A Star is Born (2018)

 And this week's Friday night movie has been... A Star is Born (2018)!

Original image located here. Accessed 27th March 2026

AKA: The one with Lady Gaga in it.

Once again, the question I posed previously persists: Given that there are four versions of this movie, what is it about it that keeps bringing people back to it?
I have mentioned the potency of the source material, the potential for real-life parallels and how easily this movie can adapt to the times. But another reason comes to mind: The role of the female lead is one that any actress can really sink their teeth into - Indeed, it is telling that each remake is defined by who plays the female lead. I guess it's fair to say Judy Garland ended up setting a benchmark that many an actress has sought to match.

Of the four this is the most recent and, without a doubt, the one most people will be familiar with - after all, that's what star power does for you. So, lets bring this little experiment to a close.

Of the three predecessors, this one owes the most to the 1976 version. And it's not just the rock music framework: A lot of the plot points were reiterated quite closely. And that is odd given that each of the previous iteration has something of their own to say. It is telling that Jon Peters, producer of the 1976 version is also credited as producer here too (still no sign of a giant mechanical spider though).
Still, this does have what worked previously: The instance of a first timer with something to prove (director Bradley Cooper and star Lady Gaga) The real-life parallels with Cooper and Gaga showing chemistry both on and off screen and the implication of a rock star being surpassed by a modern form of pop music. 

But does this movie has something of it's own to say? Well yes: Lady Gaga delivers a stellar performance and her afore-mentioned chemistry Cooper does indeed sparkle. But hey, this is tried and tested material so you know it's going to work.  

A Star is Born (1976)

And this week's Friday night movie has been... A Star is Born (1976)!

Original image located here. Accessed 20th March 2026

AKA: The one with Barbra Streisand in it.

Let us, for a moment, go back to that question I posed last week: Given that Hollywood has produced four versions of this movie, what is it about A Star is Born that keeps bringing people back to it?
One likely reason is that it can easily be adapted to fit the times it was made: If the 1937 original was a snapshot of the Golden Era of Hollywood, and 1954 version came out at a time when musicals were popular, then this one brings something it's own to the table: It ditches the movie approach for one about music. In particular rock music and the industry attached. 

It may be a new approach but let's be honest here: This is all Streisand's show. She stars, is the executive producer, used her own clothes for her wardrobe (as the credits seem eager to point out) and has her then-hairdresser-turned-boyfriend Jon Peters as producer (well before his obsession with mechanical spiders). It would be easy to say this is her bid for some credibility/An Oscar, taking some tried-and-tested material and bringing her own stamp on it - but the question is, does it work? 

When I was a young lad in the nineties, I had a view of the seventies as being one borne of derision: There were hippies everywhere, the hair was bad, the fashion was worse and a lot of the music was over-produced and over-bearing. Granted such a perception was a product of a narrow one but I bring this up because this movie does nothing to challenge said perception. 
Sure the source material does translate well into a music environment, sure Kris Kristofferson plays the role of 'washed up and self destructive' rock star well, sure Streisand does indeed get chances to flex her vocal prowess (the final eight minutes being of particular note). But does this work as a whole? 
Honestly I'm torn here: For every strength this movie has, a weakness emerges: The Oreos. Streisand not quite cutting it is a rocker type. It's meandering nature. The aforementioned aesthetic. 

Still, there's always next week.....

A Star is Born (1954)

 And this week's Friday night movie has been... A Star is Born (1954)!

Original image located here. Accessed 13th March 2026

AKA: The one with Judy Garland in it.

Given that Hollywood has done four versions of this movie the big question is: Why do people keep coming back to it? One likely reasons is that the plot summary has an eternal appeal: The contrasting storyline of a young and upcoming actress making their mark whilst the veteran, experienced actor tries a comeback and fails. With the universal theme of chances - both first and second - it certainly helps to have some parallels in real life.
With this in mind, lets consider this iteration:
 - This was one of Garland's final films after years of personal struggles and some misfires. 
 - Director George Cukor was offered a shot at doing the 1937 original but he turned it down as he felt it too similar to another film he directed What Price Hollywood?. 

