The last third of Yesterday is an ineffectual slog that wastes the talents of its stars, and as breezy, inoffensively enjoyable and as adorably light as so much of this was to suddenly hear it hit so many sour notes was undeniably disappointing, my emotions gently weeping the more I keep thinking about it.
Fletcher is channeling All That Jazz and Absolute Beginners but with a Hairspray meets Mamma Mia! high-gloss glittery shimmer, the grit and angst of the tortured artist juxtaposed against a Technicolor milieu that’s been art directed and costumed within an inch of its rockabilly heart.
While lacking in the same kind of ingenious magic that helped allow the original to stand the test of time, this new Aladdin still has a few winning tricks up its sleeve making it worthy of a look.
Centered around a superb performance from Fanning and featuring a number of superlative musical numbers (including bravura covers of “Dancing On My Own,” “Little Bird” and “Don’t Kill My Vibe”), Teen Spirit is a consistent joy first frame to last.
[If] Pitch Perfect 3 ends up being the Bellas’ a cappella swan song, for my part I can’t help but feel the entire group goes out on something of a satisfying high note.
[As] pure entertainment, Gracey’s energetic effort succeeds in a way that goes well beyond anything I antic pated before entering the theatre, The Greatest Showman a three-ring phenomenon the entire family is almost certain to enjoy.
I can’t say Pitch Perfect 2 hits all the right notes, and it certainly isn’t the out-of-left-field treat its predecessor was. At the same time, Banks and her talented group of actors and filmmakers have done a nice job, composing a solid, fitfully funny operetta.
Brooklyn Brothers Beat the Best spoke to me, casting a rhapsodic spell I didn’t want to see end.
Pitch Perfect hits most of the right notes, and because of this ends up being as smoothly enjoyable as anything currently playing in theatres at this moment.