IT: CHAPTER TWO – BETTER THAN THE BOOK & MORE THAN I EXPECTED BUT PLEASE DO NOT TAKE CHILDREN

SHORT TAKE:

Surprisingly thoughtful, intricately plotted, well acted and very effective but terrifying finale to the film version of Stephen King’s mammoth-sized book IT.

WHO SHOULD GO:

I would like to make one thing clear: STEPHEN KING STORIES ARE NOT CHILD FRIENDLY!!!

There is a warning at the beginning of the movie which declares flashing lights could trigger epileptic seizures in the photosensitive. But that is the LEAST of the problems. There is also sexually discussed content, a profound amount of gratuitous profanity, some of it blasphemous, a lot of lethal violence and gore with child victims in close up, homicide, patricide, people being burned alive, grotesque deformities, slit throats, an explicit scene of suicide, overt physical and implied sexual abuse, and brief but conspicuous demonstrations of alternative sexuality. The violence and bloodshed would have alarmed the Grimm Brothers, though this is to be expected in any movie about a child-eating monster.

I do not know what the parents in the audience were thinking but there was a group of under-chaperoned young teens in the audience next to me for whom I cringed, given the film’s content as well as the visuals in some of the trailers. An R-rated movie will attract R-rated trailers, which R-rated “coming soon” offerings will not be R-rated “ONLY” for gore. One of the movies previewed at the afternoon showing of IT: C2, which was viewed by these kids, included scantily clad pole dancers! Even more inexplicable was the presence of young children who, predictably, begin to cry almost from the outset. Bringing kids to an R-rated movie of any kind, much less a horror fest, is a face-palming level of stupidity, bordering on child neglect, if not abuse.

Let me repeat KING IS NOT CHILD FRIENDLY. DO NOT TAKE CHILDREN.

FOR MATURE ADULT AGE TEENS AND UP ONLY!!!

LONG TAKE:

I walked into IT: Chapter Two fully expecting not to like it. I can hardly be blame. I didn’t like the book and although the TV version had a – dare I say it – certain charm due to the talents of Tim Curry as Pennywise the sinister, extraterrestrial psycho killer clown, and the recent Part 1, IT, wasn’t bad, I still did not hold out much for Part 2, having read the book.  My youngest, now 21, pointed out an element that had not occurred to me about Part 1 – that instead of a straight up horror story it could be seen as an analogy for overcoming one’s childhood traumas and deepest wounds.

Although I thought this idea had merit I still dreaded what they would do with the second installment. After all it was based upon an excessively long, often deeply disturbing novel which catered to our darkest impulses and often relied heavily on caricature-level biases against small town citizens, authority figures, and parents.

However, I was pleasantly surprised by the film. While it is, by no means, a great movie, it is far better than I thought it would be. IT: Chapter Two is the second half of Stephen King’s elephantine book IT about 7 children, outcasts in different ways, who bond as The Losers’ Club to fight an other worldly monster, and their adult selves who return 27 years later to kill IT. My review of the filmed version of the first half of the book – IT – is HERE and covers the child actor versions of the characters. The kids return in clips and flashbacks.

SPOILERS – BIG, CASUAL SPOILERS – SO BE FORWARNED

The adults include: James McAvoy (whose incredibly varied resume includes: The Lion, The Witch and The Wardrobe, Split, Atomic Blonde, and the entire X-Men reboot series) is Bill, the stuttering leader of the group. Jessica Chastain (Molly’s Game, Interstellar) is Beverly the grown up abused child who marries another abusive man. Bill Hader (who has done a lot of voice over acting) is Richie the comedian who as a child seems physically incapable of keeping his smart aleck bully-antagonizing comments to himself. Isaiah Mufasa is Mike, as a child one of the only black people in Derry and an orphan whose parents burned to death in a tragedy he witnessed, and as an adult is the librarian and self appointed guardian of Derry who stays to watch for the monster’s re-appearance. The significantly sleeker and athletic grown up Ben is played by born-Kiwi (native New Zealander) now Aussie Jay Ryan (who, in a note of incredible irony, before becoming established as an actor, used to perform in local supermarkets entertaining young children as —– a clown). Andy Bean is the adult Stan whose Jewish faith, when a child in Derry, made him the target of abuse by the town bullies. Finally, fatherless, hypochondriacal, mother-dominated Eddie has grown up to be played by James Ransone.

