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Tick, Tick… Boom! (2021)

Tick, Tick… Boom! is one of many film adaptations inspired by musicals and this one sheds light on the creative process and its struggles of the musical’s writer and subject, Jonathan Larson (Andrew Garfield). Larson was known for writing the musical Rent which is one of the most popular and loved by people across the world. What people may not know is how Larson struggled to make it big in the musical theatre world which is what Tick, Tick… Boom! explores. The musical follows Larson who is trying to get his new musical approved and funded by respected members in the Broadway community including figures like Stephen Sondheim (Bradley Whitford). The musical in itself is brilliant and acts as a fantastic tribute to the world of musical theatre and the people who helped build it to what it is now.

When deciding to adapt the musical, it seems only natural that Netflix would choose someone who is just as prolific in the musical theatre world and who else to choose than the incredibly talented Lin-Manuel Miranda. The mind behind In the Heights and Hamilton and songwriter for Moana and Encanto, Tick, Tick… Boom! marks Miranda’s directorial debut and he delivers, marking his talent behind the camera with a stunning debut. Miranda’s passion for the musical and its subject is evident and it comes across in how he captures Larson’s perspective of the world and the magic and imagination of musical theatre with contrasts of the reality that Larson is living as he struggles to afford his rent and bills and is losing friends to HIV and AIDS amidst the epidemic. Miranda transports us to early 1990s New York and combines the original musical format that sees Larson and his costars perform onstage and recite the stories in a traditional setting with stagings of the events to keep it equally gripping.

There is no doubt that this film belongs to Andrew Garfield who is captivating and perfect for the role of Larson. Arguably Garfield’s career best performance and one that is sure to bring him a lot of attention this award’s season, his portrayal of Larson feels well-rounded and fully realised. He doesn’t always make the smart choices but his intentions are pure as his passion for music and musical theatre thwarts his love for everything else and we get to see the rewards and consequences of this. We feel the elation as Larson gets closer to achieving his goals such as his promising interactions with Stephen Sondheim while also witnessing the losses and downfalls as he comes to terms with the deaths of his friends with scenes such as his emotional encounter with best friend Michael (Robin de Jesús) who has recently discovered that he is HIV-positive. Garfield is magnetic from the first shot to the last and makes use of every scene in between. Not only does he pull off the performance fantastically but his singing voice is brilliant as well which makes it a great watch.

Alexandra Shipp plays Jonathan’s girlfriend, Susan, who is a dancer looking for a stable job following an injury that has put a spanner in her career. It is clear that Susan loves Jonathan and appreciates his talent but when Jonathan begins to neglect Susan and disregard her needs and the decision regarding her offer to teach full-time which would result moving out of state. Where Garfield’s performance sees Jonathan’s head in the clouds, Shipp’s performance weighs him back down to reality which makes their pairing a perfect match. The scene in which Jonathan imagines Susan singing “Come to Your Senses” and Shipp’s performance perfectly conveys the pain that her character feels as she had no choice but to follow her path despite her love for Jonathan.

There are plenty of great supporting performances that allow Garfield to shine even more. These include Vanessa Hudgens as Jonathan’s costar and actress, Karessa, who has the role as the female protagonist in Larson’s musical, Superbia, that he is trying to get funded. Hudgens doesn’t have a lot of screentime but she makes the most of the time she does have. Her performance of “Come to Your Senses” which plays alongside Shipp’s is beautiful and although it plays up the performative aspect of the number more than Shipp’s which leans more into the emotion, it shows the ability that the song has to exist both as a tribute to Susan as a character and as a musical number.

Since the film is a musical, it is important to talk about the music. As expected with a Larson production, the musical numbers are fantastic and filled with plenty of nuance and emotion. Tick, Tick… Boom! not only includes songs about Jonathan’s perspective and struggles to write a song but there are also a couple of songs included from the musical that he is trying to complete within the film. The songs are mainly sung by Jonathan but there are plenty of numbers that incorporate other cast members. One such highlight is “Sunday” which sees Jonathan escape his job for a moment as he imagines a life where he can mingle among Broadway stars. Jonathan sings in the diner as the patrons are all Broadway stars, many who Miranda has previously worked with before such as Phillipa Soo and Renée Elise Goldsberry, and other Broadway heavyweights including Phylicia Rashad, and Bernadette Peters. Not only is this number filled with stars but the performance itself is packed full of passion as it laments on the dreaming a life that is worlds apart from the one that Jonathan leads.

