Bil’s rating (out of 5):.
USA, Dorian Awards 2018. Toronto International Film Festival 2018. Golden Globe Awards 2018. Las Vegas Film Critics Awards 2018. National Board of Review Awards 2018. North Carolina Film Critics Awards 2018. Online Film Critics Awards 2018. Phoenix Film Critics Awards 2018. Washington Film Critics Awards 2018.. , , , , , , , . Screenplay by , , , based on the screenplay by , the screenplay by , and , and the story by and . Cinematography by . Produced by Bradley Cooper, , , , . Production Design by . Costume Design by . Film Editing by .
Four previous versions (five if you count Mariah Carey) of varying success mean that Bradley Cooper can’t just remake the ever-popular tale of love and celebrity, he needs to also prove why we need it; that he makes a riveting and wholly emotionally engrossing film out of a story whose outcome is familiar to most anyone who watches it is practically a miracle, further proving his own talents and coaxing a great performance out of the usually stiff and awkward in the process. Cooper stars as an alcoholic rock singer whose chance encounter seeing Gaga sing at a drag bar captivates him, not just because she has killer pipes but also a force of personality that he believes the world deserves to experience. She is charmed by his honesty and friendliness and agrees to join him on the road, before long finding herself an overnight sensation while also having to deal with the fact that the man she now loves is being dragged down by his demons while her prospects are moving steadily upwards. This one doesn’t have the grandeur of the Judy Garland version (to which it nods with an acapella version of “Over The Rainbow” in the opening scene) but it does correct most of what is wrong with the Barbra Streisand film, featuring an impressive soundtrack (the songs are actually all wonderful) while getting key elements of the story so right that the film’s flaws are easily forgivable. Gaga’s entrance is awkward and unnecessary, we don’t need to see her screaming about her ex-boyfriend in the bathroom given that her self-effacing attitude, which she pulls off so well, tells enough of the story in every subsequent scene, but the most egregious error in this film that comes closest to sinking it is a miscalculated third act, rushing through a major plot point in order to keep the story’s tradition intact but without feeling honest or dramatically justified. Such errors mar the energy of the film but not its magic, and there’s plenty of reason to celebrate how fresh this near-century old tale still feels: the chemistry between the leads is electrifying, there’s a genuine sense not just of love but also loyalty between these two that makes it irresistible to watch, and stakes that are convincing and effective. Gaga’s vocals truly are worthy of the sense of wonder with which she is treated by everyone around her, while Cooper convinces us of his prospects as a musician while capturing the misery that those trapped in addiction suffer.