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Critics Consensus

La La Land breathes new life into a bygone genre with thrillingly assured direction, powerful performances, and an irresistible excess of heart. Read critic reviews

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Sebastian (Ryan Gosling) and Mia (Emma Stone) are drawn together by their common desire to do what they love. But as success mounts they are faced with decisions that begin to fray the fragile fabric of their love affair, and the dreams they worked so hard to maintain in each other threaten to rip them apart.

Rating: PG-13 (Some Language)

Genre: Musical, Romance, Comedy, Drama

Original Language: English

Director: Damien Chazelle

Producer: Fred Berger , Jordan Horowitz , Marc Platt , Gary Gilbert

Writer: Damien Chazelle

Release Date (Theaters): Dec 25, 2016 wide

Release Date (Streaming): Apr 11, 2017

Box Office (Gross USA): $151.1M

Runtime: 2h 8m

Distributor: Lionsgate Films

Production Co: Summit Entertainment, Marc Platt Productions, Gilbert Films

Sound Mix: DTS, Dolby Digital, Dolby Atmos

Aspect Ratio: Scope (2.35:1)

Cast & Crew

Ryan Gosling

John Legend

Rosemarie DeWitt

J.K. Simmons

Finn Wittrock

Callie Hernandez

Sonoya Mizuno

Jessica Rothe

Tom Everett Scott

Damien Chazelle

Screenwriter

Mike Jackson

Executive Producer

Qiuyun Long

Thad Luckinbill

Fred Berger

Jordan Horowitz

Gary Gilbert

Linus Sandgren

Cinematographer

Film Editing

Justin Hurwitz

Original Music

David Wasco

Production Design

Austin Gorg

Art Director

Sandy Reynolds-Wasco

Set Decoration

Mary Zophres

Costume Design

Deborah Aquila

Mary Tricia Wood

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Critic Reviews for La La Land

Audience reviews for la la land.

One of the most magical, most heartfelt and most majestic movies I've ever seen in my whole life! This film wins thanks to a fantastic direction, unforgettable music, and mesmerizing performances!!!

This film will captivate you from the opening sequence, which I dare say is maybe the best musical introduction since Chicago back in 2002. Gosling and Stone are charming and the cinematography of Sandgren coupled with a flawless direction from Damian Chazelle helped us care for both characters. It will however all be in vain if not for the sublime Justin Hurwitz who created one of the best scores of the decade. Mia and Sebastian theme in particular was so catchy and beautiful, and of course the Oscar winning song "city of stars" I'm sure many people will have some other better opinion of jazz music after this due to the simplicity of its melodies. The film will manage to take you slowly but surely to the realistic epilogue that will probably slap you so hard that you will keep on gazing at the screen long after the credits roll.

Singing and dancing its way into the hearts, minds, and ears of even those who think that Chicago was a complete waste of time, elegant, enchanting, edgy and elegiac tune-up La La Land often looks like an homage to Golden Age H'Wood but sports enough lovestruck spark and - alternately - jaded spunk to qualify it as a true modern-day genre original. In this PG-13-rated musical, a pianist (Ryan Gosling) and an actress (Emma Stone) fall in love while attempting to reconcile their aspirations for the future amid navigating their divergent careers in Los Angeles. Don't call it a throwback. Indeed, La La Land lovingly tips its hat to such entertainment industry-set musicals as Singin' in the Rain and New York, New York but also charts a millennial-appropriate melancholic course all its own. While some great musicals like All that Jazz get downright bleak, La La Land softshoes into the dark without every fully losing its color and buoyancy. Take for instance a date night rendezvous shot in the Griffith Observatory, which literally sees the leads taking flight and dancing among the stars. This could very easily have gotten so on-the-nose schmaltzy that the scene required an animated Disney sidekick. Instead, the entire song-and-dance - we're taking the film as a whole - knowingly keeps it from tripping over its own feet into a brink called cornball. It knows what it is. It's a dessert and a floor wax...er, rather, it's nostalgic, romantic, and also terminally cynical all at once while dancing backward in high heels. If that doesn't speak to many of today's workaday Americans, then the musical is not only merely dead, it's really most sincerely dead. Ultimately, La La Land is a hat-trick...albeit a very accomplished hat-trick. To remain vital in that gnat's-attention-span known as modern pop culture, a musical must implant one key feature into the brain of filmgoers: a hummable tune. Just as a western must present at least one key scene set in or that strongly brings to mind the untamed mythic expanse known as the American West, a musical has to boast at least one notable song. La La Land accomplishes this. Oh, "City of Stars" won't ultimately achieve the classic status of, say, "Somewhere Over the Rainbow" from The Wizard of Oz, but definitely qualifies as toe-tapping and memorable. "Another Day of Sun" proves less of an earworm but backs the film's showstopper moment--a one-take, traffic-snarled freeway song-and-dance number. That this showstopper kicks off the film and a blue note ends it while still making the audience beam from ear to ear speaks to the brilliance of director Damian Chazelle. Neither a jukebox musical nor a Broadway adaptation, his La La Land is a rare beast thought extinct. Building upon his short musical Guy And Madeline On A Park Bench (perhaps a bit too much as the film's only failing is that it runs too long) with a cornucopia and cacophony perfectly suited for the here and now, his musical is original in the best sense. In fact, his hat-trick greatly one-ups 2011 Best Picture Oscar winner The Artist, which was a silent film homage accomplished through shear imitation. La La Land harks back without becoming its forebears--a love letter and a Dear John letter in one fell swoop. Chazelle shares this dignity not just with the genius-level choreographers and songwriters, but mostly with Gosling and Stone who pull all off the whole act with a ridiculous amount of grace and conviction. An impeccable latter-day Vaudeville team, their singing and dancing aren't perfect but you wouldn't want them polished to that vaunted degree. They're relatable...well, at least as relatable as people who break into song on a moment's notice. Working beautifully together, step for gorgeous step and note for lovely note, they provide the heart and soul to a film whose target demo are people with hearts and souls. To Sum It All Up: City of Starstruck

While all musicals since West Side Story are inferior and therefore redundant by definition, this one actually works. Starting with a great number in LA traffic, it also helps that there is plenty of space for conversations between songs, are both are well written. Additionally there are a few pretty neat visual gimmicks, especially in the final act which even comes with a bit of a twist in the end. That's pretty sweet, entertaining and most importantly well acted. A genuine pleasure.

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Musicals made me a romantic. They taught me that some emotion is so powerful that it can’t be put into mere words—it must be sung. Some love is so overwhelming that you just have to move your feet. With a family that loved classic films, I remember being awed by Gene Kelly and Fred Astaire , thinking they were as cool as anyone in movie history. Characters in musicals not only understood love differently than those in traditional films but they turned that understanding into art—dancing, singing and transcending mere dialogue to become something greater, something purer, something closer to true romance.

We’ve had some musicals since the era of Rogers & Astaire, but few that have tried to recapture that sense of fluid, magical thinking in which characters communicate with their bodies as much, maybe even more, than they do with their voices. One of many remarkable things about Damien Chazelle ’s “La La Land” is how much energy and time it devotes to movement and music, not just lyrics. The modern movie musicals, so often based on Broadway shows, have focused heavily on songs that further plot. In Chazelle’s vision, choreography matters and a simple piano refrain can have more power than a lyric. This is a beautiful film about love and dreams, and how the two impact each other. Los Angeles is filled with dreamers, and sometimes it takes a partner to make your dream come true.