Bill Skarsgård (a worthy addition to the Skarsgard acting family which includes both brother Alexander from Melancholia, Battleship, and Tarzan, as well as his father Stellan from the Marvel movies) reprises his role as Pennywise. One might hate his performance as the psycho clown or be fascinated by his interpretation of King’s murderous mountebank, but no one can deny that Skarsgard puts his all into the character, going full out to invest Pennywise with as much horror as a harlequin can hold.

While Gary Dauberman, the scriptwriter, REALLY needs to learn the meaning of “less is more” (and yes, I know, people who live in glass houses….), he, with director Andy Muschietti, (whose only big credit up to now was another horror movie – Mama), made some VERY VERY good plot choices.

There were a number of circumstances in the source material they decided to leave out. Among the sensible deletions were, among a number of other smaller but improvement tweaks: Tom, Beverly’s abusive husband doesn’t pursue them into Pennywise’s lair in a last minute late third act conflict. They do NOT use a parody-level, laughable, King-invented creation myth of a turtle who vomits up the universe to defeat Pennywise. Derry did not blow up when the monster died, resulting in the group being heroes who save a town leaving hope in their wake instead of monster hunters who leave nothing but destruction behind them. Bill’s wife, Audra, did not show up needing to be saved which would have further padded an already excessively long run time. And they explicitly do NOT again lose their memories of Derry after the monster is vanquished, which retention implies they have learned to conquer their own inner demons as well as the extraterrestrial who externalized those fears. (NOT to mention the extremely wise excision in the first movie of the truly disturbed scene in the book where the boys “tag team” Beverly in a bonding ritual of intimacy.)

These cuts indicated a well considered re-evaluation of King’s original book. Dauberman and Muschietti kept what made a good horror story from King’s book IT and replaced the book’s failings with plot and character structures that provided IT with a deeper, layered and even subtle meaning over which King’s far more negative paper prose had steam rollered. Thankfully, and in a rarity, the filmmakers had a bit more sense and gentler hand than did the initiating author.

Dauberman also chose to craft the story around a continuation of the first film’s theme of conquering childhood fears. Each adult, who had formerly been a member of The Losers’ Club, contributes to the defeat of the fear-eating monster by facing and debriding some wound which fundamentally shaped their personalities. Bev once and for all denies her abusive father’s hold over her by embracing Ben’s unconditional genuine love for her. Ben, at one point, is trapped in their childhood underground clubhouse with its walls closing in on him, physicalizing how he was trapped in the fat of his own prepubescent body, but vanquishes this self-killing insecurity by declaring his love for Beverly in acknowledgment that he is not alone and is worthy of loving and being loved. Bill almost drowns in the same sewer water in which his brother Georgie died, then kills a younger self-accusatory version of himself, finally putting his misplaced guilt over his brother’s death behind him. Eddie uncovers Pennywise’s fatal weakness when he throws off his germophobia long enough to successfully wrestle a leperous manifestation of the evil clown.

And so it goes. As each member adds to the pot the Losers get stronger.

To defeat Pennywise they must all reduce him to a killable size. Metaphorically this makes perfect sense. One’s childhood fears can seem to increase proportionately as one gets older, towering over us unchecked and unconfronted to destroy us. But in the light of mature perspective, trauma can be reduced to manageable size from which one can learn, grow, and even benefit. This is a philosophy worth considering and manifests in a monstrously (if you’ll excuse the pun) dramatic way in Pennywise.

There are also a couple of fun cameos – Stephen King, himself, as an opportunistic second-hand shop owner, and Peter Bogdanovich (real life director of Noises Off, Paper Moon, and What’s Up Doc?) playing to type as a film director.

BUT for all of its successes as a horror film – IT is WAY too long – by about a third. Just having to accommodate a large ensemble cast will make for an inherently long story. Accommodating TWO ensemble groups – with present-time adults and childhood dove-tailing flashbacks – is one of the reasons this movie is almost a full 3 hours long. Its padding is mostly due to not trusting the average ticket buyers. Dauberman, et al, needn’t have worried that audience members would RANDOMLY wander into a movie house showing a movie titled IT: Chapter Two. We really did not need all the backtracking, and re-covering old childhood ground with “new” adult eyes to understand what was going on.

