It’s hard to imagine who was asking for a film about a Neil Diamond tribute band, but this true story works due to its immense charm. Hugh Jackman shines as Mike Sardina, a misfit who dreams of bringing success to his Neil Diamond show. His charisma and excellent passion for music shine in the role. Kate Hudson gives one of her strongest performances as the band’s other half — together they’re “Lightning and Thunder”. Claire faces great tribulations but her resilience and desire to not be made small by those around her define her character’s journey.

Craig Brewer directs the music performance scenes with a power that anchors the film, and though it doesn’t set out to reinvent the biopic, it works well thanks to its underdog energy and emotion. This drama about the convergence between music, love, and the strength to carry forward, has touches of strong humor but will also tug on your heartstrings, and may also make you curious to learn even more about the true story behind the duo at the film’s center — and listen to some Neil Diamond hits — after the movie ends.

Mona Fastvold’s latest endeavor is almost impossible to describe, but will certainly cast its bizarre spell on many viewers. Amanda Seyfried gives her most potent performance yet, portraying a woman whose faith and guidance becomes relentless in the face of tragedy and hardship. The film brings to light the story of the Shakers, a religious group whose form of worship and communion were rather unique, and compliments the musical element of the film, as their worship is practically in very visceral song and dance. Lewis Pullman and Thomasin McKenzie also greatly stand out here.

The cinematography and the editing make the film almost dream-like, to evoke the state of divinity the worshippers must’ve felt, but also touches on intense and difficult imagery that tests the characters and their surroundings to the brink. Though it’s a slow burn that may lose some for various reasons, it’s also captivating and singular. It works not just as a biopic but as a fascinating experiment that boasts a tremendous leading performance from Seyfried. The film is darkly beautiful and visionary, and it’s impossible to resist its hallucinatory trance.

Music biopics have found themselves a tried and true formula, and though Springsteen deviates from it, it also falls into a few of the same familiarities. Instead of focusing on the Boss’s entire life and on the creation of each and every one of his hits, it’s a quieter film about the recording of his more stripped-down, intimate album Nebraska, that lets us get up close with the man behind the legend. Jeremy Allen White is excellent as one of America’s most iconic and beloved rock stars, capturing the singer’s desire for versatility and personality in his art while struggling with depression. Jeremy Strong, however, ends up stealing the screen in almost all of his scenes. Refreshingly for the genre and the actor, music producer Jon Landau isn’t portrayed as a greedy, conniving villain, but as Bruce’s most reliable and caring friend who’s willing to stand up for his art and vision, even against his own corporate interests. Strong wonderfully captures the delicacy behind the businessman and the relationship between the two is the film’s strongest part. It’s also fascinating to see the old-fashioned ways of recording the songs, some of which have gone down in history, including “Born in the U.S.A.”.

The film does have its weak points, including a romantic subplot that touches on too many cliches, and the traumatic childhood flashbacks, which are rather tiring, though they boast a great performance from Stephen Graham as Bruce’s father. That said, it’s still a refreshingly smaller and far more personal biopic than most, focusing more on emotional journey than big musical numbers, and works thanks to White’s great turn as an American legend.

Many films have seen musical adaptations, and then had those musicals adapted into their own films. Some of these musical remake movies have worked as an update to the story, like The Producers and The Color Purple, while others such as Mean Girls and Matilda have failed to justify their existence in the theatrical medium and not offered much new to the material. Kiss of the Spider Woman may have the same main characters and overall premise, but feels completely fresh, exciting, thematically powerful all over again, and even surpasses the original in many respects. The film’s unique approach sees two political prisoners in 1983 Argentina connecting over the memory of an old Hollywood movie, which they recount as a musical, providing them escape from and drawing parallels with their harsh reality. 

