---
title: "Everybody's Talking About Jamie"
year: 2021
kind: "film"
canonical: "https://film.one/film/everybodys-talking-about-jamie"
fi1m_id: "everybodys-talking-about-jamie"
imdb_id: "tt8635092"
tmdb_id: 624899
wikidata_id: "Q65050923"
fi1m_score: 73
critics_score: 69
critics_reviews: 19
published: "2026-10-03T02:09:45.146933+00:00"
updated: "2026-10-03T02:09:45.662676+00:00"
region: "MX"
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."
---

# Everybody's Talking About Jamie (2021)

Directed by Jonathan Butterell · 1h 55m · RTC C · Drama, Comedy

## Identity

Everybody's Talking About Jamie

- **Canonical:** https://film.one/film/everybodys-talking-about-jamie
- **Type:** Film
- **Fi1m ID:** everybodys-talking-about-jamie
- **IMDb ID:** tt8635092
- **TMDB ID:** 624899
- **Wikidata ID:** Q65050923
- **Same entity:** https://www.imdb.com/title/tt8635092/, https://www.themoviedb.org/movie/624899, https://www.wikidata.org/wiki/Q65050923

**Fi1m score: 73** · Critics 69 from 19 reviews

*In a sentence:* Jamie has better company than songs, and Sarah Lancashire is a good reason to stay for another number

> This warm, uneven musical is worth an evening for Max Harwood and Sarah Lancashire. The songs can sound much alike, and the antagonists are thinly written, but the mother-and-son relationship gives us something to care about.

## Synopsis

In Sheffield, Jamie New (Max Harwood) wants to express himself through drag, with his mother Margaret New (Sarah Lancashire) supporting him. Her encouragement does not mean everyone around him is equally accepting. Hugo Battersby / Loco Chanelle (Richard E. Grant) brings the experience of another queer generation into Jamie’s life. Adapted from a stage musical, the story follows Jamie’s ambitions through songs and drag performance, with his relationship with Margaret at its centre. Opposition from others puts his confidence under pressure as he seeks acceptance on his own terms.

## Review

Jonathan Butterell’s *Everybody’s Talking About Jamie* is a warm, uneven musical that gets enough right about affection to survive some ordinary songwriting. We recommend it for the people, especially Max Harwood and Sarah Lancashire. Its ambition is modest and worthwhile: to let a young person’s enthusiasm for drag be a source of pleasure rather than something for the film to apologise for. Tom MacRae’s screenplay becomes less persuasive when it makes the resistance to Jamie so easy to understand and dismiss.

Max Harwood gives Jamie New enough vulnerability to keep his confidence interesting. His exuberance can carry the brighter numbers without making Jamie seem permanently immune to hurt, which matters when so much of the film is urging him onwards. Sarah Lancashire, as Margaret New, brings a quieter warmth to their mother-and-son relationship. We were moved by her singing because the care Margaret offers Jamie feels directed at one particular child, not at everyone who might need a little encouragement.

Richard E. Grant, as Hugo Battersby / Loco Chanelle, gives the film another welcome source of feeling. ‘This Was Me’ brings queer history into the story, allowing Jamie’s enthusiasm for drag to sit alongside an awareness of the lives that came before him. The number has a reason to be here beyond giving the audience another encouraging refrain, and it makes the surrounding songs seem less individual. Sharon Horgan also finds some personality in Miss Hedge, despite the writing’s tendency to simplify anyone who might obstruct Jamie.

Christopher Ross’s cinematography makes the bright musical passages inviting, and Jane Levick’s production design contributes to the film’s polished appearance. The colour is pleasurable, though the gloss can make the setting feel too agreeable for the difficulties the story wants to discuss. Jonathan Butterell is comfortable with exuberance; we would have welcomed more time spent on drag as performance. For a film so keen to celebrate it, there is surprisingly little of it.

The music from Anne Dudley and Dan Gillespie Sells keeps things buoyant, but several of the pop anthems leave much the same impression. Their messages arrive clearly enough; their melodies are less likely to stay with us. Mark Everson’s editing has to negotiate between musical high spirits and family pain, and the changes of mood sometimes feel abrupt. When the second half loses pace, the less distinctive songs become harder to forgive, since they take time away from the relationships that most reward our attention.

Tom MacRae’s antagonists are the more persistent problem. Too often they are given a position on Jamie and left there, without enough curiosity about what else might make them human. A musical about acceptance can afford generosity towards the people doing the refusing, and might become more convincing for it. The cast gives us enough feeling to carry us through these thinly written conflicts, but the film makes its case a little too easy to win.

As a stage-to-screen musical, it works when the performers can make a familiar sentiment feel specific to the person singing it. There is enough of that here to make the weaker numbers tolerable, particularly if warmth matters more to you than surprise. Come for Max Harwood and Sarah Lancashire, and give the less memorable anthems a little patience.

