It immediately reminds us of Goodfellas, and the comparison does this film no favors.
Zellweger inhabits Garland so fully that we quickly forget that there’s just an actor behind the makeup.
Starts off with a dramatic opening scene that’s vintage Elton, but soon bogs down under the weight of an unmistakable identity crisis.
If you can stave off the initial boredom, the plot takes off like a rocket for the film’s second half.
It packs a lesson every bit as pertinent today as it was nearly five decades ago.
It’s exactly the film that May and Taylor wanted, and it’s a complete bore.
A tedious experience that made me cringe more than applaud or smile.
First Man attempts to bring color to a man who embodied the dull grays of the very surface to which he will forever be anchored.
Edgy with a rough-hewn style and the grace of a gorilla ordering a pale Pouilly-Fuissé.
Celebrates the downtrodden people, outcasts and defiant dreamers in a musical that you didn’t know that you needed to see.
The magic evaporates faster than the honey in Pooh’s pot.