In addition, I do not think they understood the difference between pausing long enough for tension to build and holding on to the “punch line” so long you start checking your watch. There are a LOT of jump scares in IT. This movie practically parkours its way through the entire plot on jump scares. And every SINGLE jump scare endures a prolonged preview. For example, Rich and Eddie encounter a cute Pomeranian dog – probably because Rich had jokingly stated a wish that he hoped the monster’s true form would be in this shape. We all know the dog is going to jump scare into a monster-size zombie dog but far too many beats go by as Rich and Eddie comment about how cute it is before this happens. So, yeah, about an hour could have been chopped just by jumping, instead of dragging, their way to the jump scares.

The language is ridiculously and unnecessarily crude, using the “F” word like a baker does flour. Granted all of them subtly reverted back to elements of their childhood during the course of the movie – Bill’s stutter and Eddie’s psychosomatic asthma for examples. Childhood Richie had a marked dependence on profanity as a defense mechanism against his own insecurities, so adult Richie’s profane filled vocabulary should not surprise us, but even so, the repetition became gratuitous.

Benjamin Wallfisch returns to create yet another creepy musical backdrop which functions as a character in its own right. Heavy, and effectively random use of oppressive jarring percussions and wandering dissonant acrobatics on flute and violin provide a disjointed, otherworldly, off balanced and forcefully unsettling soundtrack for most of the movie accompanying Pennywise, which music occasionally, like brief moments of sunshine during a terrible storm, give way to lovely, lyrical, and melancholic passages representing the children and their adult dopplegangers.

IT: C2 is a solid horror movie with an intelligent sub-text but certainly appropriate only for older teens and up given the language, the extreme violence, and multiple scenes of physical, emotional, verbal and implied sexual abuse.

And as I have already mentioned – more horrifying than Pennywise’s presence on screen was the attendance by a number of early teens and even YOUNGER audience members, some of whom were with parents who REALLY should have known better. As if the movie IT: C2 was not inappropriate enough for these children, the previews certainly were, including stories which featured real world violence and pole-dancing strippers. If a movie is “R” rated, as IT is, then authority figures should realize previews are going to be “R” rated as well and often not just for gore and jump scares.

So if you liked Chapter ONE IT then you’ll find IT: Chapter Two very satisfying, with creatively gross monsters and an interesting underlying analogy about learning to heal from childhood trauma.

But PLEASE avoiding traumatizing your own child with this movie and leave the kids at home.

FANTASTIC BEASTS 2: THE CRIMES OF GRINDELWALD – WEAK, FLAWED PLOT RUINS A PROMISING STORY AND UNDERCUTS ITS INTERESTING CHARACTERS

AUDIO PODCAST OPTION OF FANTASTIC BEASTS 2 REVIEW

SHORT TAKE:

Adults-appropriate only sequel to Fantastic Beasts which follows the Hitler-like rise of Grindelwald.

WHO SHOULD GO:

Adults who were fans of the series growing up.

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LONG TAKE:

I’m going to say it because no one in the last eleven years has: JK Rowling is a genius, and therein lies the crime worse than Grindelwald’s.

SPOILERS

The premise of the Crimes of Grindelwald is the continuation of the story of Newt Scamander (Eddie Redmayne – Les Mis, The Theory of Everything) and his sidekick Jacob (Dan Fogler from Balls of Fury), as they look for Credence (Ezra Miller, Flash from Justice League and Suicide Squad), thought to have been killed in the previous movie. Side plots involve a misunderstanding between Newt and Tina (Katherine Waterston) and the ultimately fatal frustration of Queenie (Alsion Sudol) over the law which forbids her and Jacob to marry. Against all this is the rising of the tide of Grindelwald (Johnny Depp – Murder on the Orient Express, Benny and Joon, Pirates of the Carribbean, Public Enemy and almost every Tim Burton movie ever made), Grindelwald’s threatening anti-muggle philosophy, which plays out akin to the anti-semitism of the Nazis, and … Dumbledore’s initially inexplicable reluctance to fight him.

JK Rowling pronounced, three months after the publication of the last book in the Harry Potter series, that Dumbledore was gay. This was an extraordinarily dramatic twist in the backstory of a major character which had no clues or preparation for it in the books to support it.

Revelations about sexual preferences amongst main characters are not usually the fodder of children’s storybook mythology. Granted the people who started out with Rowling when they were 11 are now in their thirties, big people who are more readily able to handle this kind of dark, complex relationship. But this is still a children’s story, andDumbledore’s same sex attractions are really just not something appropriate to the child-target audience. But, even aside from that, there is no literary justification for it, no relevant hints to it and no established lore for it.