In a year that has seen a lot of musical film adaptations released, Tick, Tick… Boom! does a great job of standing out from the crowd. This film marks Garfield stepping out of his usual dramatic comfort zone and shows that he can lead a musical while Miranda shows his talents as director as his vision has been perfectly realised. Miranda merges reality with fantasy as Larson’s world begins to turn and transform to the world inside his mind. With scenes like “Sunday”, this is a film that demands multiple viewings and shows Larson’s talent as a pioneering figure in musical figure and the interesting portrayal of himself including his flaws.

What did you think of Tick, Tick… Boom!? Let me know in the comments below!

Tick, Tick… Boom! is available to stream on Netflix now!

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London Film Festival 2021: Mass

One film that has a great reception at this year’s Sundance Film Festival is Mass which has subsequently generated a lot of buzz among critics at various film festivals since. Making an appearance at this year’s London Film Festival, Mass shows the meeting between the parents of a high school shooter (Reed Birney and Ann Dowd) and the parents of one of the shooter’s victims (Jason Isaacs and Martha Plimpton). What follows is a beautiful film that allows each actor to showcase their emotional range as the characters attempt to come to some sort of resolution by recalling memories of their respective sons and question why the events happened. The film explores a variety of topics from universal issues such as grief and loss to more timely issues such as gun control but at no point does the script feel weighed down or forced as the conversations flow naturally.

Written and directed by Fran Kranz in his directorial debut, Mass feels reminiscent of an onscreen stage adaptation but what is interesting is that it is a completely original screenplay. Despite the entire film taking place within a Church, we can sense the outside world and don’t feel claustrophobic or bored at any point. This is thanks to the intensity in Kranz’s direction and how well the plot points unfold. We don’t know why these people are meeting initially which makes the situation more natural as Kranz does not force feed the audience. This leaves us wanting to learn as much as we can about the situation and we feel the pain and anguish that each parent is feeling and the different reasons why this is the case. Kranz’s decision to cast veteran actors who have performed on stage a lot means that the characters are fully realised in a way that sometimes can be missed by actors who have never acted on stage before.

Playing the parents of the high school shooter are Reed Birney and Ann Dowd who portray Richard and Linda, respectively. The first thing we notice about Richard and Linda is the differences in body language. Linda is very forthcoming, offers a pot of freshly grown flowers, and very eager to start a conversation whereas Richard is much more guarded and reserved. We can see that Richard has a lot to say but is biding his time and biting his tongue until the time is right. Dowd’s performance in particular is arguably the driving force in the film as her character begins the majority of conversations and brings out the reactions out of the other couple, especially when she bursts into tears at the start. What makes Dowd such a fascinating actress is her ability to bring out a humanity in her characters. Linda is a woman who has clearly struggled in her role as a mother and she is now facing the consequences of her son’s actions and wears her heart on her sleeve. Her forthcoming nature may come across as unsettling and uncomfortable, especially as we learn more about the situation, but this serves to help Jay and Gail open up.

Jason Isaacs and Martha Plimpton portray Jay and Gail, the parents of one of the shooter’s victims. We see them arrive at the church first and the trauma of the past events is evident, even if we don’t know why at this point. Isaacs, in particular, brings out a career best performance which will no doubt result in much awards acclaim and even possible wins. Jay tries to remain level-headed, but unlike Richard, he is unable to move his emotions to the side and eventually we see him breakdown. The monologue in which Richard recalls his visit to the scene is absolutely harrowing to watch and Isaacs paces the story beautifully so we can really picture the story without actually seeing it ourselves. Gail on the other hand is initially more reserved and less open than Jay but she is determined to ensure that this meeting will help them find some resolve and allow them to move on. Plimpton has proven herself to be incredibly varied in her performances having acted in comedy such as Raising Hope as well as dramatic roles such as The Good Wife. Her turn as Gail is deeply complex as we see her wanting to open up but feeling uncomfortable about the situation.

Mass is an absolute masterclass in acting and boasts career best performances from its cast, especially from Dowd and Isaacs who I think will see success come awards season. Kranz has achieved a lot in his debut as he has delivered a film that is fantastically written and beautifully directed and showing that you can provide a gripping drama with deep storytelling in a restricted location. Mass is definitely a film that stays with you long after it ends.

Mass is showing at this year’s London Film Festival!

