Twentieth Century Fox Film Corporation | Release Date: December 20, 2017 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
12
Mixed:
22
Negative:
9
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Critic Reviews
The Greatest Showman is the feel-good (and feel good about it) movie every holiday season needs. P.T. Barnum is famous for saying there’s a sucker born every minute and he’s still right. For 105 minutes I’m a sucker for his movie, that may not be the greatest show on Earth but close enough.
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The director, Michael Gracey, is an Australian maker of commercials who has never directed a feature before, and he works with an exuberant sincerity that can’t be faked. The Greatest Showman is a concoction, the kind of film where the pieces all click into place, yet at an hour and 45 minutes it flies by, and the link it draws between P.T. Barnum and the spirit of today is more than hype.
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The Film StageDec 20, 2017
Ultimately, the whole point of the picture comes down to the tune “This Is Me.” The crux of the song, led by the impressive Keala Settle, is to be comfortable in your own skin no matter what the masses may say. It’s hard to fight against this kind of positivity, as delivered by these kind faces and kind songs. The Greatest Showman, despite its flaws, is a winning piece of work.
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But while it may not be strong on nuance and the story moves with all the careful pacing of a human cannonball, it’s got gusto and verve in abundance. An old-fashioned musical with a none-more-zeitgeisty songsheet, it may not be a flawless piece of storytelling, but it’s a pretty decent show.
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Don’t get me wrong, the Hugh Jackman-led P.T. Barnum circus musical is a bad movie, but one that’s just enjoyably bad enough to keep you entertained. If you loathe musicals, this definitely ain’t for you. But if you indulge in gaudy show tunes, and can relinquish all desire for a logical plot and developed characters, then, in the melodically whispered words of Hugh Jackman, The Greatest Showman is everything you ever want, it’s everything you ever need, it’s where you want to be.
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The Greatest Showman is not, in any traditional sense of the phrase, a biographical motion picture about P.T. Barnum. It is a high-energy, breathless fantasy. Employing sleight of hand, some fast talking, and a lot of tall tales, it exaggerates the legend until the illusion takes on a life of its own, turning into the promised “fever dream” that, while admittedly stuffed with some truly excellent musical setpieces, has something sinister at its core.
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This strained musical is content to play to the cheap seats. Earnest in the extreme and armed with lethal amounts of razzle-dazzle, the feature debut of commercial director Michael Gracey is an all-out assault of sentiment, pop songs and dime-store psychology that’s somewhat held together by Hugh Jackman’s likably shameless portrayal of this striving charmer.
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The Greatest Showman, for all its celebratory razzle-dazzle, in the end feels curiously lacking in conviction. Its pleasures, namely those Pasek-Paul songs, could be removed and repurposed for another story entirely, with no discernible loss in enjoyment or meaning...Its failures are rooted in something deeper: a dispiriting lack of faith in the audience’s intelligence, and a dawning awareness of its own aesthetic hypocrisy. You’ve rarely seen a more straight-laced musical about the joys of letting your freak flag fly.
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As the bombastic musical numbers vie to outdo each other (in one scene, lovebirds Efron and Zendaya appear to be auditioning for Cirque du Soleil), the song-and-dance man gets lost in the scenery, his charisma overwhelmed by director Gracey’s misguided preoccupation with razzle dazzle at full throttle.
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Its empty, loud breathlessness is the real bunk to behold: think trailer for a movie more than movie itself. Or more accurately, think teaser to the trailer to the movie. It’s a broken record of ersatz positivity and empowerment, practically shout-singing at you to be all you can be while it mostly just is what it is, plastic flash without any enduring oomph.
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There’s idiotic, and there’s magnificent, but The Greatest Showman is that special thing that happens sometimes. It’s magnificently idiotic. It’s an awful mess, but it’s flashy. The temptation is to cover your face and watch it through your fingers, because it’s so earnest and embarrassing and misguided — and yet it’s well-made.
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