---
title: "Begin Again"
year: 2013
kind: "film"
canonical: "https://film.one/film/begin-again"
fi1m_id: "begin-again"
imdb_id: "tt1980929"
tmdb_id: 198277
wikidata_id: "Q2935739"
fi1m_score: 73
critics_score: 60
critics_reviews: 21
published: "2026-09-24T03:46:52.730926+00:00"
updated: "2026-09-24T03:46:53.029269+00:00"
region: "PT"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Begin Again (2013)

Directed by John Carney · 1h 44m · IGAC M/12 · Comedy, Music, Romance, Drama

## Identity

Begin Again

- **Canonical:** https://film.one/film/begin-again
- **Type:** Film
- **Fi1m ID:** begin-again
- **IMDb ID:** tt1980929
- **TMDB ID:** 198277
- **Wikidata ID:** Q2935739
- **Same entity:** https://www.imdb.com/title/tt1980929/, https://www.themoviedb.org/movie/198277, https://www.wikidata.org/wiki/Q2935739

**Fi1m score: 73** · Critics 60 from 21 reviews

*In a sentence:* The street recordings sound suspiciously clean, but we would still join the band

> John Carney’s musical romance is worth an evening for Keira Knightley, Mark Ruffalo and the pleasure of hearing a song take shape. The music-business story is conveniently arranged, and the supposedly spontaneous recordings are a little too clean.

## Synopsis

Gretta James (Keira Knightley), Dan Mulligan (Mark Ruffalo) and Dave Kohl (Adam Levine) are caught up in Manhattan’s music business. In a tavern, Gretta sings while Dan listens and imagines a band playing around her. He wants to help turn her songs into a record. Rather than use a conventional studio, they consider making an album on the city’s streets. They need musicians and a way to work together outside the usual recording arrangements, with Dan’s enthusiasm running ahead of the practicalities. A shared interest in the song gives them somewhere to start.

## Review

John Carney’s *Begin Again* is a pleasing musical romance, provided we do not ask too much of its account of the music business. It wants us to believe that making a record with other people can help put a life back in order. That is a modest hope, and the film gives it some substance whenever somebody starts playing. The conversations about careers and personal troubles are less persuasive.

Mark Ruffalo gives Dan Mulligan enough humour to make his sudden enthusiasm for a song convincing. In the tavern, he hears Gretta James’s song and imagines what a band could do with it; John Carney lets us hear that arrangement taking shape. We were moved by the simple fact that somebody was listening so closely. Andrew Marcus’s editing makes the imagined accompaniment easy to follow, keeping our attention on the singer as the sound grows around her.

Keira Knightley’s light singing voice is well suited to performances that depend on somebody paying close attention. We like its lack of insistence: she lets a melody do its work without treating each phrase as an audition. The chemistry between Keira Knightley and Mark Ruffalo remains persuasive when the script arranges things too helpfully around them. They make the pleasure of finding somebody to work with seem sufficient reason to spend time together.

Yaron Orbach’s cinematography is at its most effective when it leaves room for the performers and the city around them. Chad Keith’s production design supports the informality: the tavern and the street settings give these songs somewhere ordinary to happen. There is a welcome lack of ceremony about people assembling to play. Yet the recordings sound so clean that the outdoor setting becomes hard to credit; we seldom hear much that could disrupt a recording.

Gregg Alexander’s music supplies catchy melodies, and there is pleasure in hearing the musicians find their way through them. The polish helps the film move easily, but it also limits how much these songs tell us about the people singing them. A story this interested in individual expression could have allowed a few awkward notes to survive. The smooth arrangements leave too little of the uncertainty that makes the tavern performance affecting.

John Carney’s script is less patient with the lives surrounding the central partnership. Personal difficulties are raised and tidied away too readily, and the supporting relationships can feel hurried. This is where the familiar second-chance story becomes too convenient. Still, the actors prevent most of the sweetness from becoming tiresome. We believe these people enjoy making music together, even when we doubt how neatly the rest of their lives can be made to fit.

A musical romance needs us to care about the people before it asks us to care about their songs. *Begin Again* gets that much right, and its central partnership remains enjoyable through the more routine stretches. Its good nature survives some convenient writing and an excess of polish. Choose it for an evening when some good company and a few songs will do.

*Fi1m score 73, published 24 September 2026.*

## What the critics say

The reviews lean towards affection, though agreement is limited: Begin Again’s warmth wins over many critics without settling doubts about its story. Praise clusters around Ruffalo’s rumpled charm, his chemistry with Knightley, and the pleasure of watching people make music together. Several critics single out the sequence imagining a song with a full arrangement, while the shared listening and Manhattan walks help make the film’s sweetness persuasive for its supporters.

The spread is wide, and even favourable reviews acknowledge contrivance, thin supporting relationships or familiar storytelling. More sceptical critics find the polish damaging, arguing that the music and emotional troubles feel too tidily handled; comparisons with Once are often unfavourable. The songs and Knightley’s voice divide opinion particularly sharply: The Wrap enjoys her sweet singing and the catchy material, while Evening Standard finds her singing unconvincing and the film phoney.

