Sing Street

A beautifully balanced, sensibly narrated & splendidly performed indie covering the highs & lows of teenage life while demonstrating the magic of creating music with all the romance of the art in tact Sing Street is a heartfelt ode to the carefree, joyous days of growing up and with its subtle touch of melancholy & hummable soundtrack, delivers an experience that's delightfully captivating.

Set in Dublin, Ireland during the 1980s, Sing Street tells the story of a young kid who is looking for an escape from all his troubles at home where his family is on the verge of falling apart, and at his new school where students & teachers are quite rough. His window of opportunity arrives when, in an attempt to impress a girl, he invites her to star in his band's music videos despite not being a part of one.

Written & directed by John Carney, the movie packs just the right amount of heart, fun, nostalgia, heartaches & optimism and also benefits from the interesting set of characters the writer-director brings to life. The events progress in smooth, effective manner from start to finish while the songs are expertly placed at just the right moments to exquisitely capture the underlying context of the emotions on surface.

Production design team does well to nicely capture the period details of the timeline its plot is set in. Cinematography encapsulates the entire feature with an overcast ambiance with warm & cold colours utilised as per the scene requirements. Editing provides a steady pace to its 105 minutes narrative with each scene only taking the story forward while songs are composed from scratch and have an infectious quality to them.

Coming to the performances, Sing Street features a relatively unknown but incredibly committed cast in Ferdia Walsh-Peelo, Lucy Boynton, Mark McKenna, Jack Raynor, Aidan Gillen & Maria Doyle Kennedy and everyone does an excellent job with what they are given. Walsh-Peelo in particular is a standout and shares brilliant chemistry with both Boynton & McKenna while Raynor pretty much steals the show in every scene he appears in.

On an overall scale, Sing Street is the feel-good movie of the year that's euphonic in both happy & sad moments and manages to incorporate a mix of both with amazing comfort. A healthy dose of entertainment that treads the fine line between wishful fantasy & cold reality that promises plenty of laughs & hints of tears, this bittersweet coming-of-age musical comedy hits the right chords at the right time throughout its runtime and is one of the best films of 2016. Definitely recommended.

Greetings again from the darkness. The vast majority of 1980's music usually inspires nothing but groans and an immediate change of the radio channel from me. Yet writer/director John Carney masterfully captured and held my attention with this crowd-pleasing story that leans heavily on the tunes from that era.

Mr. Carney was also responsible for two previous music-centric movies, Once (2007) and Begin Again (2013). He is an exceptional story teller who puts music at the center, but avoids the label of "musical" by making it about people, rather than notes.

It's 1985 in economically depressed Dublin, and a strong opening sequence introduces us to Connor (Ferdia Walsh-Peelo) as his ever-arguing parents (Aidan Gillen, Maria Doyle Kennedy) inform him of the economic necessity of pulling him out of prep school and enrolling him into a much tougher environment … one that comes with bullies and hard-nosed teachers/clergy.

Soon enough Connor is hanging with the misfits and inviting an enchanting "older" girl to star in his band's video. She agrees, and wide-eyed Connor quickly sets out to form a band that didn't previously exist.

There are two interesting and fully realized relationships that make this movie click: Connor and the enchanting Raphina (Lucy Boynton), and Connor and his older brother Brendon (Jack Reynor). Brendan is Connor's life mentor and music guru. They are quick to jump on the new world of music videos, and it's a real hoot to watch Connor emulate the style and fashion of Duran, Duran, The Cure, etc.

It's fascinating to note that Connor, while a pretty talented lyricist and singer, doesn't really seem to be in love with the music except as a means to an end … a way to get the girl. That said, the real message here is that while teenagers often feel like they can't fix the outside world (parents, teachers, bullies), they can fix themselves by finding a passion in life (the movie uses the term vocation).

It's hard not to notice the influence of such filmmakers as John Hughes and Cameron Crowe, and Carney certainly brings his touch of romanticism. Plus, one must appreciate any movie that delivers an original song as catchy as "Drive it like you Stole it", while also taking a shot at Phil Collins. It's a funny and sweet movie that should really catch on through positive word of mouth.

There's nothing quite like the creative process. We've all had that feeling; unfolding with all its frenzied excitement, malleable thoughts and brainstorms and inventive problem-solving. Yet creativity isn't just limited to what music you make, what stories you write, what paintings you paint. Flexing the limits of your creativity is almost like a window into your identity. Do you look for the easy fix, do you power through despite mental blocks, do you try the unexpected or bend towards an originality or an universality. So it goes with Sing Street, a movie that expands the notion of creativity itself, making an unabashedly and irresistibly charming film.

Conor Lalor (Walsh-Peelo) and his family live in a charmed dwelling overlooking the urban sprawl of South side Dublin. Due to financial strain, Conor is informed that he's being taken out of his private Jesuit high school and being transferred to a public school nearby. At first, things go miserably. He's hassled by bullies, called names openly in class and harangued by the school's principal Father Baxter (Wycherley). His only solace is watching new wave music videos with his older brother Brendan (Reynor). Things change however with the appearance of the mysterious and strikingly beautiful Raphina (Boynton) who stands on the stoop outside the school. He approaches her and asks her to be in a music video; she agrees. Next step: start a band.

