--- title: "Rocketman" year: 2019 kind: "film" canonical: "https://film.one/film/rocketman" fi1m_score: 78 critics_score: 72 critics_reviews: 28 published: "2026-09-17T09:24:10.695526+00:00" updated: "2026-09-17T09:24:13.737917+00:00" region: "US" 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." --- # Rocketman (2019) Directed by Dexter Fletcher · 2h 01m · MPA R · Music, Drama **Fi1m score: 78** · Critics 72 from 28 reviews *In a sentence:* Elton John’s life keeps interrupting a rather good Elton John musical > Dexter Fletcher’s *Rocketman* is an enjoyable musical biography, carried by Taron Egerton’s singing and a willingness to let fantasy take over. The drama between the songs is much more ordinary. ## Synopsis Elton John (Taron Egerton) wants to turn his piano playing into a pop career. His story reaches back to Young Reggie (Matthew Illesley) and Older Reggie (Kit Connor), before widening to include Bernie Taupin (Jamie Bell) and John Reid (Richard Madden). Personal struggles complicate his progress towards a public life, while songs turn everyday events into musical numbers. At the Troubadour, performance becomes a fantasy in which gravity gives way. The young musician’s search for an audience unfolds through a mixture of childhood scenes, songs and imagined spectacle. ## Review Dexter Fletcher makes *Rocketman* enjoyable by giving Elton John’s songs something to do beyond marking stages in a career. They can carry a scene, change its mood or send it somewhere that ordinary dialogue could not plausibly go. We recommend it as a musical, with reservations about Lee Hall’s screenplay, which repeatedly falls back on familiar explanations for a famous man’s unhappiness. The musical numbers keep finding ways to surprise us after the story has become predictable. Taron Egerton gives Elton John enough personality to hold our attention through those predictable passages, and doing his own singing matters. The voice sounds like it belongs to the person working through these feelings, rather than to a recording laid over an impersonation. He makes the wish to be heard feel urgent, even when the surrounding drama has already explained that wish quite thoroughly. His singing allows vulnerability to remain audible without making every song sound like a plea. We were delighted by the levitation at the Troubadour, because it lets the audience share the performer’s exhilaration in a way that dialogue never could. It is an extravagant effect with an immediately understandable feeling behind it. George Richmond’s cinematography keeps the spectacle readable, letting us enjoy the bodies in the frame rather than struggle to follow the staging. The director trusts the musical number to tell us why being on stage matters to this particular man. Julian Day’s costumes are part of that pleasure, extravagant enough to belong in a film where ordinary behaviour can turn into a musical number. Marcus Rowland’s production design supports the same freedom, giving the performances surroundings that welcome excess without distracting us from the singer. That visual abundance works well while people are singing. In the dramatic scenes, it sometimes makes us wish that comparable care had gone into giving the supporting characters more to say. Lee Hall is candid about addiction and sexuality, and the film benefits from treating both as substantial parts of its subject’s life. The problem is how regularly a scene arrives to explain another piece of pain, as though understanding a person were a matter of completing a list. We know too quickly what each disappointment is meant to teach us about Elton John. There is little room for an encounter to leave us uncertain about someone, or for a character’s motives to remain complicated. Chris Dickens’s editing is most persuasive when the songs are moving the story along; the stretches between them are less lively. That unevenness matters because the film asks us to invest in the unhappiness as much as enjoy the performances. Matthew Margeson’s music has a less conspicuous task beside the familiar songs, and its support works without competing for attention. The numbers themselves do the most convincing work of explaining how this man feels. For all its fantasy, *Rocketman* remains recognisable as a musical biography about talent, excess and the difficulty of living with success. It does not escape the genre’s habit of making a complicated life look tidier than it could have been. But the singing and staging give us enough pleasure, and enough feeling, to make the familiar story worth an evening. Choose it for the musical numbers, and be prepared for some rather routine conversations between songs. *Fi1m score 78, published 17 September 2026.