Power Ballad (2026)

If you want a film mixing some heart, some humour, and some very good tunes then you want a film from writer-director John Carney (here sharing the writing credit with Peter McDonald). Not only does Carney know how to entertain viewers, he knows how to give you one or two fantastic earworms when the plot requires it.

Paul Rudd plays Rick, a singer in a wedding band. He used to be in a very different kind of band, but life offered him a different path. He might spend some time trying to relive his past glory days, but he's also very happy with a life that includes a beloved wife (Aja, played by Beth Fallon) and a beloved daughter (Rachel, played by Marcella Plunkett). He's also very happy when he gets to spend an unexpected night of drunken reminiscing and song-writing with the famous Danny Wilson (Nick Jonas), an ex-boyband member trying to ensure that his solo career hits the heights needed to keep him relevant. The two part ways, and life goes back to normal . . . until Rick hears the latest hit single released by Danny. It's VERY familiar. It's his song. But can he prove it?

While it was advertised in line with the plot summary I've just written there, Power Ballad has a bit more to it. Not that the core idea isn't enough. It's a fun premise, a fantastic dilemma for a man who wants to be grateful for all he has, but also doesn't want to be stiffed out of what he might be due. The real beauty of the film is in conveying the power of authenticity in art and creativity though. Rick isn't just bothered by the idea that someone rich and powerful may have stolen his work. He's bothered by the idea that someone has repurposed part of his story without them even recognising the true meaning of it.

Carney knows the power of music. It's the theme that has resonated throughout every one of his films. The impressive thing is that he seems to be able to find so many variations on a central theme. He's shown us how music connects people, he's shown us how music provides an escape and a chance for growth, and now he's shown us how it remains attached to memories and core emotions from every stage of our life.

Rudd is a great choice for the lead role. He's always easy to like, and feels believable as a man who once tried to make it as a rock star. Both Fallon and Plunkett are very good alongside him. They're slightly sidelined as the focus stays on Rudd and Jonas, but they're allowed to become frustrated by the man in their life becoming a bit obsessed over one song without ever being portrayed as unsympathetic and too harsh. Jonas also does well, particularly in the scenes that have him being a bit cold and harsh to a man who believed that they shared a common love of music and one memorable night of mutual appreciation. As well as his co-writing credit, McDonald also delivers some fun moments in the role of Sandy, a bandmate and die-hard bestie. It's also worth mentioning another great performance from Jack Reynor, this time playing a cynical and hardened music producer named Mac.

Many who end up watching this may find themselves tougher nuts to crack. Not me. I was smiling often, I was sniffling occasionally, and I had a conflicting mix of chuckles and lip-quivering during some final scenes that were predictable enough, yes, but also hugely satisfying. Looking at it objectively, it's a bit weak compared to the better films from Carney. I struggled to look at it objectively while being moved by the titular power ballad though, and that's why I still highly recommend it to those wanting something sweet, and enjoyable . . . and surprisingly beautiful when everything opens up like a blooming flower in the third act.

7/10

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Prime Time: Bagman (2024)

I like director Colm McCarthy. If you're unfamiliar with his name then I suggest you look through his extensive selection of film and TV work. You're bound to find at least one thing that you'll really like. The same can be said for Sam Claflin, who stars here in the lead role of Patrick McKee. The only main contributor here that I was unfamiliar with was writer John Hulme, and Bagman is so bad that I hope to now stay unfamiliar with anything he does, at least until he attends some lessons in how to avoid treating viewers like complete idiots who will eat up any half-cooked slop.

It's a tale that we've seen many times in the past couple of decades. A man is haunted by something, or some figure, from his past. He starts to worry that his own trauma is something very real that may cause harm to his own child. This puts a strain on his relationship, but that strain is slightly lessened by the fact that his partner (Karina, played by Antonia Thomas) soon ends up believing that some supernatural threat really is looming large over the family.

Yet another glossy mainstream horror movie that exemplifies the very worst of modern horror movies, Bagman is so astonishingly bad, as well as being painfully derivative in a way that does it no favours at all (because it's never a good thing when you watch a film that reminds you of the 2005 Boogeyman movie), that it kept me in a state of perpetual anger from the opening scene to the start of the closing credits. It's not scary, it's not effective in any standard dramatic way, and it's horribly dull, in terms of both the content and the visuals.

Claflin seems to be sleepwalking through the whole thing, which I guess is in line with the mental state of his character. He certainly doesn't do anything to improve the dialogue. Thomas is a bit better, perhaps due to the fact that she's not so burdened with the weight of being the lead, and there are decent performances from Steven Cree (the brother of Claflin's character), William Hope (the local Police Chief), and Peter McDonald (the father shown in flashbacks as a younger incarnation of Claflin's character first starts to sense the presence of the titular Bagman). I really can't be bothered mentioning anyone else, they're either not good enough or just not memorable (and that includes young Frankie Corio, who made such a fantastic acting debut in Aftersun). 

I don't blame the cast for the varying quality of their performances though. I blame Hulme and McCarthy. There's nothing here for anyone to latch onto, but the script and direction seem to be overseen by people desperately trying to convince everyone else that it has any weight and/or worth. That's sadly untrue. I really cannot think of any one moment in this film that doesn't have a corresponding moment in one of a hundred better choices. 

I have spent some time now staring at the end of this review, trying to think of one more positive thing I could say about this film. I cannot do it. The best I can come up with is to begrudgingly acknowledge that many of the crew members show a decent degree of competence. That's it. "Bagman - there are a few decent acting turns and some people who remain competent while working with such poor writing and direction." I doubt they'll ever use that as a pull-quote. 

3/10

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