Excluding the superhero heavyweights from Marvel Studios, few 2018 releases have been greeted with as much rapturous hype as Bradley Cooper's A Star is Born. When the first trailer debuted online, it was hailed as a cinematic masterpiece in its own right (that may sound like hyperbole, but it really happened). Days before the film's premiere at the Venice Film Festival, a leaked review labeled the remake as an instant classic. The lines for press screenings at TIFF were reportedly two hours long at a minimum.
And I just couldn't be bothered by any of it. I thought the trailer was......fine, as blasphemous as that may be. I haven't seen any other versions of this story, so I'm not particularly familiar with the Star is Born Cinematic Universe. And as much as I've enjoyed recent movie musicals, this one didn't seem to have that "it" factor.
By the week of release, my attitude towards the film started to turn. Out of nowhere, I started feeling a kind of excitement I couldn't quite explain- did I finally come to the realization that resisting the film's charms was a dumb idea? Turns out, my 11th hour gut reaction was spot-on. If Cooper's A Star is Born isn't a generation-defining masterpiece, it's still a spectacular rock opera; part romantic tragedy, part full-throttle concert movie, but brilliantly entertaining all the same. Directed with a certain panache by the multi-hyphenate, this flawed, often awe-inspiring epic demonstrates a remarkable sort of frenzied intensity, often naturally bouncing from one scene to the other without a care in the world. It moves at the speed of a bullet, which (surprisingly) works against the film at times.
But if you're coming for the Bradley Cooper and Lady Gaga show, you're in for a treat. The writer/director/producer/star leads the show as Jackson Maine, a country rock icon with a love for good music and a good drink or two. Well, maybe more than two. When we first meet Jack, he's chugging down a bottle of whiskey- and it's clear that this isn't an isolated incident. Anyways, this won't really be a problem until much later.
After a show, Jack stumbles into a drag bar on a search for a drink. The whiskey ran out, so he needs another beverage, pronto. But at this bar, the star makes his most important discovery- Ally (Gaga), a singer with the voice of an angel and a distinct appearance that Jack falls in love with instantly.
At first, Ally is skeptical of Jack's attention. Why did he come backstage at the bar? Why is he so assured of her talents as a singer/songwriter? Why is he so infatuated with virtually everything about her? Ally is a waitress at a terrible restaurant with a decent gig on the side, shot down by an industry that doesn't believe in her. But Jack does. On their whirlwind first night together, Ally assembles a little tune on the spot, not really thinking anything of it. When her new friend invites her to a gig the next night, that impromptu song becomes the basis for her meteoric rise to super-stardom. One performance of "Shallow" later, and Ally is off to the races as a force in pop music.
I haven't mentioned them at all in this review, but there are actually other characters in A Star is Born. Sam Elliott stars as Jack's much older brother, who has taken care of the rock star through all his highs and lows. Ally's close friend Ramon (Anthony Ramos) plays a key role, as does her supportive father (Andrew Dice Clay). Still, A Star is Born so completely and totally belongs to Jack and Ally that the other cast members just slowly fade into the background.
On their own, the two stars are utterly sensational. Cooper's grumbly take on Elliott's classic drawl is a spot-on imitation, but the rock star's sympathetic appeal extends so much further than that. While the film plays coy with the circumstances that brought Jack to this point, the ultimate reveal is wrenching and devastating. He isn't always likable or easy to understand (some late in the game decisions rang false to me), but Cooper's almost childlike approach makes Jack work. Gaga's turn as Ally is decidedly less showy, though no less impressive. She's all internal struggle and raw frustration, stuck between self-doubt and an industry working against her at every turn.
As impressive as Cooper and Gaga's performances are when examined on their own terms, their chemistry is the bedrock for the entire film. They're simply electric together; the film is no instant all-timer, but Jack and Ally will go down as an iconic duo. On a related note, some have labeled A Star is Born as "corny," which is a truly absurd notion. Maybe I just have a different definition of "corny," but nothing here strikes me as overly melodramatic or ridiculous or anything of the sort- this is a successful attempt at a purely grounded musical saga. Cooper and Gaga's rapport feels fresh and authentic, captured with increasing tenderness by the camera. Still, you can aim for something raw and real, but there's always the possibility that you'll fall short. You can't fake a genuine connection- Cooper and Gaga have it.