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Everybody’s Talking About Jamie (2021)

Everybody’s Talking About Jamie is the latest in a slew of musical adaptations heading for the big screen and makes it mark with a bang. Based on the true story about a 16 year old boy who aspires to dress in drag at his high school prom, Everybody’s Talking About Jamie is an upbeat film about identity, difference and acceptance. The stage musical has taken the world by storm and is a mainstay on the West End having been nominated for numerous Laurence Olivier Awards and won many awards from awarding bodies such as the WhatsOnStage Awards. When the film adaptation was revealed to be in the works, there was naturally a lot of excitement as it has very big shoes to fill and it does not disappointment. From the heartfelt performances to the crisp choreography, Everybody’s Talking About Jamie can be viewed as a necessary film in this time of uncertainty and social negativity.

The film is directed by Jonathan Butterell who directed the original stage production when it was developed in Sheffield and based on a script by Tom MacRae, who wrote the book and lyrics for the musical which means that we are in reliable hands. There are certain changes that have had to be made but are necessary to help the story translate well on the screen. Equally, they have taken advantage of the fact that it is a film and allow themselves to push themselves cinematically to create a world in which the audience can truly be immersed and connected to the characters. Recruiting Butterell and MacRae as director and writer, respectively, allows the film to stay true to its roots and helps push the authenticity of the narrative and the community.

Leading the film is newcomer Max Harwood who does a stellar job as Jamie. He fits naturally into the role and truly captures every side to the character from his desire to perform in drag to the reality he has as an openly gay teen in a small community where he is bullied and encouraged to hide that side of himself. What makes Jamie such a fantastic character is that he is flawed which makes him more relatable and Harwood portrays him with no filter so we are able to see every side while still remaining likeable. With this film marking Harwood’s big breakthrough, it’s a great foreshadowing of what is to come in what is guaranteed to be a flourishing career. There has been a lot of debates about adults playing teenagers but although he is 24, Harwood does look appropriate and plays the role well with the maturity required so it isn’t distracting in the way that other films can be.

Playing Jamie’s mum, Margaret is Sarah Lancashire who can always be relied upon to bring a fantastic performance. Known primarily for her stellar work on TV, Lancashire is a great choice as she brings that authenticity to the role and has great chemistry with Harwood which makes their relationship seem completely believable. What is great about Everybody’s Talking About Jamie is that the majority of the supporting cast is made up of established working class actors which is incredibly important when it comes to onscreen representation, especially when it comes to British cinema.

As with any cinematic adaptation of a musical, there always has to be at least one A-lister among the cast and in this case we have Richard E. Grant as Jamie’s mentor, Hugo who also performs in drag under the persona Loco Chanelle. Grant is a fantastic actor and has shown throughout his career that he is capable of turning a great performance in any kind of film. Coming off the back of his Oscar-nominated turn in Marielle Heller’s Can You Ever Forgive Me?, Grant brings this character to life in a way where we really feel the struggles that Hugo has faced as an older gay man who lived through the AIDs epidemic. As one of the most versatile British actors working today, Grant was definitely the perfect choice for this role and no doubt should be thought about for awards consideration.

The way that the musical numbers are integrated into this film is incredibly important and Everybody’s Talking About Jamie does a great job of not just replicating the stage musical to the screen. From having some of the songs in the background to incorporating tracks from the conceptual album, the music feels different than the stage and this makes it great and feel more confident in itself as a film. With a wide range of songs on the soundtrack, some of the highlights include “Don’t Even Know It” in which we see Jamie’s dream as a drag queen and introduced to this side of him as well as Lancashire’s heart-breaking performance of “He’s My Boy” in which she laments the struggles and rejection Jamie faces from his father. The film’s ability to shift emotionally is portrayed perfectly through the music without feeling stagey or unnatural.

Overall, Everybody’s Talking About Jamie is a fantastic adaptation that makes the appropriate changes so it works well onscreen and allows the audience to get to know the characters. With perfect casting and great performances from the leading and supporting cast, this film is incredibly enjoyable and an ideal choice for those wanting a new and exciting film that leaves you feeling upbeat.

What did you think of Everybody’s Talking About Jamie? Let me know in the comments below!

Everybody’s Talking About Jamie is available to watch on Amazon Prime now!

