Begin Again (2013)

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.

Carty describes the film as an uplifting crowd-pleaser. He singles out its music-led story of healing and the unconventional street-recorded album.

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.

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.

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.

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.

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.

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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.

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.

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.

The critic finds the film implausible and unsuccessful. The review singles out its music-business story as falling short of plausibility.

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.

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.

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.

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.

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.

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.

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.

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.

The review characterizes the film as predictable and lukewarm. The headline singles out its predictable approach as a complaint.