Did I mention that Cooper is also an immensely talented director? Because he is. The direction here is something else. Granted, I've seen a lot of the directorial prowess credited to cinematographer Matthew Libatique, which is fair. Libatique's concert footage is downright astonishing, and he gives the film a gorgeous and necessary jolt of musical and kinetic energy. But the vision starts with Cooper, and he clearly has an eye for a blend of huge, immersive sequences and smaller, more intimate moments. Even the darkest scene is rendered with a haunting, paralyzing touch. The film's jumpiness is admittedly bizarre- it feels like we're missing out on a few scenes at times- but amid the vignette approach, there's no shortage of memorable moments.
Or great songs. As expected, Cooper and Gaga put their all into the music, crafting a set of terrific tunes in the process. "Shallow," "Maybe It's Time," "Black Eyes," "I'll Never Love Again"- these are some show-stoppers.
Much has been written about A Star is Born's attitudes in regards to pop music, but I'm not so sure the film takes any real hard and fast stance. Things happen too freely for me to believe Cooper is working toward an overarching statement; part of me even views this as a somewhat thematically thin endeavor, lacking a cohesive message about fame and modern music. There's something to be said for Cooper's treatment of childhood trauma and alcoholism, but these ideas aren't centralized. Just like those secondary characters, the themes fade into the background.
What drives the film is something distinctly cinematic and swoon-worthy- a truly great, thoroughly old-fashioned love story. There's a reason A Star is Born is connecting with audiences in such a major way. Yes, it's impeccably crafted by Cooper, who seems destined for a long and prosperous career as a filmmaker. And yes, it features a murderer's row of great songs. Okay, so the film is pretty stunning from a visual perspective, too, thoroughly deserving of that Best Cinematography Oscar nomination.
But more than everything else, this is a tragic (in the literal sense) portrait of two complex, lovable characters, doomed to a fleeting connection by factors outside their control. If you buy the romance, the movie soars. I was sold from Jack and Ally's first scene together, and Cooper had me until the bitter end. It's truly heartbreaking- in the best possible way.
THE FINAL GRADE: A- (8.5/10)
Images courtesy of Warner Bros. Pictures
And I just couldn't be bothered by any of it. I thought the trailer was......fine, as blasphemous as that may be. I haven't seen any other versions of this story, so I'm not particularly familiar with the Star is Born Cinematic Universe. And as much as I've enjoyed recent movie musicals, this one didn't seem to have that "it" factor.
By the week of release, my attitude towards the film started to turn. Out of nowhere, I started feeling a kind of excitement I couldn't quite explain- did I finally come to the realization that resisting the film's charms was a dumb idea? Turns out, my 11th hour gut reaction was spot-on. If Cooper's A Star is Born isn't a generation-defining masterpiece, it's still a spectacular rock opera; part romantic tragedy, part full-throttle concert movie, but brilliantly entertaining all the same. Directed with a certain panache by the multi-hyphenate, this flawed, often awe-inspiring epic demonstrates a remarkable sort of frenzied intensity, often naturally bouncing from one scene to the other without a care in the world. It moves at the speed of a bullet, which (surprisingly) works against the film at times.
But if you're coming for the Bradley Cooper and Lady Gaga show, you're in for a treat. The writer/director/producer/star leads the show as Jackson Maine, a country rock icon with a love for good music and a good drink or two. Well, maybe more than two. When we first meet Jack, he's chugging down a bottle of whiskey- and it's clear that this isn't an isolated incident. Anyways, this won't really be a problem until much later.
After a show, Jack stumbles into a drag bar on a search for a drink. The whiskey ran out, so he needs another beverage, pronto. But at this bar, the star makes his most important discovery- Ally (Gaga), a singer with the voice of an angel and a distinct appearance that Jack falls in love with instantly.