“La La Land” opens with a bit of a fake-out in that it’s a large ensemble number of a variety that we won’t really see again in the movie. Cars are stuck in the notoriously awful L.A. traffic when the drivers decide to break into song called “Another Day of Sun”—a bit about how each day brings new hope for these young wannabe artists—jumping out of the cars and dancing on the freeway. Instantly, Chazelle’s direction and the dance choreography feels different. Here, and throughout the film, he works in long, unbroken takes. You can not only see the dance moves, but you can see the dancer’s entire body when he or she performs them. And after the chorus-like introduction to a city of dreamers, we meet two such sun-gazers: pianist Sebastian ( Ryan Gosling ) and actress Mia ( Emma Stone ). Like any good musical, the two have a few false starts and playfully mock each other’s flaws in their first scenes. But we know where this is headed and Gosling & Stone have the chemistry to make us long for them to get together.

The first major centerpiece scene is a long walk between Sebastian and Mia as the sun is setting over the Hollywood Hills. They start to see similarities in one another. Mia is tired of going on worthless auditions, ones in which the producer doesn’t even look up from their phone. Sebastian holds on to an ideal version of jazz, wanting to open his own club instead of selling out and playing greatest hits for tourists. And Sebastian and Mia have a clear, instant attraction. So, even as they sing about how they’re not really a couple, and how this gorgeous night is wasted because they’re not with their true partners, their bodies tell another story with a fantastically choreographed dance number. Stone and Gosling aren’t natural singers or dancers, but they bring so much character and commitment to every movement that it doesn’t matter. They’re fluid, engaged and mesmerizing. We watch them fall in love through dance.

Of course, it helps that Gosling and Stone have the kind of star power that made so many of those classic era musicals memorable. He’s smooth and charismatic; she’s clever and beautiful. The phrase has lost most of its meaning, but these are movie stars . And, of course, they’re more than capable when “La La Land” demands greater depth, finding characters so rich that the movie would work without the music. It’s a story of artistic passion, and how easy it is to get derailed from your dream. Sometimes it takes another person to push you back on to the tracks to find it again. Gosling and Stone get these characters, finding grace in their movement but emotional depth in their arcs; Stone has never been better.

“La La Land” also exists as a very conscious ode to the allure of classic Hollywood. The pair goes to see “ Rebel Without a Cause ” (ending in one of the most magical scenes in years) and films like “ Casablanca ” and “Bringing Up Baby” are name-dropped. We have seen dozens of films that try to capture the allure of Hollywood, often with the cynical viewpoint that it will chew you up and spit you out, but Chazelle’s vision feels unique. It pays homage to musicals like “Singin’ in the Rain” and Jacques Demy's “ The Umbrellas of Cherbourg ” without every directly mimicking them.

It’s easy to let the world get you down sometimes, especially in a year like this one. It’s easy to think that dreams don’t come true, and that love only exists in movies. “La La Land” serves to remind us that movies can still be magical, and they can still provide the channel for us to see magic in the world around us. It’s not so much another day in the sun, as the characters sing in that opening number, but the dreams of the night before, the ones we wake up and try to fulfill, that keep us dancing.

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Film credits.

La La Land (2016)

Rated PG-13 for some language.

126 minutes

Ryan Gosling as Sebastian

Emma Stone as Mia

Rosemarie DeWitt as Laura

J.K. Simmons as Bill

John Legend as Keith

Damien Chazelle

Cinematographer

Linus Sandgren
Justin Hurwitz

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Old-fashioned Hollywood romance ... Emma Stone and Ryan Gosling in La La Land

La La Land review: Ryan Gosling and Emma Stone shine in a sun-drenched musical masterpiece

The director of Whiplash delivers a musical romance that rushes from first love to heartache via showtunes, love songs and free jazz. Propelled by charming performances from its leads, it’s a sweet-natured drama that’s full of bounce

T he seasons of a love affair are played out beguilingly in this wonderfully sweet, sad, smart new movie from Damien Chazelle – the director of Whiplash – and the Venice film festival could not have wished for a bigger sugar rush to start the proceedings. It’s an unapologetically romantic homage to classic movie musicals, splashing its poster-paint energy and dream-chasing optimism on the screen. With no little audacity, La La Land seeks its own place somewhere on a continuum between Singin’ in the Rain and Woody Allen’s Everyone Says I Love You, with a hint of Alan Parker’s Fame for the opening sequence, in which a bunch of young kids with big dreams, symbolically stuck in a traffic jam on the freeway leading to Los Angeles, get out of their cars and stage a big dance number.

To be honest, this is where an audience might find its tolerance for this picture’s unironic bounce tested, coming as it does right at the top of the show. It takes a little while to get acclimatised, and for the first five minutes, the showtune feel to the musical score might make you feel you’re watching a Broadway adaptation. But very soon I was utterly absorbed by this movie’s simple storytelling verve and the terrific lead performances from Ryan Gosling and Emma Stone who are both excellent – particularly Stone, who has never been better, her huge doe eyes radiating wit and intelligence when they’re not filling with tears. Gosling, for his part, has a nice line in sardonic dismissal to conceal how hurt he is or how in love he is.

The two of them get a meet cute in the traffic jam. Stone is Mia, a wannabe movie star like pretty much everyone else, and while waiting, she is distractedly going through her pages for an audition she has later in the day. Chazelle, incidentally, creates a mischievous reveal in which we are later struck by the dull listless way she runs the lines to herself, and the passionate way she sells them later to the producer. I wonder if the director was influenced by Naomi Watts’s actress in that other La-La-Land extravaganza: Mulholland Drive , by David Lynch.

But she doesn’t notice the cars ahead starting, and holds up the driver behind her: a disagreeable guy in a macho convertible, who pulls belligerently round to overtake, scowling at Mia and receiving the finger in return. This is Seb, played by Gosling, a pianist and jazz evangelist who is living a scuzzy apartment in the city.

A little like Mr Fletcher, the terrifying jazz teacher played by JK Simmons in Chazelle’s Whiplash, Seb is a purist and an uncompromiser, a difficult guy to get to know or like. He is lonely and unhappy, claiming to his exasperated sister (Rosemarie DeWitt) that he is just playing rope-a-dope with life and fate, waiting for them to wear themselves out beating him, after which he will come storming back. Seb is fired from a restaurant, where the manager (a cameo for Simmons) is enraged by his tendency to favour brilliant free-jazz improvisations instead of the tinkling background music he gets paid for. But it is here, again, that Seb meets Mia, and then again at a party, where Seb has humiliatingly got a gig playing synth in an 80s-style band. It is fate.

Winter turns to spring and then to summer, and their affair begins to take off: Mia encourages Seb to find a way to open the jazz club he dreams of, but to prove to her he’s not a flake, he takes a regular gig playing the piano in a jazz-rock band led by an old frenemy of his. Suppressing his fears that he is selling out, Seb in his turn encourages Mia to write her one-woman show – that toe curling staple of the needy actress. But there is trouble in store: having been careless in what they wished for, Mia and Seb find that success and careers are to come between them. There is a brilliant scene in which a surprise supper Seb has cooked for Mia descends into a painful row as they quarrel about how their lives are panning out.