So compared to it's older brother, does this one have something of it's own to say? Well it's longer and, as was the trend of the time, it was a musical. Now I personally found the length to be problem as it certainly was a slog to get through - matters weren't helped in that this was a restored version with some missing scenes added with stills and dialogue that came across as pointless and justifiably cut. 
But whatever problems I may have had with this film, they are easily forgiven with the knowledge that this is, without question, Garland's show. She pretty much carries this movie and is a presence to behold. She is funny, dramatic and can pull off some effective musical numbers (see The Man That Got Away and Born in a Trunk).

Personally I found the first A Star is Born a tough act to follow but that doesn't mean this isn't a worthy contender. 

Wicked: For Good

 And this week's Friday night movie has been... Wicked: For Good!

Original image located here. Accessed 28th November 2025

Well I said I will watch the follow up to the first movie so here we are. 

I have a strange relationship with the Wizard of Oz IP: Unlike a lot of other people, I never saw the 1939 movie as a kid. I did eventually see it when I was well into my adult years but for me, the Wizard of Oz that I saw when I was a kid, and the one which indeed resonated the most, was the anime series that was on TV at the time. 
Mind you, in the years since, the afore-mentioned movie has been elevated to that rare, and indeed enviable, position of an adaptation that has become the centre of that particular universe (see also: Willy Wonka and the Chocolate Factory, How to Train Your Dragon and Shrek). 

Given that this is an adaptation of a very successful musical I have to wonder: How much of the musical's success rests on the shoulders of Defying Gravity? Yes it's the best known song, yes even people who don't know Wicked are aware of it and yes it closes the first half, but given that song's renown does anyone really know what happens in the second half? More to the point, does anyone care?

And therein lies the problem: The first movie/half was enjoyable to the point that the second movie/half seems pale by comparison. Yes the visuals and art direction are pleasing, yes this movie has a lot more time to develop it's ideas when compared to the musical,  and yes the cast are giving their all but it all seems underwhelming when compared to the first half. I have been informed that it is the same case for the musical - and this adaptation DID go some way in addressing some of the weaker moments of said musical - but, as is often the case, not every adaptation can't escape the weaknesses of the source. Matters aren't helped with one getting the feeling that this movie seems so intent on taking an axe to the source material: Dorothy has a face that is hidden, and the backgrounds of her companions (Scarecrow, the Tin-Woodsman and the Cowardly Lion) seem ludicrous. 

Is that the fault of the book/musical as opposed to the movie? I will give it that but it still leaves a nasty taste in the mouth. And the same problem the musical faced still haunts the movie: Great first half, weak second half. Still they did try to overcome said problem so 'A' for effort... 

Singin' in the Rain

 And this week's Friday night movie has been... Singin' in the Rain!

Original image located here. Accessed 23rd May 2025

Last year I watched quite a few musicals - more than I would regularly watch in a year (i.e. more than zero). So I may as well go the whole hog and go for the big one. Sure we all know the titular song but what of the movie attached to it?

Have you ever seen the kind of person who can enter a room full of people and, through a combination of personality and charisma, win over everyone in said room with little to no effort? That's what this movie is. The songs are catchy, the dancing sequences are insane, the humour hasn't aged at all, and exuberance just leaps out of the screen. 

Not much else to say except that it seems that this is an eternal classic for a damn good reason. 

Wicked (part 1)

 Last night I went and saw Wicked.

Original image located here. Accessed 24th November 2024

Perhaps I shouldn't be surprised that a movie adaptation of the Wicked musical would be made. After all, said musical was a mammoth success and started this trend of 'retelling the narrative of villains' (it's doubtful Frozen would've existed without Wicked). Furthermore, the existence of the movie is helpful in that this narrative can reach those who can't afford the triple digit figure for the stage show.

There's not a lot can I fault with this movie: Sure it's the first half of a duology but what's there is impressive: The visuals are astonishing, the humour & the script is great and the cast all fit their roles well. Indeed, I am convinced that playing Glinda was Ariana Grande's life ambition. 

So yeah I was won over, in a manner akin to the many who went and saw the stage show.
So! When's the next one coming?

Chicago

 And this week's Friday night movie has been... Chicago!

Original image located here. Accessed 4th November 2024

Best Picture Oscar winner no.: 75 (2002)

Because of this year-long undertaking, I have found myself watching more musicals than previous years. So why not add one more to the pile?
Still, I didn't have to look far for this one as Kiera had on her DVD shelf. 

