TICK, TICK.. BOOM!: 4 STARS
Tailor made for fans of musical theatre, āTick, Tick...BOOM!,ā Lin-Manuel Mirandaās Netflix autobiographical musical about āRentā composer Jonathan Larson, is a celebration of the creative process and the following of dreams.
āEverything you are about to see is trueā¦ except for the parts Jonathan made up.ā
Itās January of 1990 and Larson (Andrew Garfield) is a wannabe composer, working at a restaurant to pay the bills. Heās also about to turn 30 ā older than Stephen Sondheim when he wrote his first musical. Older than Paul McCartney when he wrote his last song with John Lennon.
Eight years writing futuristic rock musical āSuburbia,ā a satire set in the on a poisoned earth, heās feeling the pressure to succeed. āIām the future of musical theatre,ā he says, but his girlfriend Susan (Alexandra Shipp) wants to leave New York and his best friend Michael (Robin de Jesús) gave up, leaving the stage for a job at an advertising company, making āhigh-five figures.ā
Jonathan is struggling to finish his musical in the days leading up to a workshop of the show before a select audience of Broadway luminaries. Heās broke and being pulled from many different sides, but confident. āWhen āSuburbiaā gets produced,ā he says optimistically, āI will be getting paid for my music.ā
In his personal life, his friends and theatre colleagues are dying of AIDS. Professionally heās distracted, struggling to finish the show, feeling anxiety at the passing of time and his failure to break through on Broadway.
āThereās not enough time,ā he says. āOr maybe Iām just wasting my time. And the time keeps ticking, ticking, ticking and I have three days left to until the workshop. Three days left to write this song and if the song doesnāt work, the show doesnāt work. And then it has all been a waste of time.ā
Larsonās preoccupation with time, about finding success and not being āa waiter with a hobby,ā is made all the more poignant with the knowledge that he died in 1996, at the age of 36, on the day of āRent'sā first Off-Broadway preview performance.
āTick, Tick...BOOM!ā is kind of meta. Itās a musical about another musical, wrapped up in a movie musical. It follows Larson through the workshop for āSuburbia,ā the writing of the songs for the off-Broadway show that gave the movie its title and the experiences that lead to the writing of era-defining show āRent.ā
Music takes centre stage, with exuberant performances of the song-and-dance number, āNo More,ā the catchy āBoho Daysā and the powerful āCome to Your Sensesā and the heartbreaking āReal Life,ā but this is a musical whose dramatic scenes arenāt simply links between the tunes. Garfield not only captures Larsonās angst, but his passion as well. This is a story of following a dream, and the mix of aspiration, determination and desperation in Garfieldās performance is palpable. His face as his agent Rosa (Judith Light) tells him, āYou keep throwing them against the wall and eventually hope that something sticks,ā encapsulates the realization that every creative person must face.
As good as Garfield is, the real stars of āTick, Tick...BOOM!ā are Larson and Lin-Manuel Miranda. The composerās more obscure songs are given a deserving showcase and Miranda brings Larsonās story to life with equal parts reverence and joy.
On a side note, the film, finished and released before the death of Stephen Sondheim, presents a warm tribute to the legendary composer, who offered support and grace to Larson when many others didnāt.
THIS GAMEāS CALLED MURDER: 2 ½ STARS
āThis Gameās Called Murder,ā the wild new Ron Perlman movie on VOD, is a very dark comedy about consumer culture, romance and murder that feels like a cult movie in waiting.
Written and directed by Adam Sherman, the movie is a lurid, surreal story that doesnāt play by the rules. Perlman is Mr. Wallendorf, designer of womenās luxury footwear. Known for his iconic blood red stilettos, he is a fashion icon, but behind his fame is murder, greed, and betrayal.
His wife, Mrs Wallendorf (Natasha Henstridge), is as shrewd as she is brutal, as witnessed by a scene where she shoots a business rival in the forehead and then offers to dance naked for him as he lay bleeding to death.
His daughter Jennifer (Vanessa Marano) is an alcoholic social media influencer whose online habits confound her father. āWhy do you insist on having the entire world see you in your underwear,ā he asks. āMy fans love me,ā she says.
Their lives are, to put it mildly, complicated. Things become more complex, and deadly, when Jennifer sabotages her fatherās business as he tries to maintain a happy public face.
Ripe with violence and sex, āThis Gameās Called Murder,ā has a kind of dream logic to its plotting. The story is jumps around from character to character, plot point to plot point, creating an absurdist whole that aims to make a statement on social ills, using violence and very dark humour.