Chazelle creates musical numbers for the pair of them, and Gosling and Stone carry these off with delicacy and charm, despite or because of the fact that they are not real singers. The director must surely have considered the possibility of casting, say, Anna Kendrick in the role of Mia, who would undoubtedly have given the musical aspect some real punch. But Stone fits the part beautifully: something in the hesitancy and even frailty of her singing voice is just right. Both actors are also very accomplished dancers within a shrewdly limited range.

La La Land is such a happy, sweet-natured movie – something to give you a vitamin-D boost of sunshine.

First look review
Venice film festival 2016
Venice film festival
Ryan Gosling
Damien Chazelle

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The Ending Of La La Land Explained

Remember the "La La Land" Wars? If you were in any space where people discussed movies circa 2016-2017, odds are that you either witnessed or took part in at least one argument about Damien Chazelle's throwback musical. Looking back now, it's almost unthinkable that such an earnest, sweet-natured, basically enjoyable movie was able to spur such a degree of heated controversy online and offline, but so it was.

Now that the dust of hype and award season has long settled, it's easier to regard "La La Land" with a little more clarity, for both its strengths and faults. And it's easier, too, to zero in on what exactly made it such a critical hot potato at the time of its release. Basically, "La La Land" was controversial because it was contradictory: Despite its facade of a candy-colored nostalgia trip through the musicals of Hollywood's Golden Age, it was, at heart, a very ambivalent, very melancholy lament for the insurmountable distances between dreams and reality. It was weirder, wobblier, and much more of a bummer than the highest praises made it out to be — and it certainly demanded a lot more time to chew on and process than the hype train was willing to afford it.

Consider its ending: One of the most overwhelming and exhilarating cinematic moments of the 2010s, the montage that closes "La La Land" is a case study in how to sweep an audience off its feet while quietly bringing it down to shakier ground than before. It's the peak of the movie's endorphin-rush engineering, but it's also the perfect summation of all its tough-to-swallow themes. Here's why it's so brilliant.

La La Land isn't interested in whether Mia and Seb "make it"

The proper climax of "La La Land" happens when Mia (Emma Stone) goes in for her last-ditch audition, months after having given up on her dream of stardom and returned home to Boulder City. She sings "Audition (The Fools Who Dream)," the movie's most heartrending song, and then — before we have a chance to see how the casting people reacted — the movie fades to a casual, nervous conversation between Mia and Seb ( Ryan Gosling ), both venting their uncertainties about what's going to happen now.

Common storytelling wisdom would dictate that we should then see the process that follows on from Mia's knockout audition. This is where "La La Land" sets itself apart from conventional stories about showbiz, by overlooking that process altogether. Instead, it skips ahead to Mia and Seb's days of glory, as if to downplay them. We think, up to this point, that the movie's central question is "Will they make it?" But Damien Chazelle answers that particular question with nothing more than a shrug: "Yeah, sure, they will eventually. But that's not the point."

As in "Whiplash" and "First Man," Chazelle's main goal is not to key us in on the story's driving ambitions, but to make us think critically about what's behind them. There's no joy to be had in the revelation that Mia is now a famous actress and Seb has opened up his jazz club — if anything, it stings that they're no longer together. No, what the movie is really asking underneath the glitz is "Why do they want to make it? What are Hollywood dreams made of?" And the answer, as suggested by the ending montage, is not an easy one.

The closing montage gets to the root of artists' platonic love for showbiz

So, Mia Dolan is now a famous actress with a loving husband and son, and Seb Wilder owns a hot jazz club. By chance, Mia and her family find themselves at Seb's, and, unable to tell her all the things he wants to, Seb simply plays their theme on the piano.

The fact that the closing what-could-have-been montage is sparked by the music of their earliest memories is no fortuitous choice. Like all forms of artistic drive, Mia and Seb's dream of a perfect life together begins with the simple exhilaration of falling in love, only to erupt into fantasy. The initial promise of their relationship is intertwined with their youthful love for movies and music because those yearnings are one and the same: Hollywood, with its appeal to humans' aesthetic sensibility, convinces people all over the world that a life in show business will be a life forever spent in the elation of their most cherished art. It's a lot like starting a relationship with your crush — and the reality can be just as harsh.

For Mia and Seb, the reality is that they can make it to the top of the world, but their life will remain just that — a regular life, full of challenges and uncertainties. Not for nothing, their fantasy contains many of the same situational markers as their reality — the dance, the audition, the visit to the club — but in the fantasy these moments are cut better, look better, and feel better. They don't long for things, but for feelings. Hollywood feelings.

La La Land understands dreams for what they are

But there's no such thing as Hollywood love, and no such thing as a Hollywood life. It's all a dream, and it is beautiful, but it's also momentary. It lasts for the duration of the right song. That point of view informs "La La Land'"s bold, counter-intuitive vision of the movie musical, in which reality is dreary and imperfect. And a musical number is a foolhardy push past the dreariness and towards the sublime.

Emphasis on "push" — it would have been easier for "La La Land" to cast triple-threat actor-singer-dancers in the lead roles, ones whose talent would allow them to effortlessly evaporate into the Technicolor wonder once the music started. Instead, it cast Emma Stone and Ryan Gosling, great dramatic actors whose effort to hit the notes and land the jumps is always apparent. Though Chazelle and songwriters Justin Hurwitz, Benj Pasek, and Justin Paul didn't invent the ambivalent musical themselves, they introduce an element that even genre precursors like "The Umbrellas of Cherbourg" and "An American in Paris" elided, an element that destined "La La Land" to be controversial: fallibility. The fantasy bubble, no matter how gorgeous, always seems to burst. It only really seems invulnerable during the closing montage, because movies are dreams.

"La La Land" ends, of course, by definitively bursting the bubble, because it has to. Mia and Seb exchange a happy-sad glance, and go their separate ways. But not before the movie has, through the sheer Hollywood wonder of the closing montage, paid due homage to our way of chasing the impossible — and to the art that yields. Here's to the ones who dream, foolish as they may seem.

La La Land Review

"city of stars, are you shining just for me".

La La Land is an ambitious premise that breaths new life into the classic Hollywood musical while also serving as a love letter to the people who chase their dreams in Los Angeles. It's a testament to Chazelle's tight script and execution of his vision through his directing that the movie works as well as it does, and Hurwitz's fantastic music is the heart of the story. While both its leads are great, Stone in particular shines as Mia. La La Land is a joyous film that doesn't veer too far into treacly sentimentality, and is worthy of the accolades it is sure to receive.

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Screen Rant

La la land ending explained (in detail).

La La Land's ending is an emotional conclusion to Damien Chazelle's musical, bringing a fitting (if surprising) close to Mia and Sebastian's romance.

La La Land 's ending subverts romantic expectations and emphasizes the importance of pursuing one's dreams, even if it comes at the expense of a relationship.
Mia and Sebastian broke up because they both wanted to pursue their dreams, showing that sometimes sacrifices must be made for personal fulfillment.
The dream sequence in the ending highlights what could have been for the couple and underscores the choices they made, leaving a lasting impression of their love and growth.

