Blinded by the Light (2019)

Turan finds the film high-spirited and deeply enjoyable, celebrating the transformative power of Springsteen’s music. He particularly praises the energetic Bollywood-style production numbers that bring the songs to life.

Gleiberman praises the film as an exuberant return to form and an irresistible celebration of rock-and-roll sincerity. He especially singles out Viveik Kalra’s vibrant performance and the film’s joyful musical sequences.

Freer finds the film an exuberant, emotionally generous celebration of music and self-expression. He especially praises its vivid portrait of British Pakistani life and the humanity given to Javed’s father.

O'Sullivan finds the film a flawed but charming ray of sunshine, praising its tender portrayal of Javed’s bond with Springsteen’s music. She singles out the unpredictable musical scenes and the vivid “daytimer” sequence for their energy and appeal.

The critic calls it an endearingly eager and energetic film. They praise its vibrant multicultural story, sparked by Javed’s discovery of Bruce Springsteen’s music.

The review finds the film effervescent and warmly entertaining. It singles out its Springsteen-powered story and pop-cultural details, including Sony Walkmans and double denim.

Grierson presents the film as an upbeat, feelgood potential hit. He singles out its use of Bruce Springsteen’s music in adapting Sarfraz Mansoor’s memoirs.

DeFore finds it a shamelessly corny but appealing crowd-pleaser, carried by its lead’s likability. He praises Viveik Kalra’s performance and the film’s eventual emotional payoff, while criticizing some of its awkward, overdone musical sequences.

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The critic finds the film hackneyed but infectious, with an unabashed joy that remains compelling despite a story that barely holds together. They praise how genuinely it captures a teenager’s all-encompassing discovery of Springsteen’s music.

Matheou finds the film heartfelt and charming, though it pushes its luck and becomes cheesy. He praises its capture of 1980s Luton while criticizing the overbearing use of Springsteen songs.

Huddleston finds the film upbeat but overly sentimental, formulaic, and weighed down by a paper-thin plot. He praises the thrilling first moment when Springsteen’s music transforms Javed’s world, while later musical sequences fall flat.

Lee calls the film a contrived, over-sentimental misfire whose familiar coming-of-age formula fails to deliver its intended warmth. He praises the early scenes’ charm and sharp depiction of racism, but criticizes the awkward musical sequences and reliance on Springsteen’s lyrics.

Brody finds the film’s heartwarming approach contrived and its vision of liberation narrow. He particularly criticizes how Javed’s discovery of Springsteen becomes a monomaniacal fixation rather than opening him to a wider musical world.

Chitwood calls the film an irresistible, heartfelt triumph that ranks among the year’s best. He especially praises its lead performance and how Springsteen’s music gives shape to the story’s personal themes.

Worthington finds the film an unapologetically sincere, emotionally gripping crowd-pleaser, despite its syrupy earnestness. He especially praises its vivid, joyful use of Springsteen’s music to express the thrill of adolescent self-discovery.

Reynolds calls the film an absolute joy, praising its warmth and humor. He singles out the Springsteen-driven musical sequences and Viveik Kalra’s performance.

The critic calls the film a soaring success, balancing heartfelt uplift with darker social realities. They single out the emotional messages inspired by Springsteen’s music as the reason it works.

Ruimy praises the film as an exuberant, life-affirming crowd-pleaser that connects Springsteen’s music to Javed’s coming-of-age story. He singles out the energetic use of the songs and lyrics, while acknowledging occasional predictability and corniness.

The critic finds the film corny and overblown but ultimately irresistible and moving. They praise how Chadha uses Springsteen’s songs to convey the transformative power of music.

The critic calls it a funny, moving, surprising treat with energy and plenty to say. He especially praises the father-son relationship, whose performances moved him to tears.

The critic finds the film refreshing, heartwarming and broadly uplifting. They especially praise the musical sequences, singling out the joyous ‘Born To Run’ scene.

Anderton finds the film an uplifting, emotionally resonant coming-of-age story. He especially praises Viveik Kalra’s performance and the film’s portrayal of racism and cultural identity.

The critic finds the film a delight and praises its personal touch and honesty. He singles out how Bruce Springsteen’s lyrics resonate with Javed’s experience and speak to a generation.

Harvilla finds the film a heartfelt, if predictable, celebration of Springsteen fandom that captures its believers’ fervor. He praises its willingness to risk looking uncool, while noting that the pacing lags and the father-son drama is unsurprising.