), written and directed by Damon Cardasis, is a balm for modern times as well as a bit of a love offering, with tender and affecting performances set to soaring music punctuating a meaningful meditation on what makes a family. Luka Kain is magnetic as the teenage protagonist exploring his sexual and gender identity against the backdrop of a home befallen by tragedy and mixed signals. Margot Bingham is superb as his absentee but well-meaning mom, and Regina Taylor plays effectively against type as a judgmental guardian aunt, but it’s the gender fluid ensemble providing their own brand of sassy youth fellowship at the real-life NYC haven of the film’s title who are acolytes for the movie’s inclusive glory. MJ Rodriguez is the film’s heart as the teen protagonist’s big-sisterly companion, and Marquis Rodriguez is a winning delight as a friend and love interest. Interior monologues become bursts into songs (it’s hard not to think of some of it as a mini-Rent without the artsy angst); and although many of the sequences overreach, the film is a minor miracle, unflinching in its depiction of runaways and discarded outcasts who cannot always live up to the “Conditions of Love” described in one of the standout songs of Nathan Larson’s score. The film felt like it was evolving into the Billy Elliot of drag, what with our hero finding new ways to express himself, but stops short of striking a penultimate pose. It’s a generous, entertaining and important film.

Movie Review: Pitch Perfect 3

After the original film showcased the fresh sounds and culture of collegiate a capella and the sequel amped up girl power in glorious fashion, Trish Sie’s Pitch Perfect 3 (C-) squanders the goodwill the musical comedy franchise has engendered with a denouement that temporarily turns the franchise into a head-scratching thriller before briefly returning to form for a tepid final bow. The Bellas are missing their fellas (would it have been too much to bankroll a Skylar Astin or Adam DeVine cameo?) and end up on a USO road show with a contrived competition, but thankfully the funny and talented Anna Kendrick and Rebel Wilson rise above the material. It seems they’d be fun just laughing together in a blank room. The film’s fictional bands don’t feel rooted in reality, the military subplots feel underdeveloped; and, as maestro of the film’s obligatory contest, DJ Khaled is so bad at playing himself that perhaps Christopher Plummer could have stepped in. John Lithgow’s character is a shark jumper in human form, and “Fat Amy” develops so many new superpowers, I half expected her to “Force project” herself through time and space. Of course the joy of these films is largely discovered in the quality of the musical sequences and droll comic lines, and there are enough here for fans to complete the viewing of the trilogy. There are also some occasional inside jokes that land like sweet lozenges amidst the hastily assembled script’s sore wanderlust. The series went from throw down to throwaway fast, but long live any entry into that adds Britney Spears and George Michael covers into its canon.