The La La Land ending doesn't give the audience the romantic conclusion that many people might have wanted, but that perfectly fits with the movie's core themes. La La Land is writer-director Damien Chazelle's musical love letter to the Golden Age of Hollywood. For the most part, the love story of Mia (Emma Stone) and Seb (Ryan Gosling) fits with that, as the couple meet, sing, dance, and romance their way through the City of Stars, seemingly setting up a happy ending much like those of the films it is so influenced by. However, the La La Land ending takes things in an unexpected direction for a rom-com as its two lead characters don't end up together

Though La La Land pays homage to many musicals that came before, its ending doesn't so much subvert the expectations of those kinds of stories as it does actively use them against the audience. Sebastian and Mia achieve their career goals — he opens his jazz club Seb's, she becomes a famous actress — but at the cost of their relationship. The final moments bring them back together, both in reality and in a dream sequence. However, both only underscore why they had to break up, just how much they meant to one another, and the real meaning of the La La Land ending.

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Why Mia & Sebastian Don't Get Back Together In La La Land's Ending

Mia and sebastian find happiness apart despite the love they share.

Although viewers see Mia and Sebastian break after he misses her play, the movie still teases the possibility of reconciliation until the ending of La La Land . After Mia's successful audition lands her an acting job in Paris, it appears as though Mia and Seb aren't even truly broken up, nor are they back together. Instead, their relationship exists in limbo acknowledging how much they love each other but seeing that their respective path might draw them apart.

In another twist on the old tropes, Mia and Sebastian broke up because they wanted the same thing: to pursue their dreams . Despite how much they loved one another, they owed it to themselves to follow their passions and see where they might lead, even if the cost was their relationship. It's the same reason why Mia and Seb don't get back together in the La La Land ending: each has found their own place in life, with help from the other, but now existing independently.

Every Ryan Gosling And Emma Stone Movie, Ranked

How damien chazelle explained la la land's ending, chazelle highlighted the love lasting beyond the relationship.

Since it's one of director Damien Chazelle's most successful movies, it's unsurpising that he has several thoughts about the La La Land ending and the creative decisions he made. Speaking to CNN , director Damien Chazelle gave his view on why Mia and Seb don't end up together in the ending of La La Land , that it was always the plan for the movie — there was no version where they got their happily ever after . He explained that he finds stories where lovers don't end up together romantic, saying:

"I think there’s a reason why most of the greatest love stories in history don’t end with happily ever after. To me, if you’re telling a story about love, love has to be bigger than the characters... [The ending gives] you that sense that even if the relationship itself might be over in practical terms, the love is not over. The love lasts, and I think that’s just a beautiful kind of thing.”

La La Land Ending's Dream Sequence Explained

The surreal ending highlights the sacrifices that brought them to their ending.

La La Land 's ending isn't just based on reality, of course, but also delivers a fantastical scene that shows what Mia and Seb's happy ending together would have looked like . It whisks viewers off on an alt-journey through the biggest moments of the movie: their first meeting becomes a passionate kiss and every wrong turn for their romance instead goes right. It's a poignant reflection on what could have been for the couple, giving audiences the kind of conclusion that would typically be expected of a Golden Age musical without trading off on the movie's key themes.

The most important differences in La La Land 's dream sequence, aside from the fact it has them together at the end, comes down to two crucial moments. Firstly, Seb turns down the offer from Keith (John Legend) to join his band, and secondly, Mia's play is a roaring success (with Seb in attendance). Without the former, Seb doesn't get to open his own jazz bar in Los Angeles. Playing at a club in Paris instead, Mia seemingly achieves the greater success (though how much is left unclear, without seeing the same poster Seb walks by earlier). However, there is a lingering question of whether they could have been happy without Seb pursuing his dream as well.

That is, ultimately, why this is just fantasy. La La Land 's dream sequence explains the movie's choices. There wasn't an option for both characters to have it all, at least not at the point in time they met and fell in love. Perhaps, as it imagines, it really could be different now, but that opportunity has gone. It shows how there must be compromises and sacrifices in life, whether in terms of relationships or work, pursuit of the arts, or matters of the heart.

La La Land: The 20 Most Emotional Quotes, Ranked

Mia's smile & seb's final song & nod in la la land's ending explained, the intimate moment ends their relationship on a happy note.

As Seb notices Mia in his club toward the ending of La La Land , he begins playing the opening notes of his and Mia's theme song, before the movie shifts to the dream sequence. When it picks back up in the real world, Seb quietly, almost mournfully, plays the final note as Mia sadly smiles at him. In turn, Sebastian nods back. With these moments bookending the dream sequence in La La Land 's ending, it hammers home the reality of Seb and Mia's relationship.

Seb playing the song is an acknowledgment and reminder of their love , of how much their relationship meant, and how much it still means. Mia's smile and Seb's nod complete it: they're no longer together, but they'll always love each other in some way, be grateful for the time they had, and are proud of how far the other has come.

La La Land Ending Detail Highlights The Importance Of Seb & Mia's Relationship

The name of seb's club cements the importance they had to each other.

One key detail in La La Land 's ending comes with the name of Sebastian's club. The name - Seb's - and logo both came from Mia , who gave Seb a design for his club earlier in the movie. It's a subtle touch that shows just how much their lives impacted one another. They may not be together, but much like Seb wouldn't be the same without Mia, there'd also be no Seb's without her either. Her encouragement for him to pursue his dream, and vice versa, is what led to this, and it's a nice touch to see that honored in Seb's jazz club.

La La Land Soundtrack Guide: Every Song In The Musical

The key movies that inspired la la land's ending, damien chazelle drew from several films.

Damien Chazelle's movies wear their influences on their sleeves, most overtly drawing from 1950s musicals such as Singing In The Rain and An American In Paris , but there are two key films that stand out when it comes to how La La Land ends. One is The Umbrellas of Cherbourg , Jacques Demy's 1964 musical romance. Aside from the music, it's also stylistically similar in its use of color, and is broken up into different chapters, giving it a similar narrative structure. Most importantly, it has an ending that opts for bittersweet realism over a Hollywood climax, its romantic leads having a last, poignant meeting showing how they've lost one another but achieved their goals.

The other key influence is 7th Heaven , a 1927 silent movie centered around married couple Chico and Diane, where the former goes off to war and dies. The wife refuses to believe it, clinging on to dreams he's alive; in the movie's ending, it reveals Chico has indeed survived. Or has he? The film sees him return home, without explanation of how he's alive, they kiss, and it fades to black. Is it real or a dream? 7th Heaven allows viewers to choose their own interpretation, and La La Land 's ending offers something similar with its own dream sequence. Can both be true? As Chazelle (via Vulture ) said of 7th Heaven :

"The reason those two things can coexist is because of how deeply this woman loves him. The emotion was so deep and profound that the laws of time and reality and physics stop existing.”

La La Land Musical: Everything We Know About The Upcoming Broadway Show

Is la la land's ending happy or sad, did mia and seb miss out on happiness or find it elsewhere.

La La Land 's ending, for those who do invest in Mia and Seb's romance, is utterly heartbreaking. The film makes it easy to root for them to achieve everything they want - to be together and to realize their dreams — and learning that it wasn't possible is a crushing moment. It cleverly uses expectations against audiences, because the idea of them being together is so prevalent in these kinds of movies, and when a musical begins with such a bright, colorful, and sunny opening number to have it end in such a bittersweet way makes it all the harder to take.

