When the radio formula intoxicates everything

At this point, after nine feature films, it seems difficult for John Carney to change a style forged with the unexpected success of Once nor to detach his stories from musical universes. In Sing Street, the Irish director opts to interweave the lives of two very different musicians. Paul Rudd's character belongs to the working-class lineage, honest but disillusioned with what he could have been if he hadn't prioritized family over his music career. At one of the weddings where he performs with his covers band, he comes into contact with a former boy band singer (Nick Jonas, from the Jonas Brothers) who has become an internationally famous solo artist. And as the explicit title suggests, the plot is set in motion by a practice very common in the industry: stealing songs from other artists.

From the intersection of the two micro-universes emerges a soft and harmless reflection on the record industry that explores (wounded) pride, (family) love, friendship, creative and emotional dignity, and the caste system of the music world. Carney's lack of definition in tone and genre does not help to make the viewing cohesive. Because, precisely, it ends up falling into what the protagonist says he detests about his rival: manufactured sentimentalism, extremely predictable and fruitless for extracting humorous mileage from the generational clash and the difference in lifestyles. He even neglects the musical aspect, with a plethora of songs that do not invite to be saved. An entertaining wedding gig; they might even dance, but without enthusiasm.