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In the Heights (2021)

IN THE HEIGHTS, Anthony Ramos, 2021. ph: Macall Polay / © Warner Bros. / courtesy Everett Collection

One of the biggest releases of the year so far is In the Heights. Based on the stage musical of the same name by Lin-Manuel Miranda, In the Heights follows the community of Washington Heights, a Latin dominated neighbourhood where everyone has dreams and does everything they can to achieve them. The protagonist of the film is shop owner, Usnavi, who dreams of returning to his native Dominican Republic one day and whose shop is hugely important to the community. As we explore the lives of those around him, we see the trials and tribulations that the Latin community faces against many issues including racism, increasing gentrification and basic human rights being compromised. The original stage musical first premiered in 2005 and went on Broadway in 2008, winning a slew of Tony’s and putting Lin-Manuel Miranda’s name on the map. The film is written by Quiara Alegría Hudes who also wrote the original book for the stage musical and directed by Jon M. Chu, In the Heights explores its subjects in a way that feels timeless and just as relevant today as it was back when it was first staged.

Although Hamilton may be the play that Miranda is known for among the masses, In the Heights was his first musical and was a huge success among theatre fans across the world. When listening to the music from both, it’s amazing to think that they were composed by the same man because of how different they are in style and tone. In the Heights is a celebration of Latin music, combining an array of cultural touches with contemporary US hip hop and rap. Each character has their own distinct type of song which gives the audience a sense of their personality. From Usnavi’s unpredictable raps to Nina’s lamenting ballads, each song sounds totally different from the other and yet it flows effortlessly. What is great about this film adaptation is that the songs have been rearranged and altered slightly to naturally fit in with the context of the film. A lot of musical film adaptations forget that film is an entirely different medium and it may not look static and unnatural. Due to the amount of rap and dialogue during the songs, alterations have been made to fit in properly with the medium and it makes it a more exciting watch as you don’t know what to expect. Some of the storylines had been changed as well to take away some negative events such as the looting of the store in order to give the film an overall positive vibe which allows it to work well as a feel-good summer film.

Anthony Ramos leads the film as Usnavi and has big shoes to fill (Miranda originated the role on Broadway) but does so with ease. Although we are getting a broad glimpse of life in Washington Heights, it is Usnavi’s storyline that chugs the film along so it was important to get the casting right. Ramos has more than proven himself capable having previously performed as Sonny on a previous regional tour as well as originating the role as John Laurens/Philip Hamilton in Hamilton. Ramos has a natural presence that makes his Usanvi instantly likeable. Even those who aren’t familiar with the musical will want to root for him and find out more.

In support, there is a great cast who help bring the beloved characters to life. Corey Hawkins and Olga Merediz as Benny and Abuela Claudia, respectively. Benny is Usnavi’s best friend who works in the local dispatch and is highly energetic with big dreams to become a successful businessman and someday run the dispatch himself. Hawkins brings that enthusiasm and charm needed as well as nailing the song “Benny’s Dispatch” which has a really difficult rap but he does this with ease. The friendship between Benny and Usnavi feels completely authentic and it’s clear that the actors had a great experience performing together. One of the original cast members on stage was Merediz who reprises her role as Abuela Claudia for the film. Claudia is the glue that holds the community together and her motto “Paciencia y Fe” is something that the community lives by, as well as being the name of her big number. The song follows Claudia’s life as a young girl from Cuba moving to New York with her mother and how they learned to adapt and survive in a completely different world. The sequence itself is beautifully directed and is one of the best numbers in the whole film. It is then followed by my personal favourite song, “Alabanza” which I think is one of the most beautiful songs in any musical and for the emotions of the song to come through, it relies on the influence of Claudia among the community and you’ll surely be in a lot of tears.

In the Heights is a phenomenal achievement that deserves to be shown on the big screen. Chu manages to replicate that vibrancy and spirit of the Washington Heights community and inject it with bold direction and stunning use of camerawork and colour. With a couple of Miranda related Easter eggs hidden in the film, it’s sure to be fun for theatre and film fans alike. A particular highlight is seeing Miranda play the role of Piragüero known fondly as the Piragua guy and his rivalry with the Mr. Softee Truck Driver who is played by Christopher Jackson (who originated the role of George Washington in Hamilton). Whether you are a fan of musicals or not, the story and its message are sure to resonate with you and leave an impact long after the credits have finished rolling.

What did you think about In the Heights? Let me know in the comments below!

In the Heights is available to view in cinemas now!