However, it can also be argued that La La Land has a happy ending. They may not be together, but Seb and Mia are successful and more importantly, fulfilled . The movie may not go the way anyone expects, and yet looking back to that opening, both characters are in far better places when it ends compared to how it begins. They've loved and lost, but they've also gained so much along the way, with bright futures ahead for both of them.

The Real Meaning Of La La Land's Ending

The themes reflect some of damien chazelle's other work.

Damien Chazelle's movies have a clear throughline, showing the pursuit of one's dream to the point of obsession, and the human cost that comes with it. This was shown physically, mentally, and emotionally in both the stunning conclusion to Whiplash and also First Man , both of which more intensely focused on the sacrifice that was required. The La La Land ending has a more delicate touch since it's built around romance. Still, the theme remains the same: that committing oneself so completely to an endeavor (in particular an artistic one) is worth it , no matter what it takes, if it's what the heart and soul are truly passionate about.

Chazelle's first movie, Guy and Madeline on a Park Bench , also has some similarities to La La Land . Guy and Madeline plays out as a very rough, black-and-white version of what his later movie would be, complete with a jazz musician lead character and a doomed romance. Like Seb and Mia, Guy and Madeline also break up. However, Guy and Madeline's ending sees them contemplating whether to get back together or if it's better to move on from the past. La La Land 's ending finds a third option: that not all relationships are made to last, but the most important ones leave a lasting impression that shapes lives and should be fondly remembered.

It's fitting that La La Land 's ending includes a wistful sequence that sees its main characters think of what could have been, and reinforces why they didn't end up together. They could've chosen their romance, but to them, at that time, it would've been the bigger sacrifice. They may regret it on some level, but it all worked out.

10 Great Actors Who Have Collaborated With Damien Chazelle

Why la la land's ending is so perfect, the bold ending may have cemented la la land as a modern masterpiece.

With excellent reviews and Damien Chazelle's Oscar win for Best Director, the love for La La Land as a great movie is evident. However, it ascends to become something truly special in its ending. The whole film plays it loose like jazz, but it's La La Land 's ending that takes the biggest swing. It's the movie's boldest choice by far, opting against the far easier conclusion of having Mia and Seb get back together. However, with that, it's a more powerful statement.

It's realism over wish-fulfillment - not all relationships can work out, most people will find contentment rather than perfection, and life is, like jazz, unpredictable and there's a rush that comes with that - and yet offers a dose of the latter too in how they two leads do realize their dreams, both at the cost of but also thanks to their romance. Seb and Mia being together would've been a fine, feel-good ending that sent audiences home happy. Instead, La La Land leaves the audience with a more complicated feeling, but that emotional impact lasts far longer.

Emma Stone Found The La La Land Ending Bittersweet

Stone suggested similarities with people wishing for other people's "better lives".

For lead star Emma Stone , the La La Land ending isn't necessarily sad, rather, it's a reflection of harsh reality . "I find it bittersweet, but also realistic. It doesn't all come true for anyone ever. It's not exactly how you pictured it," said Emma Stone (via Elle ). Stone also discussed how the ending of La La Land relates to social media's effect on modern society's skewed perception of life.

"That's why it makes me so crazy to look at social media. When you see people like, 'This is the best life ever! I couldn't be happier,' you're like, 'Shut up, that is not true.' Not everything comes together in the best way ever, every day. It just doesn't. Even when your dream you set out for comes true, it's not always perfect.... That's not the reality of life."

Written and directed by Damien Chazzelle, the romantic musical La La Land tells the story of Seb Wilder (Ryan Gosling) and Mia Dolan (Emma Stone), a jazz musician and an aspiring actress pursuing their respective dreams in Los Angeles. The pair meet and fall in love, sharing their passions and hopes with one another as they become closer. J.K. Simmons, John Legend, Rosemarie DeWitt, and Finn Wittrock appear in supporting roles.

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Common sense media reviewers.

Profound, beautiful film about love and creativity.

A Lot or a Little?

What you will—and won't—find in this movie.

Though some may use the word "dreamer" a

Mia is kind, authentic, and determined to achieve

Arguing; aggressive middle-finger gesture given in

Kissing; a couple wakes up together in bed.

Some use of words including "f--k" (once

A few glimpses of brands/products, including Sony,

Social drinking by adults.

Positive Messages

Though some may use the word "dreamer" as a slur, don't let it get to you. Without dreams, we don't have achievements. Also: Love doesn't take a straightforward path; it often ends -- and begins -- in unexpected places. And it shows itself in many ways.

Positive Role Models

Mia is kind, authentic, and determined to achieve her dreams. Even in the face of failure, she finds a way to right herself and keep going. Sebastian is a caring person who's driven by a singular dream for himself. He's also happy to support Mia's goals. Together they share a passion for making their art and for being kind and giving to each other.

Violence & Scariness

Arguing; aggressive middle-finger gesture given in traffic jam.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

Some use of words including "f--k" (once), "s--t," "hell," "damn," "goddamn," and "a--hole."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

A few glimpses of brands/products, including Sony, Korg, Toyota, Apple.

Drinking, Drugs & Smoking

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that La La Land is a beautiful, moving romantic musical set in modern-day Los Angeles, with the feel of old-time Hollywood. It stars Emma Stone and Ryan Gosling and has plenty of frothy, whimsical moments, plus messages about integrity, love, and following your dreams. But it also tackles material that may be too heavy for younger viewers, including underemployment, feeling lost in the early years of your career, questioning your abilities, and fighting to stay in the moment while searching for your purpose. Expect some swearing (including one use of "f--k"), as well as social drinking, kissing, and characters waking up in bed together. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Parents say (43)
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Based on 43 parent reviews

This is one of the accurate reviews on Damien Chazelle's masterful film.

What's the story.

Written and directed by Damien Chazelle , LA LA LAND centers on Mia ( Emma Stone ), an actress still waiting for her break, and Sebastian ( Ryan Gosling ), a brilliant jazz pianist who dreams of opening up his own club where great jazz musicians will make beautiful music and patrons will learn about and celebrate the art form. After repeatedly running into each other in a Los Angeles that's presented in full old-school Hollywood glory, they succumb to the inevitability of their love affair. But they soon discover, as many young lovers have before them, how challenging it is to maintain a relationship even as you try to find your place in this world. J.K. Simmons , Rosemaire DeWitt and John Legend co-star.

Is It Any Good?

For a film that starts with a slightly campy musical number that could alienate viewers just as easily as charm them, this romance sure makes the leap to greatness quickly. Within minutes of that song, it's apparent how different La La Land is, starting wth Stone, who inhabits Mia so fully that even though she's a successful actress portraying a struggling one, we forget she's acting. Even when she breaks into song, it's rooted in a place so convincing that it almost makes sense she'd be communicating in melody. Her joy feels lke music; her sadness feels like a lament. Gosling is perhaps a little less striking, but not for lack of charm or authenticity; ultimately, he holds his own. And, paired together, they're the star-crossed lovers that a film like this richly deserves.

Beyond the chemistry of its stars and a brilliant score, La La Land has the one element that's essential to a nearly perfect movie: a script that manages to take a well-worn theme -- boy meets girl, boy and girl fall in love, boy and girl discover that loving someone doesn't solve everything -- and make it feel new. And not just new, but also heartbreakingly wise (we can't say much more for fear of spoilers). La La Land is also an ode to Los Angeles; the city unfurls in all its Technicolor glory. Perhaps the look and feel are what bring out the melancholy in the film's story. You need light to find the darkness -- and the darkness to appreciate what's bright. La La Land will take your breath away and break your heart, even as it helps you find an even deeper capacity for love.

