Everybody's Talking About Jamie (2021)

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.

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.

The review presents the film as a joyous, heart-filled musical. It singles out its exuberant, multicoloured celebration of pride.

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.

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.

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.

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.

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.

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.

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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.

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.

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.

Newland finds the film irritating and false despite its inclusive intentions. She especially criticizes its shallow characterization and glossy, Instagram-inflected portrayal of queerness.

The critic finds the adaptation campy, heartfelt and inspiring. The cast’s committed performances make its emotion land, especially in the prom sequence.

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.

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.

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