JK doubles down on this issue by making Dumbledore’s sexual proclivities a major plot point in Fantastic Beasts 2. Dumbdledore will not confront the most dangerous and diaboliocal wizard ever born because … he is infatuated with him. This is a weak excuse at best and not up to Rowling’s best efforts.While there is absolutely nothing explicit whatsoever in the movie between Dumbledore and Grindelwald, there are uncomfortable and unnecessary innuendos and long hairy looks aplenty between Law’s Dumbledore and Depps’ Grindelwald, which I would NOT want to have to explain to my underage child. It’s just not subject matter that should even be averred to in a story primarily aimed at school aged children, even IF the charter fans are well past the age of consent now.

In addition, there are a number of other ill advised, non-sequitor, anachronistic, plot convolutions it will be very difficult for JK to explain away without time turners. Keep in mind Rowling wrote this script so can not blame a poor scriptwriting translation.

Short list:

The presence of Professor McGonagall at the castle during the movie (Fiona Glascott in FB2 and during the first eight movies by Dame Maggie Smith) is one of the most obvious. The film takes place in 1927 and McGonagall did not start teaching at Hogwarts until 1956. Of course, this could have been her relative, but then the appearance of this character would be just a sloppy name drop.

Dumbledore is teaching Defense Against the Dark Arts. According to the original lore, Dumbledore never taught Defense Against the Dark Arts, but Transfigurations.

Credence is alive but there is no explanation as to how. Granted there was a remaining wisp of his obscurus (a manifestation of a wizard’s repressed magical powers which forms if they are not allowed to express those powers openly), left at the end of the previous movie. Does even a single bit of the obscurus have the ENTIRE person in it with memories intact? This power is never alluded to in the first story’s description of the obscurus.

If the chupacabra (a mini-dragon-like craeture which accompanies Grindelwald at the beginning of the movie) is a guard, why does it attack the ministry member and seem so affectionate to Grindelwald? If it belongs to Grindelwald, why does Grindelwald so casually kill it?

While everyone was happy to see Jacob, the muggle baker, return, it was with a shoddy trick – that the obliviate didn’t work on him because it only erased BAD memories and he only had good ones. But at the end of the first Fantastic Beasts it was OBVIOUS Jacob did not recognize Newt, did not clearly understand where his bakery ideas were coming from, and at first did not recognize Queenie. It would have been more believable to say, for example, that Queenie had placed a protective charm on him in their final parting kiss, which would make the obliviate in the rain cause only a temporary loss of memory. But the way Rowling handled it in this second FB script was just clumsy and careless.

Why did Queenie abandon Jacob? If Queenie’s primary reason for wanting to follow Grindelwald was to fight the rule prohibiting her relationship with Jacob, then how does leaving Jacob in a collapsing arena, surrounded by lethally enchanted flames, to follow someone who hates muggles, going to further this goal? Was she a victim of the Imperius curse?  She seemed to succumb to Grindelwald’s “charms” pretty voluntarily when she first meets him without his using a spell.

On the plus side – The Fantastic Beasts themselves are delightful, especially as they do not heavily rehash the old ones, but introduce us to new ones: the Zouwu, which looks like a Chinese parade float come to toothy life, the underwater horse, the Kelpie (because it looks like it is made from kelp), and the creepy black Matagot cats from French folklore. (Thankfully no more Erumpant-Newt mating dances – that was just embarrassing.)

The special effects – from the underground circus performers to Newt’s Kelpie ride – are interesting. The music is familiar Potter themes. And the acting is solid as all the characters we’ve seen before reprise their roles solidly.

Redmayne is especially outstanding as the socially challenged Newt tries very hard to reconnect with Tina and reconcile with his brother, Theseus. Redmayne’s performance is worth seeing the movie for. His depiction of Newt with autistic characteristics – lack of eye contact, difficulty understanding the social cues others take for granted, his hesitant verbal skills, trouble expressing physical affection with his own brother – is not an accident. While Rowling never expressly named the spectrum when discussing the character with Redmayne, Redmayne was openly aware of what these personality quirks denoted and actively created this character within the spectrum of autistic behavior.

No overt mention of autism ever comes up – this movie takes place in 1927 and autism was not even recognized until the ’30’s, so, appropriately, everyone just accepts Newt’s behavior as just a part of his unusual personality. In addition to his spot on Newt, Redmayne presents us with a Newt that grows and develops, improving his interpersonal expressions with those to whom he feels most close: Theseus, Tina and Jacob.