Talk to Your Kids About ...

Families can talk about how La La Land tackles the idea of finding your purpose in life -- and figuring out how to get there. Do you think everyone has a specific purpose?

How does the film characterize love? Is it realistic? How does it compare to other movie romances?

How do the characters demonstrate integrity , empathy , and perseverance ? Why are those important character strengths ?

Movie Details

In theaters : December 9, 2016
On DVD or streaming : April 25, 2017
Cast : Emma Stone , Ryan Gosling , J.K. Simmons
Director : Damien Chazelle
Inclusion Information : Female actors
Studio : Lionsgate
Genre : Romance
Character Strengths : Empathy , Integrity , Perseverance
Run time : 126 minutes
MPAA rating : PG-13
MPAA explanation : some language
Awards : Academy Award , Common Sense Selection , Golden Globe
Last updated : February 26, 2024

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‘La La Land’ is a Masterpiece. Here’s Why.

The following article contains major spoilers to the 2016 film ‘La La Land’.

Having to live in a small town for a good chunk of the early periods of your life because your parents’ jobs don’t allow them to live in their location of preference, but where their employer finds them more suitable has its own charms and challenges. You grow as a child, in your sublimely infinitesimal world, largely oblivious to the maddening pleonexia that plagues the populace in the cities. But you also never get to savor much of the materialistic joys that come as a consequence of said pleonexia. I remember having never gone to the movie theater for months on end because we had no theaters in proximity to our home or always finding that a certain quality film I’d been anticipating for a long time is not even going to play in the theaters near me. To normal ears, that would sound something exceedingly trivial (and that is why I elucidated the allure of a small town life first), but for a cinephile, it sometimes felt quite tough. But I saw as many films from across the globe as I could and learnt all that I could about the world awaiting me outside the sheltered confines of my compact surroundings. Moving to a big city for pursuing higher education was something I had been haplessly looking forward to for many years. It felt liberating, and although not being constantly in the presence of the people who had played the most instrumental role in forming who I was proved much harder than I had envisaged, but I was finally able to step out of my house and find good cinema pleasantly accessible, at least the one Hollywood produces. I still long to see global films on big screens.

So when I stepped out one cold morning to go to a theater for a screening of Damien Chazelle’s musical extravaganza, I felt gleefully euphoric. Film Twitter had an uncharacteristically huge part to play in my giddiness, but so did my own anticipation whose quantum had been accentuated by the film’s near-perfect marketing. I was also apprehensive that feelings of insufficiency might manifest themselves in me as I looked at the unnaturally good-looking actors Chazelle had cast as his protagonists and as they unveiled their deviously multi-faceted gifts. Instead, I felt so vividly entranced by every frame of the film as if all of it had been engendered just to please my senses. Those protagonists felt unbearably, overwhelmingly close to my own experience. Their idyllic dreams mirrored my own to a degree where their poetic vulnerability left me beaming with verve throughout the film and for days later. For someone to whom cinema had meant so much growing up in that small town, here was finally a film to which cinema meant just as much. It revered the films of the past as it made a legacy of its own. It validated dreaming and the nostalgia inherent to all the sacrifices that are requisite to dreaming.

When Mia recites her play to Sebastian, she nervously questions, “Will people like it? It feels too nostalgic.” I presume Chazelle asked the same incessantly to himself about his own film. He pays as deferential an homage as possible to the old-fashioned musicals without ever losing a sense of tangy originality and melancholic sweetness. He hints at the escapism offered by the MGM musicals, but borrows more from Jacques Demy than the Hollywood staple of the 1950s. In the drenched-with-vibrant-colors first half, the influence of Demy’s ‘The Young Girls of Rochefort’ is instantly evident. In the crestfallen second half though, the film feels more like Demy’s masterpiece ‘The Umbrellas of Cherbourg’, with its staggering realism undercutting its optimistic tonality. And while ‘Umbrellas’ ends with a brutal indifference, ‘La La Land’ allows our lovers to acknowledge the passion they share and for a final time, be unabashedly nostalgic.

Read More: ‘La La Land’ Will Win Best Picture Oscar. Here’s Why.

On first viewing, it’s the miraculous Stone who leaves you gasping for breath. Mia is so exquisitely vulnerable, with Stone’s big eyes welling up with such tender heartache, and her voice crackling with a serene honesty that will make the most unsympathetic of viewers feel for her ardently. But on a second look, it’s Seb’s rhapsodical romanticism that I found much more heartbreaking. Mia’s grounded humility never lets her lose comprehension of the fact that dreams don’t always come true. But Seb’s desire for idealism in a world which is giving up on the idea of passion itself is astoundingly heartbreaking and Gosling’s breathy voice as he casually remarks, “That’s the thing with people in LA. They worship everything, but value nothing.” and how it manages a crescendo on the “nothing” is almost musical in its despondency and I felt a tear rolling down my face at the honesty his eyes were able to betray.

There is such ingenious synchronization in the craft involved in ‘La La Land’ that it makes its daring balancing of the intimate with the grand look utterly effortless. There are no seams and nothing seems out of proportion from the coloring of the sets in conspicuous brightness that isn’t jarring for even a second, to the soulful, deliciously evocative lighting to the incomparably inspired costume design. For instance, the dress Mia wears in the last scene is so strikingly similar to the one she’s wearing when she meets Seb for the first time and only on a closer look would one realize that it’s much fancier and more mature. While Seb’s wardrobe essentially remains unchanged, reflective of that poignant romanticism I was talking about. Seb continues to dream in the same way, while Mia continues to grow more receptive of reality. And notice how clear the tapping of the shoes is, even as it is enveloped in that exalted music, in “A Lovely Night”? That sound design is neither rushing nor dragging.

One of the things everyone gushes about after watching ‘La La Land’ is that Justin Hurwitz is an unparalleled genius. I couldn’t conjure up any qualms with that assessment if I tried for months. But what captivated me the most on multiple viewings is how much he loves Mia. His music seems to transcend the entire experience of the film when it’s annotating her childlike quietness, perceptible in the playful notes of “Chicken on a Stick” underlining the time Mia shows how she wants Seb to name his jazz club or the saccharine “Chinatown” playing in the background as she leaves a message with Seb, her loneliness rendered inexplicably overwhelming by his melodic sensibilities.

The most haunting part of ‘La La Land’ is undoubtedly the “Epilogue”, which shows us the road not taken in all its unearthly magnificence. But what remains unclear is whose fantasy it is – Mia’s or Seb’s? I believe it’s the film’s fantasy. While ‘La La Land’ is the film where not all joys are perennial, it is also this film, where whatever life does with you and wherever you might end up, something glorious is always plausible, whether it rests forever in your memory or awaits you just around the corner.