Last week, I mentioned how the unlikely victory of Shakespeare in Love has changed the Oscar for Best Picture. But there is another reason: It announced Grade-A scumbag Harvey Weinstein as the figurehead for a new era. So from here on, expect to see a lot more Miramax films. 

But ultimately this was a lot of fun. It's big, colourful, inventive and the songs are great. And it proves what can accomplished as a screen musical. 
It could be argued that this movie wouldn't exist without the success of Moulin Rouge. But I say bugger Moulin Rouge - give me this any day. 

Oliver!

And this week's Friday night movie has been... Oliver!

Original image located here. Accessed 14th June 2024

Best Picture Oscar winner no.: 41 (1968)

When I was planning this year-long operation out, I was tossing up whether to include this movie in the schedule. But in the end, I remembered I have a resonance with Oliver as I have performed in the original musical on stage. So we're watching this then.
It's also worthy of note that this movie came out at the beginning of the New Hollywood era (1968-1980) which would make it the last of the old guard. With this in mind, it's strangely fitting that this movie won Best Picture over Bonnie and Clyde - the movie that is largely credited as being the starting point of the New Hollywood.

Given the source material, as in both the musical and Dickens' original text, it would be easy to dismiss this as an adaption and nothing more. And yet, there is much to admire here. The cast is fantastic with both the children and adults doing a top notch job. In particular, Oliver Reed is chilling as Bill Sykes and Ron Moody is fantastic as Fagin to the point of becoming the model for all to follow (why didn't he win the Oscar for Best Actor?). The musical sequences are all well done, the use of colour is superb and there is a solid balance of bright and dark to make this an ideal family movie. 

But in the end, as mentioned above, this is the last of the old guard. Watching this I can't help but feel this is a product of an engine running out of steam. Seems a change was needed.....

The Sound of Music

And this week's Friday night movie has been... The Sound of Music!

Original image located here. Accessed 24th May 2024

Best Picture Oscar winner no.: 38 (1965)

You know, I was perfectly content to live my life without watching this but it seems that fate had other plans.
From the outset, this movie has a formidable reputation being a childhood favourite for many and a less -than-favourable one as being emblematic of being sickeningly sweet. The latter is perhaps best represented by the movie referenced in Addams Family Values.

Personally I found it difficult to resist the charms of this movie. Yes it is very long, yes it seems a very sanitised version of what was happening at the time and yes, it does seem tooth-rotting in it's sweetness. But I will give it props for it's scenery, it's intense final portion and, lets just face it, Julie Andrews is a force of nature that is difficult to resist.

My Fair Lady

   And this week's Friday night movie has been... My Fair Lady!

Original image located here. Accessed 17th May 2024

Best Picture Oscar winner no.: 37 (1964)

I believe that the movie-going public will never forgive Shakespeare in Love for winning Best Picture over Saving Private Ryan....
...and yet no one is bitter that this won Best Picture over Dr. Strangelove.

It would seem that time has not been kind to this movie. Sure the costumes are superb (Those hats!) and Audrey Hepburn has a magnetic presence but there are some parts of this movie that haven't aged well. There is a misogynistic streak throughout, the length is exhausting, the elitism is particularly uncomfortable, the last five minutes severely hinder this movie, and Rex Harrison can't sing to save himself.

I mean, where can we go from this? *checks schedule*...........Oh no............

West Side Story

   And this week's Friday night movie has been... West Side Story!

Original image located here. Accessed 10th May 2024

Best Picture Oscar winner no.: 34 (1961)

And now we enter the sixties. A decade where the musical dominated the Academy Award for Best Picture. Seriously: Four of the Best Picture winners decade were musicals. Still, when I started this year long undertaking, I knew I would be stepping out of my comfort zone. And I am willing to be surprised.

And surprised I was with this one.

I guess it's a given that anyone would attempt a rewrite of Shakespeare's Romeo and Juliet. Hey I did it myself when I was young and dumb. And who wouldn't? The scenario of 'young lovers separated through forces beyond their control' certainly is potent and will immediately secure a teen audience. 

