film criticism by maryann johanson | celebrating 25 years: 1997–2022
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.
One of the rare movies that gets absolutely everything right, bursting with happy-tears emotion about solidarity, friendship, and smashing bigotry.
It’s like Billy Elliot, except with opera singing. James Corden isn’t as charming as Jamie Bell, though.
Actual unretouched phrases that people plugged into search engines this week that led them to this site (with some commentary from me)…
Jac suggested we gaze at Jamie Bell. Because once he was Billy Elliot, and now he’s this…
I guess it’s officially tradition now: I can’t narrow the best films of the year down to only 10, so, like Nigel Tufnel’s amp, this one again goes to 11. Film critics and fans alike have been heard to complain that 2000 was an awful year for film, but I’m not sure that that is … more…