At first, Ally is skeptical of Jack's attention. Why did he come backstage at the bar? Why is he so assured of her talents as a singer/songwriter? Why is he so infatuated with virtually everything about her? Ally is a waitress at a terrible restaurant with a decent gig on the side, shot down by an industry that doesn't believe in her. But Jack does. On their whirlwind first night together, Ally assembles a little tune on the spot, not really thinking anything of it. When her new friend invites her to a gig the next night, that impromptu song becomes the basis for her meteoric rise to super-stardom. One performance of "Shallow" later, and Ally is off to the races as a force in pop music.
I haven't mentioned them at all in this review, but there are actually other characters in A Star is Born. Sam Elliott stars as Jack's much older brother, who has taken care of the rock star through all his highs and lows. Ally's close friend Ramon (Anthony Ramos) plays a key role, as does her supportive father (Andrew Dice Clay). Still, A Star is Born so completely and totally belongs to Jack and Ally that the other cast members just slowly fade into the background.
On their own, the two stars are utterly sensational. Cooper's grumbly take on Elliott's classic drawl is a spot-on imitation, but the rock star's sympathetic appeal extends so much further than that. While the film plays coy with the circumstances that brought Jack to this point, the ultimate reveal is wrenching and devastating. He isn't always likable or easy to understand (some late in the game decisions rang false to me), but Cooper's almost childlike approach makes Jack work. Gaga's turn as Ally is decidedly less showy, though no less impressive. She's all internal struggle and raw frustration, stuck between self-doubt and an industry working against her at every turn.
As impressive as Cooper and Gaga's performances are when examined on their own terms, their chemistry is the bedrock for the entire film. They're simply electric together; the film is no instant all-timer, but Jack and Ally will go down as an iconic duo. On a related note, some have labeled A Star is Born as "corny," which is a truly absurd notion. Maybe I just have a different definition of "corny," but nothing here strikes me as overly melodramatic or ridiculous or anything of the sort- this is a successful attempt at a purely grounded musical saga. Cooper and Gaga's rapport feels fresh and authentic, captured with increasing tenderness by the camera. Still, you can aim for something raw and real, but there's always the possibility that you'll fall short. You can't fake a genuine connection- Cooper and Gaga have it.
Did I mention that Cooper is also an immensely talented director? Because he is. The direction here is something else. Granted, I've seen a lot of the directorial prowess credited to cinematographer Matthew Libatique, which is fair. Libatique's concert footage is downright astonishing, and he gives the film a gorgeous and necessary jolt of musical and kinetic energy. But the vision starts with Cooper, and he clearly has an eye for a blend of huge, immersive sequences and smaller, more intimate moments. Even the darkest scene is rendered with a haunting, paralyzing touch. The film's jumpiness is admittedly bizarre- it feels like we're missing out on a few scenes at times- but amid the vignette approach, there's no shortage of memorable moments.
Or great songs. As expected, Cooper and Gaga put their all into the music, crafting a set of terrific tunes in the process. "Shallow," "Maybe It's Time," "Black Eyes," "I'll Never Love Again"- these are some show-stoppers.
Much has been written about A Star is Born's attitudes in regards to pop music, but I'm not so sure the film takes any real hard and fast stance. Things happen too freely for me to believe Cooper is working toward an overarching statement; part of me even views this as a somewhat thematically thin endeavor, lacking a cohesive message about fame and modern music. There's something to be said for Cooper's treatment of childhood trauma and alcoholism, but these ideas aren't centralized. Just like those secondary characters, the themes fade into the background.
What drives the film is something distinctly cinematic and swoon-worthy- a truly great, thoroughly old-fashioned love story. There's a reason A Star is Born is connecting with audiences in such a major way. Yes, it's impeccably crafted by Cooper, who seems destined for a long and prosperous career as a filmmaker. And yes, it features a murderer's row of great songs. Okay, so the film is pretty stunning from a visual perspective, too, thoroughly deserving of that Best Cinematography Oscar nomination.
But more than everything else, this is a tragic (in the literal sense) portrait of two complex, lovable characters, doomed to a fleeting connection by factors outside their control. If you buy the romance, the movie soars. I was sold from Jack and Ally's first scene together, and Cooper had me until the bitter end. It's truly heartbreaking- in the best possible way.
THE FINAL GRADE: A- (8.5/10)
Images courtesy of Warner Bros. Pictures
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