But's let cut to the chase: I was impressed by this movie. The dancing sequences are jaw-dropping in their fluidity, the songs are immediate and recognisable (Maria, Tonight, America, I Feel Pretty) and the direction is engaging. And I can't help but think this was the progenitor of the modern musical in that it introduced the tropes of 'people in street suddenly launching into well choreographed dance number' and 'song concluding with laughter'. Can anyone confirm this?

So in the end, this film is indeed superb and a well-deserved winner of Best Picture.

Gigi

 And this week's Friday night movie has been... Gigi!

Original image located here. Accessed 26th April 2024

Best Picture Oscar winner no.: 31 (1958)

It would appear that history has not been kind to this movie. I feel inclined to agree. 

Sure Leslie Caron has a magnetic presence, the costumes are great and the images of Paris are superb but I, like most people, feel that this movie has aged very poorly. The sexual politics are waaaaaaay out of date, the sentiment of the opening song is incredibly uncomfortable, Honoré Lachaille has a punchable presence, and the music is rather limp. But the biggest crime this movie commits is that it's boring. Granted I'm not the biggest fan of musicals but I know for a fact that it's movie genre that can't afford to be boring.

One final thought: When I went looking for this movie I couldn't find it on any of the streaming services I use. A lot of the other Best Picture Oscar winners were easily found but this wasn't so I had to rely on finding a physical copy. A red flag if ever there was one...

An American in Paris

 And this week's Friday night movie has been... An American in Paris!

Original image located here. Accessed 29th March 2024

Best Picture Oscar winner no.: 24 (1951)

One thing that has arisen from partaking in this year long quest to watch more Best Picture Oscar-winning movies is that I will be stepping out of my comfort zone and watching movies and genres I wouldn't otherwise have given the time of the day. I don't have the best connection with musicals - as I believe the greatest musical movie ever made is the South Park movie - but I am willing to give a chance to any movie to see if it surprises me, 

Well I did enjoy the music and I was astonished by the dance chorography - in particular that astonishing fifteen minute one at the end. But this movie has not aged well: Beyond the spectacle there's not a lot else to this movie and the plot of 'guy hitting on friend's girlfriend' will certainly rub more than few people the wrong way. 
And to think that this won Best Picture over A Streetcar Named Desire. Sheesh....

Sing Street

And this week's Friday Night movie has been... Sing Street!

Original image located here. Accessed 17th February 2023

Anyone heard of this? It's a an Irish movie from 2015, telling the story of a Dublin lad who sets out to form a band. Yes we all know the story of teens that form a band (ie School of Rock and K-On!) so what does this movie bring to the table?

To me this movie' strengths lie in it's setting and the music (of course). In it's setting, we see a Dublin in the mid-eighties, what with accents and slang all over the place as well as a glimpse of life in the working class. It may not be pretty but the less-than-glamourous lifestyle gives the film some grittiness which is both different and welcome.
As for the music, we get a whole clutch of UK bands from the era (ie the Clash, the Jam, the Cure, Duran Duran). As this was my era of youth, one would think this would be up my alley. And I will certainly welcome any movie that shows us eighties music without succumbing to the obvious. It's also fun to see our protagonist absorbing what he learnt from hearing new acts.
And our protagonist has an older sibling that proves to be a vital force in his musical education - something that resonates with me
So yeah great movie. And it's also fun to see Aidan Gillen in this too.

Sunshine on Leith

And this week's Friday night movie has been.....Sunshine on Leith!

Original image located here. Accessed 20th July 2018

Yep, it's the musical based on the music of the Proclaimers.

I've never been a fan of the so-called 'jukebox musicals'. This is because they always seem to come across as if the writer spent more time on song selection than the rest of the script. Thankfully, this is an exception.

There's a lot to like here: The songs are used to great effect, there's some great characters, Scottish accents ("X-berks"), a script with some drama and some genuinely touching moments. I especially like how never once the songs tend to drown out the story completely and it gives time to develop characters and give them agency.
And the finale, to (unsurprisingly) 500 miles, is truly a thing of joy.

On a more personal note however, I recall having the Proclaimers big album (of the same name) playing a lot in the house when i was a little kid. So it's certainly something to see these songs that i recognized being presented in such a manner.
So yeah: Great movie and a shining example of a Jukebox musical done right.