Mi nombre es John Lennon

I knew very little about Lennon – a Beatle, shot dead at age 40, all round musical god to millions – before seeing Nowhere Boy. I know more about him now, but not as much as I'd hope. Matt Greenleigh's screenplay, based on Julia Baird's (Lennon's sister) memoirs, covers only a small period of the rocker's life, more specifically between the ages of 16 and 20. These were the years when Lennon met his real mother and learnt the truth about how he ended up living with his Aunt Mimi. Oh, and he also met Paul McCartney and George Harrison. However the film strongly focuses on his familial issues and leaves the formation of his band as a sidenote, which is a real shame because as an ignorant fan it would have been great to learn more about the Lennon / McCartney dynamic and how The Quarrymen-cum-Beatles grabbed the world's attention.

In her sophomore effort as director, Sam Taylor Wood brings a nice artistic edge to the proceedings although her picture isn't always as compelling as it should be. There are a handful of powerful scenes that'll get the heart pumping though; a tense, all-cards-on-the-table discussion between Lennon, Julia and Mimi is Nowhere Boy at its best. With the assistance of DP Seamus McGarvey, she manages to capture the mood and gloom of 50's London extremely well, the chilly weather a perfect excuse for kids everywhere to dress like Elvis.

Perhaps most importantly, Wood has extracted a fine performance from the 19 year old Johnson; his brash, confused Lennon is never less than convincing. Always reliable, and almost stealing the show, is Kristin Scott Thomas as the stern but devoted Aunt Mimi. She gives Mimi so much depth and unsaid emotion, it is tour de force to witness. Not quite as engaging is Thomas Sangster as McCartney and Anne-Marie Duff as Lennon's completely bizarre mother Julia.

A small, but interesting insight into the musical genius that was John Winston Lennon.

3.5 out of 5 (1 - Rubbish, 2 - Ordinary, 3 - Good, 4 - Excellent, 5 - Classic)

Visual artist Sam Taylor Wood has crafted the most entertaining and thought provoking piece of Lennon mythology to date in her debut feature film Nowhere Boy.

The movie chronicles the adolescent years of John Lennon. Having been brought up by his Aunt Mimi, John's world is turned upside when his free spirited mother Julia re-enters his life, ripping him open and pulling out his artistry as well as pain, anger and frustration.

A number of films and documentaries have tried and failed to make a definitive statement about John Lennon the human being. The reason why Nowhere Boy is so successful is because we are presented with a complex and multi faceted young man, who was a number of things to a number of people and impossible to pigeonhole.

Based on the novel by John's sister Julia Baird with the script penned by Matt Greenhalgh, Nowhere Boy possesses an enormously strong emotional undercurrent that is missing from many films of the biopic genre. The Lennon legend has risen to almost unparalleled mythical heights within our culture and Greenhalgh does a superb job at humanising the story, so much that you forget that you are watching a film about a legend in the making, but rather the story of a young boy caught between the women he loves.

The women in question are John's Aunt Mimi played by the ever brilliant Kristen Scott Thomas and his mother Julia, brought to life in a star making turn by Anne-Marie Duff. Though much of the acclaim seems to be percolating around Duff's performance, Scott Thomas deserves to be equally praised for making the incredibly complex character of Mimi relatable and sympathetic. In the wrong hands Aunt Mimi could have come across as highly unlikeable considering she can often appear distant and cold, but Scott Thomas juxtaposes these instances with such an understated kindness and warmth that we as the audience realise that Mimi is a very caring person who has the misfortune of finding it almost impossible to express sentimental feelings. On the other end of the spectrum Julia appears to be everything Mimi isn't- a free spirit who flouts convention and lives for a good time. Julia is a flirt. She flirts with life, men and even her own son. There is a rather incestuous undercurrent to her and John's relationship such as when she lays on top of him, lost in ecstasy to the tune "I Put A Spell On You". The scene is uncomfortable, as is many aspects of their relationship. In many ways she seems more like a girlfriend to John and as the movie progresses we begin to understand more and more Mimi's misgivings. In many ways Julia has never really grown up and only knows how to engage with men in this seductive manner.

John Lennon is played by relative unknown Aaron Johnson, mainly associated with his role in Angus, Thongs and Perfect Snogging. Johnson breaks free from the shackles of his teen pin-up persona and delivers a mature and layered performance worthy of accolades. Johnson fully embodies Lennon's complexities; he is both good and bad, insecure and arrogant, sensitive and brutal, caring and careless. From Lennon's wit to his magnetism, pain, anger and sarcasm, Johnson gets it all. Considering Lennon is one of the most imitated celebrities of our time Johnson does well to avoid caricature, creating a version of Lennon at his most human. Johnson's vocal abilities also sound eerily reminiscent of a young Lennon, making him an excellent choice in more ways than one.

Taylor Wood is definitely a talent to watch as she not only elicits fine performances from her cast but also manages to capture the essence of post war Liverpool in a vivid and imaginative way. Gone are the bleak greys, squalid mean streets and endless rows of two up two down houses that usually characterises the depictions of the area. Instead we are presented with a much more colorful and vibrant depiction of Liverpool, a City just beginning to discover the charms of rock and roll. The excitement in the air is palpable.