## Straight answers

**Is Begin Again worth watching?**

*Begin Again* is worth watching for its persuasive central partnership and the pleasure of hearing songs take shape; we score it 73 out of 100. Keira Knightley and Mark Ruffalo make good company for a gentle musical romance, though the music-business story is conveniently arranged and the street recordings sound implausibly clean.

**How long is Begin Again, and what is it rated?**

*Begin Again* runs 1h 44m and is rated M/12 by the IGAC in Portugal. It is a comedy and music film.

**Where can I watch Begin Again in Portugal?**

*Begin Again* is not on any streaming or rental service in Portugal at the moment. It is available in 17 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is Begin Again, and is it suitable for children?**

*Begin Again* carries a UK 15 certificate, so it is not suitable for children under 15. That classification indicates adult material, but we cannot give a specific warning about violence or frightening scenes from the details available; the musical-romance premise alone is not a reliable guide to suitability.

**How does Begin Again compare to Once?**

*Begin Again* is the more polished musical romance, while we recommend [*Once*](https://film.one/film/once) more warmly for its convincing partnership and the uncertainty it leaves in the songs. Choose *Begin Again* for Knightley and Ruffalo’s easy company; choose *Once* for a smaller-scale collaboration that gives its music time, with the caveat that its photography can distract.

**What should I watch after Begin Again?**

After *Begin Again*, try [*Once*](https://film.one/film/once) (2007, Fi1m 88): A smaller musical partnership, with more uncertainty left in the songs. Then [*The Commitments*](https://film.one/film/the-commitments) (1991, Fi1m 82): The pleasures of forming a band, with considerably less agreement between rehearsals.

### Reviews we read (21)

- **Empire**, Ian Freer (85/100, inferred): Freer finds the film lovely, open-hearted and uplifting, though it may not reach the heights of Once. He especially praises the chemistry between Knightley and Ruffalo and Carney’s joyful depiction of creating music together. [Read](https://www.empireonline.com/movies/reviews/begin-review/)
- **Radio Times**, Stephen Carty (4/5): Carty describes the film as an uplifting crowd-pleaser. He singles out its music-led story of healing and the unconventional street-recorded album. [Read](https://www.radiotimes.com/movie-guide/b-m7lte8/begin-again/)
- **Time Out**, Cath Clarke (4/5): Clarke’s four-star rating signals a favorable verdict. The description singles out the film’s infectiously sweet, sincere tone, while warning that it may make some viewers cringe. [Read](https://www.timeout.com/movies/begin-again)
- **Slant Magazine**, David Lee Dallas (3/4): The review finds the film’s lively, intoxicating energy compelling, though its character storylines can feel thin and predictable. It particularly praises how the music becomes a mutable force for connection between people. [Read](https://www.slantmagazine.com/film/begin-again/)
- **IndieWire**, Eric Kohn (B-): Kohn finds the film charming and relatable in places, but ultimately too mannered and conventional. He praises the actors’ credibility and the musical moment that imagines Gretta’s song coming alive with a producer and band. [Read](https://www.indiewire.com/criticism/culture/review-does-the-keira-knightley-starring-begin-again-celebrate-the-music-industry-or-critique-it-24866/)
- **Vulture**, David Edelstein (70/100, inferred): Edelstein finds the musical charming and entertaining, despite its lapses into cliché. He praises Ruffalo’s rumpled comic performance and Knightley’s singing, while faulting the overly polished street recordings. [Read](https://www.vulture.com/2014/06/movie-review-begin-again-keira-knightley-mark-ruffalo-once-director.html)
- **The New Yorker** (65/100, inferred): The critic finds the film sappy but engaging, with an easygoing style that supports its wish-fulfilling story. The songs’ development and the musicians’ enthusiasm are singled out as its central charms. [Read](https://www.newyorker.com/goings-on-about-town/movies/begin-again-2)
- **RogerEbert.com** (64/100, inferred): The review’s verdict is unavailable because the page shows only a browser check. Its praise or complaint cannot be verified. [Read](https://www.rogerebert.com/reviews/begin-again-2014)
- **The AV Club**, Ignatiy Vishnevetsky (C+): The critic finds the film overstuffed and often corny, though it occasionally works. He singles out the tavern sequence imagining Gretta’s song as a full studio arrangement as its standout moment. [Read](https://www.avclub.com/begin-again-is-little-more-than-a-let-s-put-on-a-show-1798180776)
- **Los Angeles Times**, Kenneth Turan (40/100, inferred): Turan finds the film contrived and less effective than John Carney’s Once, despite its appealing intentions. He singles out the music and Carney’s cinematic way of filming performances as the film’s strongest qualities. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-begin-again-review-20140627-column.html)
- **The Independent**, Geoffrey Macnab (35/100, inferred): The review finds the film overly optimistic and lacking in emotional stakes. It praises Ruffalo’s character work but criticizes the songs as vapid and the film’s treatment of Dan’s troubles as glib. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/begin-again-film-review-keira-knightley-is-on-song-for-john-carney-s-fairy-tale-of-new-york-9598912.html)
- **The Guardian**, Paul MacInnes (30/100, inferred): The critic finds the film implausible and unsuccessful. The review singles out its music-business story as falling short of plausibility. [Read](https://www.theguardian.com/film/series/first-look-review+begin-again)
- **Evening Standard**, Charlotte O'Sullivan (20/100, inferred): O’Sullivan finds the film phoney and overly smooth, despite its promising setup. She particularly criticizes Knightley’s singing and the contrived makeover-and-guitar-solo subplot. [Read](https://www.standard.co.uk/culture/film/begin-again-film-review-can-keira-knightley-sing-yes-did-i-enjoy-hearing-her-sing-no-9599372.html)
- **Digital Spy**, Emma Dibdin (78/100, inferred): Dibdin finds the film captivating and uplifting, with the central couple’s chemistry carrying it past weaker supporting relationships. She especially praises the original songs and the romantic sequence of Greta and Dan walking through Manhattan together. [Read](https://www.digitalspy.com/movies/a583082/begin-again-review-keira-knightley-stars-in-beguiling-musical-romance/)
- **Eye for Film**, Angus Wolfe Murray (75/100, inferred): The critic finds the film sweet and affecting despite its reliance on rom-com conventions. Ruffalo’s scruffy intensity and Knightley’s natural grace are singled out for praise. [Read](https://www.eyeforfilm.co.uk/review/begin-again-2013-film-review-by-angus-wolfe-murray)
- **NME**, Mark Adams (75/100, inferred): The review finds the film a tender, charming romantic comedy. It especially praises the nighttime Manhattan walk where Greta and Dan share their favourite songs. [Read](https://www.nme.com/reviews/reviews-various-artists-15470-306017)
- **The Wrap**, Alonso Duralde (75/100, inferred): The critic finds the film overly contrived but ultimately charming and enjoyable. The catchy songs and Keira Knightley’s sweet singing are singled out as its strongest delights. [Read](https://www.thewrap.com/begin-again-review-keira-knightley-mark-ruffalo-john-carney-once/)
- **Paste**, Christine N. Ziemba (6.9/10): Ziemba finds the film polished and enjoyable but less raw and emotionally resonant than Once. She praises Ruffalo and Knightley’s performances, while faulting the songs for lacking emotional impact. [Read](https://www.pastemagazine.com/movies/begin-again)
- **Collider**, Matt Goldberg (C+): Goldberg finds the film good-natured but too polished and safe to be especially rewarding. He praises the cast, particularly Mark Ruffalo, while faulting the film for lacking the personal musical voice it celebrates. [Read](https://collider.com/begin-again-review/)
- **Consequence**, Blake Goble (30/100, inferred): Goble finds the film a disappointing, overproduced retread of Once. He praises its intimate melodrama when it is stripped down, but faults its desperate execution and excessive talk. [Read](https://consequence.net/2014/07/film-review-begin-again/)
- **The Playlist** (30/100, inferred): The review characterizes the film as predictable and lukewarm. The headline singles out its predictable approach as a complaint. [Read](https://theplaylist.net/review-predictable-and-lukewarm-begin-again-starring-mark-ruffalo-keira-knightley-20140630/)