La La Land Review

La La Land is getting a gala at the London Film Festival

13 Jan 2017

128 minutes

Pure unadulterated joy is in short supply these days, both on the big screen and off. Which makes Damien Chazelle’s irresistible La La Land all the more cherishable. More than just a throwback to MGM musicals, it is a funny Valentine to the entire history of the genre, as light on its feet as Fred Astaire, as big in its heart as Judy Garland. Just as Chazelle’s Whiplash was intense, La La Land , especially in its first half, is footloose (not Footloose ) and fancy-free, buoyed by a clutch of great new songs (take a bow Justin Hurwitz, Benj Pasek and Justin Paul) and carried by the chemistry of Emma Stone and Ryan Gosling.

It’s hard to imagine any 2017 movie will leave you on a higher high.

The movie gets a lot of flavour from its twisted heritage. It is a US indie do-over of a French New Wave take on a classic American genre, part New York, New York , part The Umbrellas Of Cherbourg , part Singin’ In The Rain . A bigger-budgeted upgrade on Chazelle’s musical short Guy And Madeline On A Park Bench , the story — aspiring actress Mia (Stone) meets jazz pianist Seb (Gosling), and sparks fly until career aspirations get in the way — is simplicity itself, enlivened by some Pulp Fiction -esque narrative tricksiness. The film’s capricious genius is present in its opening sequence. On paper, the idea of an LA freeway traffic jam bursting out into song and dance sounds up there with root-canal work but here, as a solitary singer snowballs into the world’s best flash mob perfectly captured by Chazelle’s sinuous camera, it’s a riot of colour and euphoria. Subsequently Chazelle fully embraces the corny (Mia and Seb literally dance among the stars, at the Griffith Observatory or singing under streetlights), but for all the film’s love of retro, it’s not dusty. Chazelle’s staging (check out the 2:52: 1 ultra-widescreen) and wit make the vintage feel new.

Much of this bright, shiny quality is also down to its leads. Following pairings in Crazy Stupid Love and Gangster Squad , Stone and Gosling have chemistry and charisma to spare. It would be easy to diminish Mia as a bright-as-a-button type, but Stone spools through many colours, from luminous to spirited to distraught — her wistful rendition of ballad Audition (The Fools Who Dream) (written for the film) will be murdered by X Factor contestants for years to come.

If Stone is the film’s heart, Gosling is the soul, caught between art and commerce, as moody as the genre will allow (he is also not afraid to look ridiculous, playing A-ha on a keytar). The pair are not the world’s greatest dancers but they are having so much fun doing it, you will too.

It’s perhaps a tad overlong and, embroiled in the indie drama of Seb and Mia’s relationship, almost forgets to be a musical during the final third. But this doesn’t detract from the film’s mighty charms. A film about love made with love, it’s hard to imagine any 2017 movie will leave you on a higher high.

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Ghostbusters: Frozen Empire

Paul Rudd, Kevin Mangold, Ian Whyte, Carrie Coon, Mckenna Grace, Finn Wolfhard, and Celeste O'Connor in Page Eight (2011)

When the discovery of an ancient artifact unleashes an evil force, Ghostbusters new and old must join forces to protect their home and save the world from a second ice age. When the discovery of an ancient artifact unleashes an evil force, Ghostbusters new and old must join forces to protect their home and save the world from a second ice age. When the discovery of an ancient artifact unleashes an evil force, Ghostbusters new and old must join forces to protect their home and save the world from a second ice age.

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Trivia The working title for this film was "Firehouse" after the Ghostbusters firehouse. In previous films, the exterior shots of the firehouse were filmed at Hook & Ladder 8 in the Tribeca (Triangle Below Canal Street) neighborhood of Lower Manhattan in New York City. After filming was finished on Ghostbusters II (1989) , the firehouse kept half of the sequel sign that hung outside. It was regularly displayed on holidays, particularly Halloween. Eventually, it was permanently moved inside, after a successful GoFundMe campaign by fans of the movie in June 2021, which funded a full-scale replica of the Ghostbusters sign. This sign now hangs outside of the firehouse year-round. The GoFundMe campaign is now an annual fundraiser for the firehouse and a celebration is held there on Ghostbusters Day each year.
Goofs An ancient artifact has been safely kept in a special brass lined room for decades and there are no issues until it is removed from the room. The main characters are aware of this, but nobody even suggests either returning the artifact to the room or making a brass lined container for the artifact. From what is shown, that should solve the problem.

Garraka : Are you the Firemaster?

Connections Featured in Jeremy Jahns: Ghostbusters: Frozen Empire - Movie Review (2024)

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‘Snack Shack’ Review: Gabriel LaBelle and Conor Sherry Play Teenage Hustlers in a By-the-Book Coming-of-Age Tale

Director Adam Rehmeier’s third feature distinguishes itself with a zippy cast, but proves too timid once it gets serious.

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Can you remember how you spent your childhood summers? Were they by the pool eating concession stand junk? Biking everywhere you went? Fist-fighting your best friend? Falling for a girl from out of town? Something along those lines? Or maybe you just saw a movie like that. That kind of easy familiarity is what teen comedy “ Snack Shack ” comfortably sets up shop on. Armed with a talented cast, writer-director Adam Rehmeier’s 1991-set feature happily squares itself in a tradition of teenage hedonism and broad learning opportunities, settling into a generic but warm glow.

Rehmeier angles the style for a nostalgia factor, naturally. (The production shot on location in his hometown of Nebraska City.) A sweaty microwaved hot dog has rarely been photographed with such affection. And the filmmaker peppers in plenty of other anachronisms to establish a sunny tone, including a retro title card with production companies, colorful costuming and plenty of Gen X soundtrack staples. (They even locked down the rights to “Age of Consent.”)

AJ and Moose aren’t the most cautious businessmen. An opening scene introduces the two puffing cigarettes across state lines, absconding from a school trip to put up bets at the tracks (and not even on horses, but on dogs). AJ’s parents (David Costabile and Gillian Vigman) don’t approve of their son’s choice in friends, instead harboring hopes that he will reach for more socially acceptable entrepreneurial ventures. But after Moose pressures the more sheepish AJ to empty his bank account for an overpaying bid on the Snack Shack, the only way out of the red is going all-in on the business.

Another effectively grating profanity: “Shit Pig,” the awful pet name that girl-next-door Brooke (Mika Abdalla) calls AJ throughout the film. As with plenty of teen features before, this prickly crush isn’t exactly the sharpest-drawn character — a shortcoming further accentuated by the annoying fluttery score that creeps in whenever she shares a scene with AJ. But Abdalla and Sherry do strike a winning chemistry, and the actress offers some subtle indicators that Brooke’s ironic detachment masks a more private sadness. “Snack Shack” largely operates as a slack series of shenanigans, but the budding teen romance offers a spine, as well as an opportunity to get dramatic once Brooke draws the attention of Moose, predictably putting the boys’ friendship in jeopardy.

LaBelle, too, makes a strong impression. Having already been headhunted by Steven Spielberg to play the director’s soft-spoken self-portrait in “The Fabelmans,” the 21-year-old actor proves his mettle once again here, amping it up as a fake-it-till-you-make-it alpha, whose gung-ho demeanor clearly masks some emotional deficiencies. The cast shows talent across the board, further tested by a tonal rug pull in the final act that has the characters confronting more serious matters than crushes and candy bars.

Rehmeier proves less versatile in that transition. The director possesses a winning sense of comic discovery, welcoming unexpected ways to extend awkward interactions — like when AJ seems to accidentally fall of his bike while rushing away from Brooke — while also knowing when to put a button on scenes whenever a character achieves profound embarrassment. Like its teenage heroes, “Snack Shack” scraps together a scant but charismatic personality working among used parts. But once the story has nowhere to go but a tearjerker denouement, its world seems rather thin.