Conor quickly makes friends with a gaggle of outcasts from the school in order to haphazardly start, build and maintain a fledgling little group. Among them is the multi-talented Eamon (McKenna) who can not only play multiple instruments but can put Conor's lyrics to song. It is the moments between these two young artists that best exemplifies the movie's central theme. We share with them the 4am feeling of unbounded imaginative bliss as they riff off each other, clean up their chords and rhythms and ask each other the meaning behind the songs they write. Because of Eamon's father's vocation as a covers band leader, the band not only has a place to practice but instruments to play which benefits the rest of the players as they develop their sound.

Conor uses his band not only for the purpose of wooing the girl but also as a means to escape his increasingly turbulent home life. The marriage between his mother (Doyle Kennedy) and father (Gillen) circles the drain as his dropout brother smokes hash and oozes cynicism and unrealized potential. In one moment of investigation, Brendan points to the mother who sits on the stoop, smoking a cigarette, hoping to catch the last rays of sunshine of the day. With big talk of some day going to Paris, the mother settles on these moments to sulk in bitter reflection. "I cleared a path for you." Brendan says in a moment of defeat. Seems his carefully curated collection of vinyl and his grimacing observations serve as a counterpoint to encourage Conor's brazen dreams.

Yet it's the girl who pushes Conor to the point of unique creative verisimilitude. And as the would-be model that captures the heart of our young hero, Lucy Boynton is an absolute vision. She coyly hints at gigs and glamour in London yet she lives at an all girls boarding house and dates a guy who listens to Genesis. Yet despite outward moments of confident sashaying, behind the makeup and denim there beats the heart of a true romantic and a true creative conduit. "When it comes to art, you never go halfway." she says just after she throws herself into the Irish Sea for the sake of a good video. This moment is immediately followed by Conor responding in kind.

And yes this movie is about a new wave band in the 1980's, so yes there is a lot of hair, makeup, posh scarf wearing and mod style bravado. While today we like to take potshots at the synth-pop aesthetic, there's still something utterly charming about the way it is presented here. Is it nostalgia; probably. Yet there's an unawareness to it, allowing the audience to discover (or re-discover) the trappings of 80's popular music in real time. The excitement Brendan and Conor feel in watching Duran Duran's Rio music video is infectious, and the original songs by the band are easily the best thing about Sing Street.

Conor eventually finds a since of identity within the catchy rhythms of his songs, the jejune charms of Raphina and the kindliness of Brendan's brotherly love. The moments of kitchen sink realism serves not only as a cautionary tale to Conor but to us as well. When we refuse ourselves the rewards of creativity we risk becoming embittered, angry and resentful. In the words of Kurt Vonnegut, "Go into the arts. The arts are not a way to make a living. They are a very human way of making life more bearable. Practicing an art, no matter how well or badly, is a way to make your soul grow." To put it another way, go create something.

I love a lot of things about this film - though probably my favorite aspect is watching Colin mature and gain confidence throughout. The scene where he confronts the bully is fantastic. But I can go on and on about a lot of the different things - the music, the brother, Raphina the muse, it all leaves you feeling pretty good.

I'm a huge fan of the movie Once. When I arrived at South By Southwest, and saw that John Carney had directed another movie, I have to say I was a bit skeptical that he could capture the magic of that movie again without the amazing music and raw performances of Glen Hansard.

My fears were unfounded.

SING STREET is a heartfelt, funny and artful coming-of-age movie set in 1985 Dublin. I'm close to an ideal audience member for this film, because I grew up in the 80s myself, a child of the MTV Generation. I count John Hughes' films and the Cameron-Crowe scripted Fast Times At Ridgemont High among the most influential films of my childhood. They are the reason I became a screenwriter, and why I continue to write movies for a teen audience.

Sing Street truly hearkens back to those great teen movies of the 80s. The best stories about teenagers are rooted in pain and isolation, and this is no different - Connor "Cosmo" Lawler comes from an upper middle class family that has fallen on hard times. His parents have constant fights. His older brother Brendan is a college dropout and his sister, the 'smart one,' pretty much keeps to herself. In order for the family to save money, Connor is transferred to the local Catholic boys school, where he's quickly made an outcast and an example by the authoritarian headmaster.

You could say that this is a movie about forming a band. And this genre of story - of artistic awakening - seems to be replayed quite often in British and Irish films like The Commitments, Billy Elliott, The Full Monty, and others. But those movies each had a unique wrinkle, and Sing Street does too. It's the beautifully told story of the way that the inspiration and inception of the best art is rarely an individual act of genius, but rather, the result of a series of interconnected acts of human desire and emotion.

It's the parents who sentence you to a horrible school; the girl who you long for that won't give you the time of day; the other guys who join your band because they're outcasts too... the brother who loves you too much, and is too angry at his own cowardice, to let you settle for less than your best.

There's also a lot of great humor in Sing Street about the fact that you have to try on the styles of your heroes before you find your own confidence. 40-something audiences will definitely get another level of enjoyment out of all the allusions to great 80s bands. The art direction and costumes are done wonderfully in that respect. But I think this movie will work wonderful for today's teenagers as well.

The movie is by turns funny, heart-wrenching, soaring and surprising. And the musical numbers, while not necessarily Oscar winning, like Once, is great. I'm thrilled that a new generation of teenagers will get to experience the release of a movie that's on par with the films I love so much as a kid.