*Fi1m score 73, published 3 October 2026.*

## Straight answers

**How long is Everybody's Talking About Jamie, and what is it rated?**

*Everybody's Talking About Jamie* runs 1h 55m and is rated C by the RTC in Mexico. It is a drama and comedy film.

**Where can I watch Everybody's Talking About Jamie in Mexico?**

*Everybody's Talking About Jamie* is streaming on Amazon Prime Video in Mexico. Availability is checked daily; the links above go straight to each service.

**What should I watch after Everybody's Talking About Jamie?**

After *Everybody's Talking About Jamie*, try [*Pride*](https://film.one/film/pride) (2014, Fi1m 82): A British ensemble comedy that makes queer solidarity feel practical, awkward and necessary. Then [*The Young Girls of Rochefort*](https://film.one/film/the-young-girls-of-rochefort) (1967, Fi1m 84): For bright colours, romantic complications and songs that remain distinct after the credits; and [*The Adventures of Priscilla, Queen of the Desert*](https://film.one/film/the-adventures-of-priscilla-queen-of-the-desert) (1994, Fi1m 81): More room for drag performance, with friendship, loneliness and some useful bad taste.

### Reviews we read (19)

- **Radio Times**, Alan Jones (5/5): Jones praises the adaptation as a lively, big-hearted success. He singles out Max Harwood’s impressive performance and the film’s evocative Sheffield setting. [Read](https://www.radiotimes.com/movie-guide/b-6b698v/everybodys-talking-about-jamie/)
- **Evening Standard**, Charlotte O'Sullivan (4/5): The critic finds the adaptation bold and moving, though changes to Jamie’s family story weaken its emotional impact. She particularly praises Sharon Horgan’s lively, nuanced performance as Miss Hedge. [Read](https://www.standard.co.uk/culture/film/everybodys-talking-about-jamie-film-review-drag-richard-e-grant-b955455.html)
- **Time Out**, Stephen A Russell (4/5): The review presents the film as a joyous, heart-filled musical. It singles out its exuberant, multicoloured celebration of pride. [Read](https://www.timeout.com/movies/everybodys-talking-about-jamie-2021)
- **Los Angeles Times**, Kimber Myers (75/100, inferred): Myers finds the film joyful and big-hearted despite a weakening second half and some distracting filmmaking choices. She especially praises Max Harwood’s radiant performance and the musical’s contagious celebration of drag and individuality. [Read](https://www.latimes.com/entertainment-arts/movies/story/2021-09-10/everybodys-talking-about-jamie-review-musical-max-harwood)
- **The Hollywood Reporter**, David Rooney (75/100, inferred): Rooney finds the film formulaic but joyful, with an upbeat story that should resonate especially with young LGBTQ audiences. He particularly praises Max Harwood’s vivacious, vulnerable performance, while noting that the pop anthems can feel interchangeable. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/everybodys-talking-about-jamie-1234997822/)
- **Screen Daily**, Tim Grierson (70/100, inferred): Grierson presents the film’s move from stage to screen as confident. The standfirst singles out its leap from the West End musical to Amazon. [Read](https://www.screendaily.com/reviews/everybodys-talking-about-jamie-outfest-review/5162429.article)
- **Variety**, Peter Debruge (70/100, inferred): Debruge finds the musical shallow and overly easygoing, but ultimately celebratory and uplifting. He especially praises the added song “This Was Me” for bringing queer history into the story. [Read](https://variety.com/2021/film/reviews/everybodys-talking-about-jamie-review-1235051942/)
- **Empire**, Olly Richards (65/100, inferred): Richards finds the adaptation enthusiastic and enjoyable, though it lacks finesse and consistent tone. He especially praises the relationship between Jamie and his mother, and Sarah Lancashire’s heartfelt musical performance. [Read](https://www.empireonline.com/movies/reviews/everybody-talking-about-jamie/)
- **The Guardian**, Wendy Ide (65/100, inferred): Ide finds the film a superficial but charming adaptation, lifted by Max Harwood’s charismatic performance. She singles out Richard E Grant’s musical number for bringing welcome emotional depth. [Read](https://www.theguardian.com/film/2021/sep/19/everybodys-talking-about-jamie-review-max-harwood-richard-e-grant)
- **RogerEbert.com** (64/100, inferred): The page could not be accessed, so the critic’s verdict cannot be determined. No praise or complaint from the review is visible. [Read](https://www.rogerebert.com/reviews/everybodys-talking-about-jamie-movie-review-2021)
- **The New York Times** (64/100, inferred): The URL identifies this as a review, but the article text is unavailable, so its verdict cannot be determined. The page provides no accessible details about what the critic praised or criticized. [Read](https://www.nytimes.com/2021/09/17/movies/everybodys-talking-about-jamie-review.html)
- **IndieWire**, Jude Dry (C+): Dry finds the musical entertaining and heartfelt, but ultimately underwhelming. She praises Sarah Lancashire’s performance as Jamie’s supportive mother while criticizing the limited drag scenes and indistinct songs. [Read](https://www.indiewire.com/criticism/movies/everybodys-talking-about-jamie-review-drag-musical-1234665405/)
- **Little White Lies**, Emily Maskell (3/3/3): Maskell finds the film a worthy, if sometimes sickly-sweet, translation of the musical. She praises the performances, especially Sarah Lancashire’s tender song and Richard E. Grant’s scene-stealing turn. [Read](https://lwlies.com/reviews/everybodys-talking-about-jamie)
- **The AV Club**, Jesse Hassenger (C): The critic finds the musical well-meaning and empowering but shallow, with its conflicts and characters insufficiently developed. They single out the inventive, touching “This Was Me” sequence as a standout among generic musical numbers. [Read](https://www.avclub.com/the-aspiring-drag-queen-of-everybodys-talking-about-jam-1847644287)
- **The i Paper**, Christina Newland (25/100, inferred): Newland finds the film irritating and false despite its inclusive intentions. She especially criticizes its shallow characterization and glossy, Instagram-inflected portrayal of queerness. [Read](https://inews.co.uk/culture/film/everybodys-talking-about-jamie-review-a-shallow-instagram-friendly-vision-of-queerness-1202230)
- **NME** (80/100, inferred): The critic finds the adaptation campy, heartfelt and inspiring. The cast’s committed performances make its emotion land, especially in the prom sequence. [Read](https://www.nme.com/reviews/film-reviews/everybodys-talking-about-jamie-film-review-3048472)
- **Eye for Film**, Amber Wilkinson (78/100, inferred): The critic finds the film a charming, energetic adaptation that handles its emotional shifts with panache. They single out Max Harwood’s performance and the film’s bright musical numbers as particular strengths. [Read](https://www.eyeforfilm.co.uk/review/everybodys-talking-about-jamie-2021-film-review-by-amber-wilkinson)
- **The Wrap** (75/100, inferred): The critic finds the film a delightful, if predictable, celebration of queer joy that successfully brings the stage musical to screen. Max Harwood’s charismatic performance is the standout, while some slower songs and one-note antagonists weaken the film. [Read](https://www.thewrap.com/everybodys-talking-about-jamie-film-review-drag-max-harwood-amazon-prime/)
- **The Playlist** (64/100, inferred): The page appears to be a review of the film, but its verdict cannot be verified. The blocked page provides no information about what the critic praised or criticized. [Read](https://theplaylist.net/everybodys-talking-about-jamie-review-20210830/)