One of the greatest attributes of Nowhere Boy is the soundtrack, crammed with classics from Elvis Presley, Screamin' Jay Hawkins, Jerry Lee Lewis and Eddie Cochran. Coupled with these original rock songs are covers sung by Aaron Johnson and Thomas Sangstar as their respective characters.

Nowhere Boy is an absolute gem of a film that will hopefully find the audience it deserves. You'll laugh, cry and kick yourself for not learning guitar in your youth. Possibly the most touching film of the year, there is nowhere else you should be on Boxing Day. FOR MORE REVIEWS FEEL FREE TO VISIT http://rantsreviews4filmnuts.blogspot.com/

It was very interesting to see a biopic focusing on icon John Lennon's early life, or shall we say teenage years, rather than his climb to fame with The Beatles. While not one of the best biopics out there, 'Nowhere Boy' luckily is the opposite of the film's title.

'Nowhere Boy' has its flaws. The exposition in the final act is rather clunky, and some of the drama gets over-sentimental and melodramatic, also somewhat over-heated. While Sam Taylor-Wood doesn't do a bad job directing there is a little too much of a measured approach when it could have been tighter. That it is very inaccurate wasn't as big a problem for me, biopics are not exactly known for their accuracy and many have done far worse jobs.

However, the period is very evocatively rendered and done justice by photography that has style and grit. The music is great.

There are some thoughtful moments in the script, and there is a nice balance of moments of poignant drama and pop history. The story is often engrossing and is pretty illuminating, not really making the mistake of saying little new that we don't know already.

Aaron Johnson is highly credible as Lennon and more than holds his own against the more experienced actresses Kristin Scott Thomas and Anne-Marie Duff. Scott Thomas in particular is marvellous and Duff is a fine contrast.

Overall, pretty good and interesting. 7/10 Bethany Cox

This biopic of John Lennon, taking his story from his schooldays in Liverpool up until the departure of the nascent Beatles for Hamburg, is an exceptional movie, quite the best I have seen during 2009. The story is beautifully handled from beginning to end and the acting from the three main leads is superb. Aaron Johnson manages to portray Lennon's mixture of cockiness (in more ways than one!), aggression, painful vulnerability, bewilderment and sheer adolescent verve with great sureness of touch. We watch Lennon developing from school-kid into knowing young man, and we literally see a different face at the end of the movie to the one we did at the start. Superb playing by Johnson, brilliantly assisted by that of Kristin Scott Thomas as his Aunt Mimi and Anne-Marie Duff as his mother, Julia. It would have been all too easy to lapse into cliché with this story but this is largely avoided. We get glimpses of Liverpool - an opening on the steps of St George's Hall, a fleeting glimpse of Strawberry Fields, a shot of a ferry on the Mersey - but these glimpses are all we need. And the movie closes not with a rendition of an all too predictable 'Nowhere Man' but a beautifully performed 'In Spite of All the Danger'. They say it's a long way to the top if you wanna rock n' roll; in Nowhere Boy we can see where it, and we, all began.

Upon reading other comments, this film clearly polarizes viewers. I suggest you read the comment by someone called Phantom Fan who sums up a lot of the story and emotional content quite well in my opinion. As a result I need not repeat. I am old enough to remember the Beatles in their climb to fame, but this film is not about that. The film is about John Lennon at 15. This seems to annoy some viewers. If a person reads the ads and sees the trailer: it clearly says JOHN LENNON AT 15. So whining about the film not being about John Lennon at 25 and not being about The Beatles seems as though someone did not pay attention to the film's advertising information. What we do have however is a superb production set in the mid 1950s as rock n roll grabbed teens and John Lennon (aged 15) realized some emotional hard truths about his family and himself. It just these key emotional Lennon family earthquakes that is the story of this film. Not 'How The Beatles met". The tug of love between two brittle sisters and the increasingly shocked and troubled Lennon let us glimpse the deep ruptures in his romantic psyche that saw his scorching opinions and acidic wit build. This is a great film, the art direction and set design allow the viewer to feel as though they are there in those rooms on those days. Aaron Johnson is possibly too handsome for John and is photographed to boost his genuine beauty; the photography and the direction are terrific. Interesting for Australian cinema goers is that we are fortunate to have had two award winning films previously about similar family backgrounds: CAREFUL HE MIGHT HEAR YOU from 1983 written as a memoir by Sumner Locke Elliott about his life at 6 years old being bounced between two warring aunts and an absent father is almost identical family (flashbacks) background to NOWHERE BOY. Also Eric Bana's 2008 film with Kobi Smit McPhee called ROMULUS MY FATHER is almost a flip-side between a Dad trying to save his son from an unstable mother and her lovers. So perhaps we in Oz are better more willing to applaud NOWHERE BOY on this basis. I found every part of this film compelling and thought Johnson great casting for young Lennon. The two sisters and their unraveling personal issues from their fraught past made excellent drama. I went with it all and I suggest you do too. But be prepared to let it inform you rather than you demand 'a Beatles movie'. My only niggle is the fey depiction of a 15 year old cherubic sissy styled Paul McCartney. NOWHERE BOY went somewhere for me.