Nowhere Boy (2009)

Sharkey finds the film an entertaining, poignantly authentic account of Lennon’s teenage years. She praises Aaron Johnson’s compelling performance and the film’s careful, evocative craft.

Johnston finds the film an intriguing blend of biopic and coming-of-age story. He singles out the family tensions around Lennon’s contrasting mother and aunt, alongside his first steps into music.

The review calls the film an astute rock ’n’ roll soap opera, though also a bit of a tease. It praises the film’s portrait of John Lennon’s late teenage years.

The critic finds the film an intriguing, often fresh take on Lennon’s youth, but says its dialogue and shallow psychoanalysis weaken the drama. He praises its focus on Lennon’s childhood and his complicated relationship with Mimi.

Freer finds the film entertaining and well acted, though it lacks the spark and ambition of its subject. He particularly praises Aaron Johnson’s lively, vulnerable portrayal of Lennon.

The critic finds the film modest, effective and likeable, with its emotional portrait of Lennon more successful than its account of his musical sensibility. Anne-Marie Duff’s performance is singled out for balancing sadness and joy with remarkable subtlety.

Phipps finds the film a tender, handsome portrait that ultimately becomes shapeless and dull. He praises the strong performances, especially Kristin Scott Thomas’s restrained portrayal, and the film’s keen sense of time and place.

French finds the film an affecting, surprisingly conventional portrait of Lennon’s adolescence and departure from home. He particularly praises the performances and the film’s evocation of postwar British life.

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Kemp finds the film a conventional but accomplished biopic. He praises Matt Greenhalgh’s sharp dialogue and the standout performances by Anne-Marie Duff and Kristin Scott Thomas.

Felperin finds the film respectable but overly conventional, with little lasting impact. She praises its polished craft and striking images of characters in despair, while criticizing uneven performances and a too-smooth approach.

James finds the biopic run-of-the-mill, drifting, and overly tidy, despite its evocative music and clothing. He singles out the performances, especially Kristen Scott Thomas and Anne-Marie Duff, for praise.

Bennett finds the film dull and overly conventional, despite calling it a passable account of Lennon’s early life. He singles out Kristin Scott Thomas and Anne-Marie Duff for performances that strengthen the drama.

Moore finds the film accomplished but too slight to stand alone without Lennon’s fame. He praises the performances of Anne-Marie Duff and Kristin Scott Thomas, who he says really run the show.

Chen finds the film most successful as an emotionally nuanced family drama, though its exploration of Beatles mythology disappoints. He especially praises Kristin Scott Thomas’s performance as Lennon’s aunt Mimi.

Tolley finds the film capable but emotionally less resonant than another recent musical biopic. She praises Aaron Johnson’s charismatic portrayal of Lennon and the colourful recreation of post-war Liverpool.

The critic finds the film accomplished but too conventional to make its subject’s story feel striking. He praises Aaron Johnson’s portrayal of Lennon and the nuanced performances of Kristin Scott Thomas and Anne-Marie Duff.

The critic finds the film competent but lacking momentum or fresh insight. Aaron Johnson’s star-making performance stands out, while the supporting performances are described as melodramatic.