## Details

- **Director:** Jonathan Butterell
- **Director:** Jonathan Butterell
- **Screenplay:** Tom MacRae
- **Cinematography:** Christopher Ross
- **Editor:** Mark Everson
- **Music:** Anne Dudley, Dan Gillespie Sells
- **Production design:** Jane Levick
- **Costume design:** Guy Speranza
- **Producer:** Mark Herbert, Peter Carlton, Arnon Milchan
- **Cast:** Max Harwood as Jamie New; Sarah Lancashire as Margaret New; Lauren Patel as Pritti Pasha; Sharon Horgan as Miss Hedge; Richard E. Grant as Hugo Battersby / Loco Chanelle; Shobna Gulati as Ray; Ralph Ineson as Jamie's Dad; Adeel Akhtar as Iman Masood
- **Runtime:** 1h 55m
- **Certificate (RTC):** C
- **Release (Mexico):** 10 September 2021
- **Genres:** Drama, Comedy
- **Trailer:** https://www.youtube.com/watch?v=AXhpTZeG4eg

## Where to watch in Mexico

- Amazon Prime Video: streaming, uhd

*Checked 2026-10-03.*

Also available in: AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, ES, FI, FR, GB, GR, HK, HR, HU, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, RO, RS, SE, SG, TH, UA, US, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *Pride* (2014), Fi1m 82: A British ensemble comedy that makes queer solidarity feel practical, awkward and necessary. — [Fi1m page](https://film.one/film/pride.md)
- *The Young Girls of Rochefort* (1967), Fi1m 84: For bright colours, romantic complications and songs that remain distinct after the credits. — [Fi1m page](https://film.one/film/the-young-girls-of-rochefort.md)
- *Hedwig and the Angry Inch* (2001): A rougher musical about performance and identity, with sharper songs and less reassurance.
- *The Adventures of Priscilla, Queen of the Desert* (1994), Fi1m 81: More room for drag performance, with friendship, loneliness and some useful bad taste. — [Fi1m page](https://film.one/film/the-adventures-of-priscilla-queen-of-the-desert.md)
- *The Way He Looks* (2014): This quieter coming-of-age romance gives its young characters time to doubt and hesitate.

---
© 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/everybodys-talking-about-jamie