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Nascent celebrity culture and the myth of the artist’s muse are skewered by the tale of Johnny Cash’s first wife, Vivian Liberto, told by her daughters and a trove of vintage photos and love letters.
So aggressively precisely what you think it is that there’s almost no point in seeing it. Flattens a true story into generic pap that isn’t even that successfully, authentically feel-good, either.
Seriously adorkable teen is saved, in 1987, by the rock poetry of Bruce Springsteen. The Boss is still relevant today, as is, alas, the harsh political and economic setting of Thatcher’s Britain.
It’s not interested in a world absent the incalculably enormous impact of the Beatles. It’s just a lazy comedy of one running joke, a regular schmoe enjoying unwarranted success, and a blah romance.
Joyful and rowdy, self-deprecating and vulnerable, absolutely electrifying as it deconstructs the sex-drugs-and-rock’n’-roll story. Taron Egerton is chills-inducingly good. Sheer cinematic magic.
If you don’t get why Beyoncé is worshipped as a goddess, this glorious pop spectacle — part concert film, part myth-in-the-making — will fix that. Enormously entertaining, and absolutely landmark.
This tonal misfire never hits the notes of drama and romance it aims for with its ickily problematic terrorist-hostage relationships. Facile and uncomfortably implausible, emotionally and practically.
The tune may be familiar, but it is performed with virtuoso style, its central characters drawn with wit, charm, and complexity and brought to life via the absolutely gorgeous performances of its stars.
Rami Malek brings warmth, humor, and a down-to-earth humanity to the larger-than-life Freddie Mercury. But it is the power of Queen’s music — the rousing good cheer, its sheer rock ’n’ roll joy — that fills up this pure brash entertainment.
Instantly sweeps us up in its passion, its electricity, its music, and characters to fall in love with. Lady Gaga is a revelation. It’s impossible to believe Bradley Cooper has never directed before. I adore this movie.
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