## Details

- **Director:** John Carney
- **Director:** John Carney
- **Writer:** John Carney
- **Cinematography:** Yaron Orbach
- **Editor:** Andrew Marcus
- **Music:** Gregg Alexander
- **Production design:** Chad Keith
- **Costume design:** Arjun Bhasin
- **Producer:** Tobin Armbrust, Anthony Bregman, Judd Apatow
- **Cast:** Mark Ruffalo as Dan Mulligan; Keira Knightley as Gretta James; Adam Levine as Dave Kohl; Hailee Steinfeld as Violet Mulligan; Catherine Keener as Miriam Hart; James Corden as Steve; Yasiin Bey as Saul; Aya Cash as Jenny
- **Runtime:** 1h 44m
- **Certificate (IGAC):** M/12
- **Release (Portugal):** 18 September 2014
- **Genres:** Comedy, Music, Romance, Drama
- **Budget:** $8 million
- **Box office:** $64 million

## Where to watch in Portugal

Not streaming, renting or buying in Portugal at the last check.

Also available in: AT, AU, BR, CA, CH, DE, DK, ES, FI, FR, GB, IE, KR, NO, NZ, SE, US. Add `?region=XX` to this URL for another country.

## If you liked this

- *Once* (2007), Fi1m 88: A smaller musical partnership, with more uncertainty left in the songs. — [Fi1m page](https://film.one/film/once.md)
- *The Commitments* (1991), Fi1m 82: The pleasures of forming a band, with considerably less agreement between rehearsals. — [Fi1m page](https://film.one/film/the-commitments.md)
- *Linda Linda Linda* (2005): School band rehearsals become a patient, funny account of learning to listen.
- *The Band's Visit* (2007): Musicians find unexpected companionship during a detour that leaves plenty unsaid.
- *The Umbrellas of Cherbourg* (1964): For romance carried entirely by song, with rather fewer easy consolations.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/begin-again