Fogler is again adorable, funny and relatable as the muggle, Jacob. Sudol is disturbing and heartbreaking as she morphs from the gentle Queenie to Grindelwald’s complicit functionary. Jude Law, aside from the demands of his unique relationship preferences, is a wonderful young Dumbledore, with just the right whimsy, humor and mystery which could believably mature into Richard Harris’ Dumbledore in The Sorcerer’s (/Philosopher’s) Stone.

The Nazi theme is also very dark, and for mature audiences. There are at least a couple of events, relating appropriately but grimly enough to Grindelwald’s rise as a charismatic tyrannical leader, which by themselves would recommend against taking children. One example is the cold-blooded murder of an adorable two year old toddler, even as Grindelwald smiles at the babe’s inherent charms, similar to the Nazi thugs who bundled families into gas chambers after giving the children sweets. This parallel hits hard when one notes that Queenie and Tina’s last name is Goldstein, an obvious Jewish connection, making Queenie’s betrayal all the more ironic and heartbreaking.

But while the characters – creature, wizard and muggle – all fare well, the overall plot suffers from plain old bad writing. If Rowling has something up her sleeve that would clear much of the threadbare points up she has left no breadcrumbs to give us some confidence in a strategy, though the movie ends on a number of cliffhangers and set ups for the next movie.

CONCLUSION

Between the inappropriate sexual references and well thought out but grimly burgeoning magical Third Reich, I would NOT take children to see this movie. If you were the age to receive a letter from Hogwarts when the first books came out, you’d be more than old enough for the themes now. BUT be aware of the peculiar plot holes and unexplained inconsistencies from the long held, previously well established Harry Potter canon, which makes this a disappointing and unsatisfying outing despite the good performances and interesting creatures. Rowling is capable of so much better.

BOHEMIAN RHAPSODY EXPOSES FREDDIE MERCURY AS A VICTIM OF HIS OWN INDISCRETE EXCESSES

SHORT TAKE:

Mesmerizing biodrama of Queen, the rock band in general and Freddie Mercury its lead singer, in particular, from its formation in the early 1970's through its appearance at the 1985 benefit concert Live AID, including a positively brilliant performance by Rami Malek as Mercury and completely spot-on recreation (or so I've read) of Gwilym Lee as Brian May, lead guitarist.

WHO SHOULD GO:

Primarily adults only due to the nature of Mercury's personal life. Exceptions might be made on an individual basis, but I would STRONGLY advise that the parent see the movie first before considering allowing anyone under the age of full consent see this movie. For lifelong Queen fans I would say this is a must see movie.

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LONG TAKE:

SPOILERS – AS FEW AS POSSIBLE BUT MOST PEOPLE KNOW THE KEY POINTS ANYWAY

What do an astrophysicist, a dentist, an electronics engineer and…an airport baggage handler all have in common? No. It's not a group gearing up for the next Oceans movie. It's, respectively, Brian May (Gwilym Lee), Roger Taylor (Ben Hardy – Angel in X-Men), John Deacon (Joseph Mazzello – as a child actor was Douglas Gresham in Shadowlands and Tim from Jurassic Park) and Freddie Mercury/Farrokh Bulsara (Rami Malek – Mr. Robot series and Twilight Saga – Breaking Dawn) of the 1970's rock group Queen. Maybe I was the last one on the boat with this one, but a lot of the personal details about the members of this unique, audience participatory and groundbreaking musical phenomenon were a surprise to me.

They formed when I was in grammar school and hit their peak with their come back performance at the benefit relief concert for the Ethiopian famine in 1985. While it was a band which achieved unusual longevity and success via the strength of their loyalty to each other and egalitarian approach to the structure of their band, one member, nonetheless, stuck out due to his flamboyant style and scandalous personal life.

In full disclosure – growing up, Queen was, to me, in many ways just background music and a caricature. I liked the music but it was off the wall in the same way that Pink Floyd was, with its experimental sounds and genre combinations. I did not follow any of the details or titillating stories at the time. However, I assume the film presentation is accurate based upon the commentaries from those who consider themselves lifelong fans. So my review will assume the accuracy of the film story as presented.