Tonatiuh gives a simply incredible performance as Molina, offering a completely new approach from William Hurt’s turn as the role in the 1985 film. Molina desperately wants to be a part of a world that’s rejected him, while believing in the best in others. Tonatiuh commands every single moment of his screen time, as a character telling a story, and coming to terms with his own inner weakness. Diego Luna also gives a career-best performance as revolutionary thinker Valentin, unlocking deep empathy and passion within his impatience and defensiveness. Jennifer Lopez, meanwhile, is playing a character with multiple levels of performance, in a role that may end up becoming a standout in her filmography.

As much as it is a condemnation of the dictatorship that ate away at the soul of Argentina until a few decades ago, it’s also a layered look into the development of a bond between two men who could not be more different, but learn to care about each other profoundly. The songs aren’t all memorable, but the effect the musical numbers create in contrasting between the fantasy and reality of the prison scenes elevates the film, not to mention an unforgettable ending that enriches the entire film, especially with the hindsight since the original film was released.

Bob Dylan as a person has always seemed to be an enigma, as this film’s title hints. But his art has captured, moved, and inspired generations. A Complete Unknown isn’t as interested in cracking Bob’s code, rather portraying him as a complicated man searching to evolve through his music and art, while Timothee Chalamet, over the course of the film, becomes Dylan through his musical commitment and showing both his more grand and uglier sides. He channels Dylan’s layered voice beautifully, while also portraying him as a wild card, who was occasionally destructive towards others on his journey towards fully realizing himself.

Though the film will absolutely make you want to learn more about Dylan’s impact and accomplishments, it’ll definitely have you as eager to discover more about another folk singer as well: Joan Baez. Every time Monica Barbaro graces the screen in A Complete Unknown, she brings an enchantment and captivation in the role, with a singing voice so transfixing you wouldn’t believe she only first learned to sing to play Baez here. Edward Norton shines as the optimistic if fixated and unapologetic Pete Seeger, as does Elle Fanning as Dylan’s love interest Sylvie. James Mangold’s direction, including the shot-on-film look, the production value, and the musical scenes all demand a theatrical watch to experience the folk music being performed with such powerful sound design and aesthetic. Even as someone who was never quite pulled to the genre before, the film makes you feel the power of music in inspiring, changing, and moving others.

Though the first half is rather fantastic, the second half gets so caught up in the stunning musical sequences that the story does unnecessarily slow down, and though the ending is satisfying, there is a little more impact to be wished for. But it still succeeds due to its incredible look and the commitment of its actors, with Mangold yet again proving himself an expert storyteller and filmmaker. The film takes you throughout a moment in time, history, and culture, and makes a strong case for its resonance, and for the awards buzz for Chalamet’s remarkable work as the renowned musician.

Better Man chronicles the rise, fall, and resurgence of popstar Robbie Williams, with a twist: Williams himself as depicted as a CGI monkey. This odd approach threatens to distract at times, and works better conceptually than in execution. However, this musical biopic rises among the crowd of forgettable tellings of famous musician’s lives through its vivacious musical sequences and booming soul. Williams, who narrates the film himself, doesn’t let himself off the hook, inviting us into genuine introspection of his ugliest parts: his insecurities, self-destructiveness, addiction, and depression. Michael Gracey’s direction puts everything in his last grand musical film The Greatest Showman to shame within minutes — the lively numbers, dynamic camerawork and choreography make the visual style bombastic while remaining intimate with Williams’ core as a man, not just his journey as a famous singer.

The effect the main character being a CGI chimpanzee has is occasionally jarring and even laughable at worst, but at best, creates an interesting visual experience compared to films with similar plots, and brings you into Williams’ imposter syndrome and self-perception. However, one can’t help but think the gimmick would’ve worked stronger if it had only lasted for one scene. Still, the film is such a breath of fresh air in that it tackles familiar points and themes from the genre on a far more up-close manner, such as feeling trapped by fame, or being numbed by addiction. Non-fans will want to learn much more about Robbie Williams’s story and learn more about his story. Fans will greatly enjoy Williams’s songs being elevated by such beautiful sequences and appreciate a bold and eccentric yet humble, emotional, and entertaining biopic.