--- title: "tick, tick... BOOM!" year: 2021 kind: "film" canonical: "https://film.one/film/tick-tick-boom" fi1m_id: "tick-tick-boom" imdb_id: "tt8721424" tmdb_id: 537116 wikidata_id: "Q85323361" fi1m_score: 72 critics_score: 68 critics_reviews: 27 published: "2026-09-24T01:56:39.482232+00:00" updated: "2026-09-24T01:56:39.997739+00:00" region: "PL" 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." --- # tick, tick... BOOM! (2021) Directed by Lin-Manuel Miranda · 2h 00m · PISF 16 · Drama, Music ## Identity tick, tick... BOOM! - **Canonical:** https://film.one/film/tick-tick-boom - **Type:** Film - **Fi1m ID:** tick-tick-boom - **IMDb ID:** tt8721424 - **TMDB ID:** 537116 - **Wikidata ID:** Q85323361 - **Same entity:** https://www.imdb.com/title/tt8721424/, https://www.themoviedb.org/movie/537116, https://www.wikidata.org/wiki/Q85323361 **Fi1m score: 72** · Critics 68 from 27 reviews *In a sentence:* Two hours of a man panicking about turning thirty, and for once the panic is justified > Lin-Manuel Miranda’s first film as director is a thank-you note to Jonathan Larson, and it is best when it stops being grateful and lets Andrew Garfield fret at a piano. Hurried and uneven, and more moving than it has any right to be. ## Synopsis New York, 1990. Jonathan Larson (Andrew Garfield) waits tables at the Moondance Diner in SoHo, lives in a walk-up with a bathtub in the kitchen, and is eight days from the workshop of *Superbia*, the futuristic musical he has spent eight years writing. He is also a week from his thirtieth birthday, which he treats as a deadline. One second-act song does not exist. His girlfriend Susan Wilson (Alexandra Shipp), a dancer, has been offered a teaching job outside the city and wants an answer. His old friend Michael (Robin de Jesús) has given up acting for advertising, a car and a flat with a doorman. Jon tells us this from a stage in 1992, at a piano, with singers Karessa (Vanessa Hudgens) and Roger (Joshua Henry) beside him. ## Review Jonathan Larson wrote *Rent*, and he died the night before its first preview in 1996, aged 35. Before that he wrote a one-man show about turning 30 with nothing produced. Lin-Manuel Miranda has made it his first film as director, and the result is a warm, busy, often touching 120 minutes, best when it slows down and weakest when it is trying to be helpful. We liked it more than its parts add up to, and most of the reason is Andrew Garfield. Steven Levenson’s screenplay frames the piece as a performance. Garfield’s Jon sits at a piano on a bare stage in 1992 with a small band behind him, Vanessa Hudgens and Joshua Henry singing at his shoulder, and tells an audience about 1990. The film then cuts out to the year itself: the diner, the flat, the rehearsal room, the workshop eight days away. The device is neat and it is also the film’s main trouble, because Miranda cannot resist cutting back to the stage the moment a scene in the flat threatens to go quiet. Scenes that need a breath do not get one. Garfield is the thing to see it for. He sings, he plays, and he does both as a man who cannot hear a compliment without checking the clock. Jon is needy, self-absorbed and hard to live with, and the film adores him; Garfield is more careful, and lets us see how tiring he must have been to everyone around him. The eyes are the performance. In the diner, at the piano, at a party, they keep flicking to some private countdown, and Garfield never lets the anxiety curdle into shtick. The numbers, when Miranda trusts them, are the case for his direction. In “Sunday”, a brunch shift at the Moondance Diner becomes a hymn to coffee refills and the ceiling appears to lift off; we grinned through the whole thing, then noticed we had spent half of it spotting the stage veterans Miranda has planted at the tables, and the gratitude got between us and the song. “Therapy”, a bright duet about a relationship falling apart, is cut against the real argument it describes, and the editors Andrew Weisblum and Myron Kerstein land the cheerful tune and the unhappy fight on the same beat. Alice Brooks lights the flat in yellow lamplight and the 1992 stage in a cool, thin blue, so we always know which year we are in. Robin de Jesús is the second reason to watch. His Michael, who has swapped the theatre for an advertising agency, plays every scene with the ease of a man who has stopped arguing with his own decision, and his exchanges with Garfield are the film’s real love story. Alexandra Shipp’s Susan gets less to do than she deserves; Levenson writes her as a question Jon keeps not answering. Judith Light is brisk and funny as the agent Rosa