Reviewed online, March 14, 2024. MPA Rating: R. Running time: 112 MIN.

Production: A Republic Pictures release of an MRC Film, T-Street, Paperclip Limited production. Producers: Ben Cornwell, Jordan Foley, Ben LeClair, Nick Smith. Executive producers: Ram Bergman, Charles Cohen, Yeardley Smith. Co-producers: Charles Cohen.
Crew: Director: Adam Rehmeier. Writer: Adam Rehmeier. Camera: Jean-Philippe Bernier. Editor: Justin Krohn. Music: Keegan DeWitt.
With: Conor Sherry, Gabriel LaBelle, Mika Abdalla, Nick Robinson, David Costabile, Gillian Vigman, June Gentry, April Clark, Michael Bonini, Christian James.

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Civil War stuns in the least likely ways imaginable

Alex Garland lets politics play in the background of an action drama that lives in the moment

A blonde woman in a “Press” bulletproof vest stands in the White House in Civil War

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In an era of divisive, high-stakes U.S. politics, it isn’t surprising to see so many people online responding to the entire concept of Alex Garland’s Civil War as if it’s inherently toxic. Set on and around the front lines of a near-future America broken into separatist factions, Garland’s latest (after the fairly baffling fable-esque Men ) looks like a timely but opportunistic provocation, a movie that can’t help but feel either exploitative or far too close to home in a country whose name, the United States, sounds more ironic and laughable with every passing year.

And yet that doesn’t seem to be Garland’s goal with Civil War at all. The movie is about as apolitical as a story set during a modern American civil war can be. It’s a character piece with a lot more to say about the state of modern journalism and the people behind it than about the state of the nation.

It’s almost perverse how little Civil War reveals about the sides of the central conflict, or the causes or crises that led to war. (Viewers who show up expecting an action movie that confirms their own political biases and demonizes their opponents are going to leave especially confused about what they just watched.) This isn’t a story about the causes or strategies of American civil war: It’s a personal story about the hows and whys of war journalism — and how the field changes for someone covering a war in their homeland instead of on foreign turf.

Lee Miller (Kirsten Dunst) is a veteran war photographer, a celebrated, awarded, and deeply jaded woman who’s made a career out of pretending to be bulletproof in arenas where the bullets are flying — or at least being bulletproof long enough to capture memorable, telling images of what bullets do to other people’s bodies and psyches. Her latest assignment: She and her longtime work partner Joel (Wagner Moura) have been promised an interview with the president (Nick Offerman), who is now in his third term in office and coming off more than a year of public silence.

It’s a dream opportunity for a war correspondent — a chance to make history, and maybe more importantly, to make sense of the man whose choices seem to have been key in pushing the country over the line and into war. But securing the interview will require traveling more than 800 miles to Washington DC, through active war zones, and past hostile barricades erected by state militias or other heavily armed local forces. And tagging along on this potentially lethal road trip is Jessie ( Priscilla star Cailee Spaeny), a green but ambitious 23-year-old photographer who Lee obviously thinks is likely to get herself killed along the way — or get the whole traveling party killed.

The tension between Lee and Jessie — potential mentor and her potential replacement, the past and future of their chosen career, allies but competitors chasing the same things within a small profession known equally for its rivalries and its interpublication commiseration — forms the center of Civil War , far more than the tension between any particular political perspectives does. For all that the movie is coming in a time when pundits keep warning about the potential for an actual new American civil war, Garland’s Civil War barely tips its hand about the specifics of the conflicts.

There’s plenty there for viewers who want to read between the lines, about which states are in revolt (California, Texas, and Florida all get passing mentions as separatist states) and about the soldiers — mostly Southern and many rural — who get significant screen time. But Lee’s angry exhaustion and Jessie’s fear and excitement over learning more about the profession from someone she respects are the real heart of the story.

All of which makes Civil War a movie more about why war correspondents are drawn to the profession than about any particular perspective on present American politics. And it’s a terrific, immersive meditation on war journalism. Lee and her colleagues are presented as half thrill-seeker adrenaline monkeys, half dutiful documentarians determined to bring back a record of events that other people aren’t recording. They’re doing important work, the movie suggests, but they have to be more than a little reckless both to choose the profession and to return to the battlefield over and over.

Lee never gives any big speeches about the difference between covering war in Afghanistan and in Charlottesville, but it’s clear she’s fraying under the pressure of watching her own country in such a rattled and ragged state, with hardened soldiers on both sides demonizing other Americans the way Americans have demonized entire foreign nations. Jessie, for her part, seems impervious to the weight of that reality, but still far less inured to cruelty and to combat. The two women push powerfully at each other, with a clear, beautifully drawn, yet unspoken sense that when Lee looks at Jessie, she sees her own younger, dumber, softer self, and when Jessie looks at Lee, she sees her own future as a famous, capable, confident journalist.

All of this character work is built into a series of intense, immersive action sequences, as Lee’s group repeatedly risks death, trying to negotiate their way across battle lines or embed themselves with soldiers during pitched combat. The finale sequence, a run-and-gun combat through city streets and tight building interiors, is a gripping thrill ride that Garland directs with the immediacy of a war documentary.

The entire film is paced and planned with that dynamic involved. It’s a particularly gorgeous drama, shot with a loving warmth that reflects its point of view, through the eyes of two photographers used to conceiving of everything around them in terms of vivid, compelling images. A late-film sequence shot as the group drives through a forest fire is especially beautiful, but the movie in general seems designed to impress viewers on a visual level. By mid-film, it becomes clear that Lee shoots with a digital camera, while Jessie shoots on old-school film, and that for both of them, that choice is important and symbolic.

In the same way, Garland’s shot choices and the movie’s vivid color keep reminding the audience that this is a movie about not just documenting moments, but capturing them well enough to mesmerize an audience. In some ways, Civil War comes across as a bit nostalgic for an earlier era of journalism and photography. The collapse of the internet seems to have reset the news to a point where print journalism dominates over TV or social media, and no one seems to be getting their news online. It’s the most prominent retro aspect of a story that’s otherwise reflecting a potential future.

What the movie isn’t about is taking sides in any particular present political conflict. That may surprise and disappoint the people drawn to Civil War because they think they know what it’s about. But it’s also a relief. It’s hard for message movies about present politics to not turn into clumsy polemics. It’s hard for any document of history to accurately document it as it’s happening. That’s the job of journalists like Jessie and Lee — people willing to risk their lives to bring back reports from places most people wouldn’t dare go.

And while it does feel opportunistic to frame their story specifically within a new American civil war — whether a given viewer sees that narrative choice as timely and edgy or cynical attention-grabbing — the setting still feels far less important than the vivid, emotional, richly complicated drama around two people, a veteran and a newbie, each pursuing the same dangerous job in their own unique way. Civil War seems like the kind of movie people will mostly talk about for all the wrong reasons, and without seeing it first. It isn’t what those people will think it is. It’s something better, more timely, and more thrilling — a thoroughly engaging war drama that’s more about people than about politics.

Civil War opens in theaters on April 12.

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This is one of the accurate reviews on Damien Chazelle's masterful film.