* ## What the critics say Most critics welcome Rocketman as an energetic musical whose fantasy sequences make inventive use of Elton John’s songs. Praise centres on Taron Egerton’s singing and committed performance, with Dexter Fletcher’s staging giving the numbers purpose beyond reproducing familiar hits. Many reviews also value the film’s candour about sexuality and addiction, finding more emotional honesty here than in a conventional account of fame and excess. The reservations concern how far that invention extends to the drama: familiar biopic beats, thin supporting characters and spectacle that sometimes crowds out emotional depth. The spread is wide, from enthusiastic endorsements to outright rejection. The New Yorker offers an unusual reservation about Egerton, finding his portrayal short of charm while enjoying key musical sequences. Vulture is more firmly opposed, arguing that recovery clichés and shallow characterisation leave the film dramatically flat despite his efforts. ### Reviews we read (28) - **The Telegraph** (5/5): Fletcher's Elton John musical is a heart-racing, toe-tapping triumph that deploys the songs in inventive ways. Egerton delivers an uncanny, show-stopping performance as the star. [Read](https://www.telegraph.co.uk/films/0/rocketman-review-elton-john-story-heart-racing-toe-tapping-all/) - **Evening Standard**, Matthew Norman (90/100, inferred): The critic praises the film as a dazzling, witty, and candid jukebox musical that boldly reimagines Elton John's life with fantasy elements and graphic honesty about his addictions and sexuality. Taron Egerton's performance and Dexter Fletcher's direction are singled out for their energy, charm, and emotional truth. [Read](https://www.standard.co.uk/culture/film/rocketman-review-its-gonna-be-a-long-long-time-until-a-showbiz-biopic-tops-this-a4150611.html) - **The Guardian** (90/100, inferred): The film is a dazzling, nonlinear rock opera that mixes fact and fantasy through its jukebox soundtrack. Fletcher proves himself the master of the modern screen musical, with Egerton's central performance a standout. [Read](https://www.theguardian.com/film/2019/may/26/rocketman-review-right-spectacle-elton-john) - **Empire**, John Nugent (80/100, inferred): The review calls it a sequin-encrusted delight that sticks to biopic conventions but uses inventive, fantastical musical sequences to bring fresh energy and visual flair. Taron Egerton's electrifying performance and the film's willingness to depict Elton's hedonism and sexuality openly are highlighted as strengths. [Read](https://www.empireonline.com/movies/reviews/rocketman-review/) - **Radio Times**, Terry Staunton (★★★★): Egerton's performance is singled out as brilliant and substantial, carrying a dazzling, all-singing account that mixes fantasy with gritty undertones of addiction and personal struggles. The film is seen as more honest than similar biopics. [Read](https://www.radiotimes.com/movies/rocketman-review-taron-egerton-elton-john-biopic/) - **Sight and Sound**, Rebecca Harrison (80/100, inferred): The critic praises the film's kinetic energy, poignant moments, and especially its open, celebratory depiction of Elton John's gay sexuality and sex life, which avoids tragic clichés. Musical numbers are highlighted as dazzling and the film's greatest strength. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/rocketman-review-out-proud-elton-john-musical-biopic) - **Time Out**, Phil de Semlyen (4/5): The review lauds the film's turbo-charged energy, inventive musical sequences, and strong central performance that reinvents the movie musical while balancing highs and addiction lows. It credits the director for coming of age and avoiding biopic pitfalls. [Read](https://www.timeout.com/movies/rocketman) - **Los Angeles Times**, Justin Chang (70/100, inferred): The affecting, sprawling musical treats performances of Elton's hits as psychologically revealing numbers and re-creates concert moments with meticulous accuracy. Egerton is game and gifted in the lead role amid the sweet sounds and bright visuals, though the ending holds no surprises. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-rocketman-review-elton-john-20190516-story.html) - **The Hollywood Reporter**, David Rooney (70/100, inferred): The film launches spectacularly with bold musical fantasy sequences and Egerton's committed performance but suffers from narrative shortcomings that limit emotional depth. It remains flashy and entertaining enough for many viewers despite a shaky trajectory. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/rocketman-cannes-2019-1211566/) - **The New Yorker**, Anthony Lane (70/100, inferred): Rocketman is framed as a therapeutic exercise and stands as the better film compared to Bohemian Rhapsody, allowing latitude with Elton's bad behavior and factual tweaks while delivering exultant musical moments like the levitating Troubadour scene. Egerton's impersonation has a curious blankness and shortage of charm, though the film takes off in key sequences. [Read](https://www.newyorker.com/magazine/2019/06/10/rocketman-and-the-art-of-the-acceptably-outrageous) - **The New York Times**, A.O. Scott (NYT Critic’s Pick): The film offers a candid, fantastical retelling of Elton John's life with Taron Egerton delivering a tour de force performance that blends hard-living survivor and rock god elements. Fletcher's direction brings extravagant energy reminiscent of Baz Luhrmann, though it occasionally overreaches in spectacle and storytelling. [Read](https://www.nytimes.com/2019/05/28/movies/rocketman-review.html) - **The Times** (70/100, inferred): Rocketman is a flamboyant yet lightweight biopic that pulls off the same enjoyable trick as Bohemian Rhapsody. Taron Egerton is perfect as Elton the performer in this karaoke-style musical. [Read](https://www.thetimes.com/culture/music/article/rocketman-review-taron-egerton-is-perfect-as-elton-john-the-performer-fzccsz987) - **Variety** (70/100, inferred): Dexter Fletcher has fashioned an ebullient monument to Elton John featuring a committed turn from Taron Egerton that is clichéd in the telling but gets by on the strength of the early catalog and songs. The relentlessly razzle-dazzle homage transforms the piano prodigy into a top-selling pop musician with full-blown instrumentation. [Read](https://variety.com/2019/film/reviews/rocketman-review-elton-john-1203218116/) - **Screen Daily** (60/100, inferred): The critic notes the razzle-dazzle biopic ambitions, Egerton's committed performance including singing, and impressionistic musical numbers, but finds the overkill and narrative predictability overwhelming in this tale of rock-star excess and recovery. [Read](https://www.screendaily.com/reviews/rocketman-cannes-review/5139550.article) - **Total Film**, Jordan Farley (3/5): Egerton gives it his all with lively and flamboyant moments of visual invention in the fantasy sequences, but the film is largely formulaic and follows familiar rock biopic beats too closely to truly dazzle. [Read](https://www.gamesradar.com/rocketman-review/) - **IndieWire**, Eric Kohn (50/100, inferred): Dexter Fletcher's exuberant tribute is better than Bohemian Rhapsody but mostly a colorful vessel for greatest hits, functioning as a cheesy jukebox musical. It prioritizes spectacle over deeper substance in its Cannes premiere screening. [Read](https://www.indiewire.com/features/general/rocketman-review-elton-john-cannes-2019-1202141842/) - **Slant Magazine**, Pat Brown (50/100, inferred): As a musical, the film is fun enough to mostly distract from its superficiality and formulaic biopic template, with dynamic musical sequences providing energy. However, one-dimensional characters, hackneyed elements, and a complacent moral leave it feeling dynamic and formulaic in equal measure. [Read](https://www.slantmagazine.com/film/review-rocketman-is-dynamic-and-formulaic-in-equal-measure/) - **Little White Lies**, Charles Bramesco (2/2/1): The film is criticized as a formulaic, paint-by-numbers biopic full of troubled-genius clichés that drains humor from its subject. Musical numbers and costumes are noted as relative bright spots but overall execution is seen as lackluster. [Read](https://lwlies.com/reviews/rocketman) - **Vulture** (30/100, inferred): The film boils down to self-pitying recovery tropes and fails to shape a strong dramatic arc from its jukebox musical numbers, feeling synthetic and flat despite Egerton's performance. Literal levitation sequences and shallow characters deflate the experience compared to similar biopics. [Read](https://www.vulture.com/2019/05/rocketman-2019-review-oh-no-no-no.html) - **NME**, Olly Richards (5/5): The review hails it as a wild, inventive, blissfully energetic musical full of imagination and exuberance, contrasting it favorably with Bohemian Rhapsody for being fearless and honest. Egerton's performance and the clever use of songs are highlighted. [Read](https://www.nme.com/reviews/rocketman-film-review-a-hurricane-of-imagination-and-exuberance-2490731) - **Deadline**, Pete Hammond (90/100, inferred): The critic calls the film warts-and-all honest, compelling and inventive, a full-out musical that merges Elton John songs into story-driving numbers closer to Moulin Rouge than a traditional biopic. It soars thanks to Taron Egerton's sensational, three-dimensional lead performance and its unflinching honesty. [Read](https://deadline.com/video/rocketman-elton-john-biopic-taron-egerton-dexter-fletcher/) - **/Film**, Jason