Review: TheHighNote sings best when its two stars are on screen together
, become one of the more reliable young actors working today, both in her tasteful choice of projects and the focused, but unaffected, commitment she brings to each one.The film is best when Johnson and Ellis Ross are on screen together.
Maggie’s ambition sometimes gives way to impertinence , while Grace’s career savvy too often masks a weary fatalism about her place in the creative world. There’s humor too, of course, mostly about the rarefied ridiculousness of Grace’s life—the designer clothes, the flashy car, the private jet, the adoring fans—in contrast to the anonymous scramble of Maggie’s. These jokes are standard fare for movies about celebrity, but Ellis Ross sells them with panache, giving them a prickly, calmly authoritative spin that zings like new. The movie is careful not to make Grace an outsized monster; she’s demanding, and blunt, and a little mean, but that’s mostly the product of a life under a particularly intense kind of pressure.Alas, the film takes long digressions away from Grace and Maggie’s invigorating tete-a-tetes, wandering away to follow Maggie as she tries to land her first real producing client, a talented but self-doubting singer-songwriter played byThe High Note gives Harrison a chance to sing, showcasing another facet of his talent and affording him and Johnson the chance to stage a few of filmdom’s most dependably winning, romantic tropes: two people making music together. That’s the artistic creation best suited to film, which can capture the intimate swells of closeness and harmony in a way the medium can’t quite render, say, two people writing a script together.remake, or? No, they don’t. But they’re still nice. Harrison’s more assertive voice takes the lead while Johnson offers breathy complement. This half of’s plot is predictable , and yet it still manages a breezy, effervescent charm. Ganatra knows just the right weight to give the story, balancing its airy moxie with lush visuals and the appropriate glimmers of sentiment. That there’s no easy math to precisely determine just what kind of a star Grace is supposed to be—she’s not Whitney Houston, not quiteis more fantasy than direct industry analog. The main point of this soft-edged movie is that these people love music and, in turn, grow to love one another. Which is a worthy enough reason for the film to exist, beyond its already admirable purpose as a vehicle for Ellis Ross and Johnson to work their lo-fi magic. The film’s plot complications are as fluttery and fleeting as a sunny late-spring day. But its melody does linger a bit after the credits have rolled.
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