Greed, online influencers, alienation and consumerism are all ripe for social satire, but director Shermanās (who also wrote the script) scattergun approach muddies the messages. The filmās twists and turns are often eccentrically entertaining, but in the second half, become tiresome.
Strange for the sake of being strange will only get you so far, and Sherman extends the weird stuff so far it feels like it might snap like an overstretched elastic band.
The movieās visual style catches the eye, and Perlman is always a welcome presence, but as enjoyable as āThis Gameās Called Murderā can be in its individual elements, it favours edge at the expense of the storytelling.
BRIAN WILSON: LONG PROMISED ROAD: 3 ½ STARS
Early on in āBrian Wilson: Long Promised Road,ā a new documentary about the legendary Beach Boys leader, now on VOD, an interviewer asks him to explain how he writes songs. āIt starts in my brain,ā he says. āMakes its way to the piano and on to the speakers in the studio.ā
Can you explain further?
āNo,ā he says, āI canāt.ā
That exchange sums up what a great deal of the film is like. Like itās reticent subject, it doesnāt reveal much, certainly anything you donāt already know about Wilsonās well-documented life, but chance to hear his music recontextualized by talking heads like Bruce Springsteen, Elton John, Linda Perry and others is a treat.
Directed by Brent Wilson (no relation), the backbone of the movie is a road trip between Brian and āRolling Stoneā writer Jason Fine. They cruise around to Beach Boys hotspots like Malibuās Paradise Cove, where the band shot their first album cover, his hometown of Hawthorne, Calif., and the house, perched high above Los Angeles, that was home to Wilson, his first wife Marilyn and the infamous sandbox he installed as a creative refuge. The two are longtime friends, but even in the comfort of Fineās company, Wilson seems fragile, offering up short, non-descriptive answers to Fineās questions.
More revealing are Elton John and Springsteenās comments or producer Don Was, who calls Wilson, āOne of the greatest artists who ever walked the face of the earth, in our time or any other time,ā marveling at the production on āGod Only Knows.ā Former Barenaked Ladies singer Steven Page talks about the pressure Brian must have felt being labelled a genius from an early age. Nick Jonas talks about expectations being the foundation for disappointment. In these moments the film mines something deeper, and offers a third-hand analysis of what it means to be Brian Wilson.
Of course, Wilsonās music speaks louder than words and it is here āBrian Wilson: Long Promised Roadā excels. Wilson, itās said in the film, used the studio as an instrument itself, and if this movie teaches us anything, itās that everything we really need to know about the musician is already out there, on the grooves of his records.
THE SOUVENIR PART II: 3 ½ STARS
Itās rare to see a āPart IIā on an arthouse flick title, but here we are. āThe Souvenir Part II,ā starring the mother and daughter duo of Tilda Swinton and Honor Swinton Byrne, and now playing in theatres, picks up where 2019ās āThe Souvenirāsā coming of age story left off.
In that movie, film student Julie (Byrne) falls into a life-changing relationship with an older, arrogant man named Anthony. His death from a heroin overdose sends her reeling.
The new film sees Julie attempt to process Anthonyās death by making a graduation movie as a āmemorialā for her late partner. As the project moves forward, itās apparent Julie, who didnāt know Anthony was a addicted to heroin, is struggling to make sense of his loss. From the beginning, her idea is met with bewilderment by her professors who donāt like the script and her producing partner (Jaygann Ayeh) who grows frustrated with her choice in actors.
āThe Souvenir Part IIā is a quiet, meticulous film about how artists mine personal experience to create art, and to find a voice. Swinton Byrneās Julie develops into a filmmaker, an artist and person who creates her own path. It is a lovely, delicate-but-steely, natural performance that digs deep into Julieās maturity, personal and professional. Itās a pleasure to see Swinton and Swinton Byrne interact as mother and daughter in the film. Thereās an authenticity to those scenes that feels like a warm hug.
āThe Souvenir Part IIā is based, in part, on director Joanna Hoggās experience, and drips with complex ideas and emotions. As Julie heals herself, the film hauntingly has one eye on her past while the other looks to her future.
The filmmaking is more about mood than straightforward storytelling. Itās as if Hogg had a question from Julieās film school classmate Patrick (Richard Ayoade) ringing in her head as she made the film. āDid you avoid the temptation to be obvious?ā he asks. She did, and the movie is better and more challenging for it.