Stevens, and Bradley Whitford, as Stephen Sondheim, appears briefly and gets the voice unnervingly right. What does not work is the hurry. Alex DiGerlando and Lydia Marks fill Jon’s flat with sheet music on every surface and a bathtub in the kitchen, and Melissa Toth keeps him in the same striped jumper for what feels like a fortnight; these details say more about a life on no money than the script finds time to. The friends dealing with illness, Ben Levi Ross and Michaela Jaé Rodriguez among them, become a footnote the film does not mean to write. And then, near the end, a number sung alone at a piano moved us a good deal more than we expected. We had been told at the outset how Larson’s story ends, and it still got past us, because Garfield plays it as a man realising how long the road is rather than how short his time will be. It is the film’s one moment of stillness, and it makes the case for a few more. See it, preferably with someone who has been told they are running out of time, which is more or less everyone. It runs 120 minutes and carries a 12A. *Fi1m score 72, published 24 September 2026.* ## What the critics say Most critics like it, and almost all of them like it for the same reason: Andrew Garfield. Review after review calls his Jonathan Larson the film’s centre, praising the energy, warmth and visible exhaustion he brings to a needy, charming composer. Lin-Manuel Miranda’s direction draws a second, quieter round of approval for its affection, its inventive staging of the songs and its fondness for the theatre world Larson worked in. Ensemble numbers such as “Sunday” and the pool-to-score shot are picked out more than once. The reservations are about shape rather than spirit. Several reviews find the songs uneven and the storytelling hurried, with serious moments, and the AIDS crisis in particular, handled clumsily or too briefly. Others think the tribute tips into hagiography. The spread is wide for a film this well liked. The New Yorker stands almost alone in faulting Garfield’s singing as the emotional weak point, and Eye for Film goes further, calling the performance heavily mannered and the film slick comfort viewing. ## Straight answers **How long is tick, tick... BOOM!, and what is it rated?** *tick, tick... BOOM!* runs 2h 00m and is rated 16 by the PISF in Poland. It is a drama and music film. **Where can I watch tick, tick... BOOM! in Poland?** *tick, tick... BOOM!* is streaming on Netflix in Poland. Availability is checked daily; the links above go straight to each service. **What should I watch after tick, tick... BOOM!?** After *tick, tick... BOOM!*, try [*All That Jazz*](https://film.one/film/all-that-jazz) (1979, Fi1m 84): Bob Fosse’s own countdown, made when he could still hear the clock. Then [*Inside Llewyn Davis*](https://film.one/film/inside-llewyn-davis) (2013, Fi1m 87): A week with a musician whose talent is real and whose luck is not; and [*Once*](https://film.one/film/once) (2007, Fi1m 88): Two people, a Dublin street and songs written as we watch. ### Reviews we read (27) - **Los Angeles Times**, Justin Chang (90/100, inferred): Chang praises the film as an intimate, affectionate tribute to Jonathan Larson and finds Miranda’s direction skillful and energetic. He singles out Andrew Garfield’s compelling performance and the film’s lively blend of theatrical and cinematic forms. [Read](https://www.latimes.com/entertainment-arts/movies/story/2021-11-12/tick-tick-boom-review-andrew-garfield-lin-manuel-miranda) - **The AV Club**, Caroline Siede (B+): The review is positive, finding the film a fitting tribute to artistic creation despite uneven songs and a clumsy attempt to engage with the AIDS crisis. It especially praises Andrew Garfield’s fully embodied, charismatic performance as Jonathan Larson. [Read](https://www.avclub.com/andrew-garfield-shines-as-the-creator-of-rent-in-the-ne-1848045241) - **Time Out**, Helen O’Hara (4/5): The review is positive, describing the musical as a showcase for Andrew Garfield. It singles out his performance as the film’s standout strength. [Read](https://www.timeout.com/movies/tick-tick-boom-2021) - **Variety**, Peter Debruge (80/100, inferred): The critic finds the film a personal, energetic tribute to Larson and his creative struggle. He praises Miranda’s playful handling of the songs and theater-world details, while noting that much of the music is not Larson’s best. [Read](https://variety.com/2021/film/reviews/tick-tick-boom-review-lin-manuel-miranda-andrew-garfield-1235109942/) - **Empire**, Ian Freer (70/100, inferred): Freer finds the film an affectionate but flawed celebration of musical theatre