Gorber (8.5/10): Dexter Fletcher's vision creates an intoxicating musical that adheres to emotional truth over biographical precision, with Egerton's powerful voice and charismatic performance elevating the film throughout its strongest sections. The result is a cinematically rich celebration of Elton John that soars despite some pacing issues in the final act. [Read](https://www.slashfilm.com/566497/rocketman-review/) - **Film Stories**, Simon Brew (85/100, inferred): The film has ambition and makes bold choices, emerging as the best mainstream musical biopic in recent years through its heightened fantasy approach and effective use of the songbook to drive the narrative. Taron Egerton's committed central performance stands out as a career high. [Read](https://filmstories.co.uk/news/rocketman-review/) - **Collider**, Gregory Ellwood (B+): The critic praises Taron Egerton's captivating and transcendent lead performance while highlighting the inventive staging of the musical numbers. Some formulaic screenplay elements and clunky structure are noted as minor drawbacks. [Read](https://collider.com/rocketman-review-taron-egerton/) - **Den of Geek**, Rosie Fletcher (4/5): The critic praises it as a magical, unsanitised, weird, outrageous musical biopic that soars with its musical numbers and performances, particularly Taron Egerton's. They note it's better than Bohemian Rhapsody in its honesty and emotional depth. [Read](https://www.denofgeek.com/movies/rocketman-review-a-magical-musical-that-soars/) - **HeyUGuys**, Jo-Ann Titmarsh (4/5): Dexter Fletcher delivers an exuberant, honest biopic that gets beneath the sequins to show Elton John warts and all, using the songs to enhance autobiographical impact in a true musical format. Taron Egerton's star performance as the gifted, troubled genius anchors this triumphant film. [Read](https://www.heyuguys.com/rocketman-review/) - **The Wrap**, Steve Pond (70/100, inferred): The critic finds Dexter Fletcher’s film a grand, fun and corny musical fantasy that reaches for the sky and gets there often enough to be diverting but also frustrating, with a narrative that can feel like a melodramatic slog. It singles out the bold, extravagant approach freely mixing fantasy and reality, along with dazzling choreography and Taron Egerton’s fine singing and portrayal. [Read](https://www.thewrap.com/rocketman-film-review-elton-john-gets-a-musical-fantasy-that-sometimes-achieves-liftoff/) - **The Ringer**, Manuela Lazic (55/100, inferred): The film is seen as dazzling yet derivative, with straightforward literal storytelling that avoids subtext and fails to fully transport viewers emotionally. It handles John's queerness directly but remains too controlled and sincere overall. [Read](https://www.theringer.com/2019/05/17/movies/rocketman-elton-john-review-biopic-taron-egerton) ## Details - **Director:** Dexter Fletcher - **Director:** Dexter Fletcher - **Writer:** Lee Hall - **Cinematography:** George Richmond - **Editor:** Chris Dickens - **Music:** Matthew Margeson - **Production design:** Marcus Rowland - **Costume design:** Julian Day - **Producer:** David Furnish, Lawrence Bender, Matthew Vaughn - **Cast:** Taron Egerton as Elton John; Jamie Bell as Bernie Taupin; Richard Madden as John Reid; Bryce Dallas Howard as Sheila; Gemma Jones as Ivy; Steven Mackintosh as Stanley; Tom Bennett as Fred; Matthew Illesley as Young Reggie - **Runtime:** 2h 01m - **Certificate (MPA):** R - **Release (the US):** 31 May 2019 - **Genres:** Music, Drama - **Budget:** $40 million - **Box office:** $167 million - **Trailer:** https://www.youtube.com/watch?v=S3vO8E2e6G0 ## Where to watch in the US - Paramount+: streaming, hd - The Roku Channel: add-on, hd - Amazon Prime Video: add-on, uhd - Apple TV: add-on, uhd - Apple TV: rent $3.99, hd - Amazon Prime Video: rent $3.99, uhd - Apple TV: buy $14.99, hd - Amazon Prime Video: buy $14.99, uhd *Checked 2026-09-17.* Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, UA, US, VN, ZA. Add `?region=XX` to this URL for another country. ## If you liked this - *The Umbrellas of Cherbourg* (1964): Sung conversations and bright colour make ordinary romantic disappointment hurt. - *All That Jazz* (1979): Another gifted entertainer examines his excesses, with considerably less reassurance. - *Velvet Goldmine* (1998), Fi1m 81: Glam rock, sexual discovery and a welcome distrust of tidy biography. — [Fi1m page](https://film.one/film/velvet-goldmine.md) - *Hedwig and the Angry Inch* (2001): A wounded singer makes personal history into funny, furious musical theatre. - *Sing Street* (2016): Young musicians discover that inventing a band can help them escape. --- © 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/rocketman