Much of their personal lives, explored in the movie, came as a surprise to me. All these men were accomplished, intensely creative, profoundly talented, and intelligent men. Most had wives and children. Mercury's personal life was a bit more complex. Fairly quiet about his private life, his flamboyant and effeminate stage behavior was a constant source of unsatisfied conjecture with reporters. According to the film, Mercury was bisexual. In the early 1970's he started a lifetime romance with Mary Austin. In this regard, his life parallels Cole Porter's, who married, but then constantly cheated on his wife with homosexual lovers. Mercury, on the other hand, was faithful to Mary (Lucy Boynton from Murder on the Orient Express), and seemed to genuinely adore her and she him, until he went on tour to America without her. Predictably, his already vulnerable personality succumbed to the allure of wealth and celebrity – indulging in drugs, and the experimental promsicuous sex which lost him this love of his life, his health and eventually his life.

Rami Malek's performance as Mercury is breathtaking, recreating Mercury's flamboyant on and quiet off stage personas. But Mercury's unique four-octave, Tuvan (vocalizing a note AND its undertone at the same time) singing, with exceptional vocal control, and high speed vibratto, was impossible for Malek without assistance. Malek's voice, Mercury's studio recordings and the voice of Canadian Christian rock singer Marc Martel (near the bottom of this page is a video of Martel singing as Mercury) are blended, synced, combined and edited to re-incarnate Mercury's singing voice for Bohemian Rhapsody.

Similarly the instrumental performances of May, Taylor and Deacon were reproduced as accurately as possible, even with the assistance of May, Taylor and other coaches, but these virtuoso musicians could not be duplicated and there is some slight of hand with both the visual as well as auditory recordings.

The result is a spot on reproduction of Queen's music and many of their performances. The music was wonderful – artful and masterful incarnations of the songs which are so familiar to us now, the movie allows us to watch and listen to a vision of how those iconic moments were conceived, recorded, blended and molded into the unique musical expressions we have come to love – from "Happy Birthday" and "Killer Queen" to – of course – "Bohemian Rhapsody", we are privy to their manifestations as reproduced through the magic of cinema. However, and wisely, unlike many other movies about musicians which drown in music to the damage of plot, Bohemian Rhapsody, from scene to scene, as Donald O'Connor might have said, leaves us wanting more. We are only given tidbits of song snacks which enhance the storyline, so that the ending 20 minute full re-creation of the Live AID benefit concert is a welcome musical feast.

One common complaint, with which I agree, is the abruptness of the ending after the benefit concert. Mercury lived for six more years and while I understand and respect the decision not to wallow in Mercury's illness and decline, there was a good deal more Queen written after 1985 to explore.

These men were first, last and primarily, musicians of exceptional talent and creativity. The best parts of the movie were the expression of that talent – even if it was merely re-creations of those brilliant acts of inspiration: building entire songs from one individual phrase, enhancing and individualizing their sound with deliberately peculiar assists like water or coins on the drums, stressing their falsettos, or planned genre blending with opera. During one scene, for example, a disagreement starts to get out of hand between two members while a third is physically trying to keep them separated. The fourth simply starts a guitar riff and the combatants are so taken with it and the idea of creating a song around it the dispute is defused.

Along with the great performances – both acting and the musical slight of hand, there is an amusing cameo by Mike Myers (Shrek) as Ray Foster, loosely based on Roy Featherstone of EMI Records.

Mercury's descent into the more carnal excesses of celebrity are not shied from but are treated with a measure of restraint – ergo my cautionary note to parents. Otherwise the movie is appropriate for mature older teens – but again with serious provisos depending on the discretion of the parents.

So if you are an adult, especially an adult fan of Queen, this movie is a musical treat but also a reminder of the consequences which can occur from a lack of self-restraint. Mercury sang and contributed continuously to Queen until only a few days before he died. Without him, the band could not function as it had before and Deacon's grief over the loss of his friend and collaborator was such that he declined to contribute to the making of the film. Mercury's unnecessary and early death ended the prolific and brilliant contributions of Queen to the rock scene.

But this is not a new or unique story. Indeed, Bohemian Rhapsody does for Freddie Mercury what Amadeus did for Mozart and All That Jazz did for Bob Fosse (Fosse actually made the thinly veiled autobiographic film All That Jazz, which ended in the lead character's death, then himself died the same way a few years later). While I am not comparing Mercury to Mozart to Fosse, there are parallels of tragedy in the needless premature loss of significant musical contributions in their respective genres, all because of personal weakness and the lure of excess, exacting a terrible price from them, their families, and to the culture at large. May they rest in peace.