and creativity. He praises its emotional final act and several songs, while faulting some repetitive numbers and Miranda’s limited cinematic flair. [Read](https://www.empireonline.com/movies/reviews/tick-tick-boom/) - **IndieWire**, Steve Greene (B-): Greene finds the adaptation uneven, with high points undermined by weaker stretches and a tendency to circle around its ideas. He praises Andrew Garfield’s charismatic portrayal of Larson, while faulting the film’s tonal drift and haziness about the creative process. [Read](https://www.indiewire.com/criticism/movies/tick-tick-boom-review-netflix-1234678900/) - **Screen Daily**, Fionnuala Halligan (70/100, inferred): Halligan’s framing is positive, presenting the film as an effective showcase. She singles out Andrew Garfield’s performance, though the review body is inaccessible. [Read](https://www.screendaily.com/reviews/tick-tickboom-review/5165024.article) - **Sight and Sound**, BFI (70/100, inferred): The review finds Miranda’s tribute to Larson devastating and exuberant despite some missteps. It praises Andrew Garfield’s transfixing, well-pitched performance, while criticizing the overuse of cameos and the treatment of the AIDS epidemic. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/tick-tick-boom-proves-moving-tribute-composer-jonathan-larson) - **The Guardian**, Peter Bradshaw (70/100, inferred): Bradshaw finds the film a heartfelt, exuberant tribute to Broadway, despite its bittersweet view of Larson’s ambitions. He praises Andrew Garfield’s portrayal of the needy, charming, and increasingly exhausted composer. [Read](https://www.theguardian.com/film/2021/nov/11/tick-tick-boom-review-andrew-garfield-jonathan-larson-lin-manuel-miranda) - **The i Paper**, Francesca Steele (70/100, inferred): Steele finds the film a kinetic, intimate and clever tribute, despite occasional muddiness from its self-referential structure. She particularly praises Andrew Garfield’s performance and the musical number “Therapy.” [Read](https://inews.co.uk/culture/tick-tick-boom-review-andrew-garfield-is-delightful-in-lin-manuel-mirandas-love-letter-to-musicals-1295356) - **Vulture**, Jackson McHenry (70/100, inferred): The critic finds the adaptation poignant and fascinating, though at times overly hagiographic and incomplete in its treatment of Larson’s legacy. They single out Andrew Garfield’s vivid performance and the moving sense of musical theater’s future written over its past. [Read](https://www.vulture.com/2021/11/movie-review-lin-manuel-mirandas-tick-tickboom.html) - **Radio Times**, Patrick Cremona (65/100, inferred): The review describes the film as entertaining but imperfect. It singles out Andrew Garfield’s performance as terrific. [Read](https://www.radiotimes.com/movies/tick-tick-boom-review-netflix/) - **Slant Magazine**, Dan Rubins (2.5/4): The review finds the film gently undone by its competing aims of intimate memoir and retrospective tribute. It praises Miranda’s lively direction and highlights a striking pool-to-musical-score shot as a vivid image of Larson’s creativity. [Read](https://www.slantmagazine.com/film/tick-tick-boom-review-andrew-garfield-lin-manuel-miranda/) - **Evening Standard**, Charlotte O'Sullivan (3/5): O’Sullivan finds the film sentimental and often facile, though she sees plenty to enjoy. She singles out Andrew Garfield’s energized, warmly voiced performance as bringing Jonathan Larson vividly to life. [Read](https://www.standard.co.uk/culture/film/tick-tick-boom-review-andrew-garfield-netflix-movie-b965493.html) - **Little White Lies**, Elena Lazic (3/5): The critic finds the adaptation energetic but overhasty, with its realism making some emotional material feel awkward. She praises Andrew Garfield’s boundless energy, while wishing the songs had more room to breathe. [Read](https://lwlies.com/reviews/tick-tick-boom) - **The Hollywood Reporter**, Justin Lowe (40/100, inferred): Lowe finds the film stylish but sterile, with its nostalgic approach less immediate and convincing than its source material. He praises Andrew Garfield’s committed performance and singles out Vanessa Hudgens’s rendition of “Come to Your Senses” as a standout. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/tick-tick-boom-review-2-1235044569/) - **The New Yorker**, Richard Brody (30/100, inferred): Brody finds the film lively and inventive but ultimately emotionally weakened by Andrew Garfield’s insufficient musical performance. He praises its intricate, deftly edited storytelling while faulting its lack of intimacy and screen-piercing musical presence. [Read](https://www.newyorker.com/culture/the-front-row/tick-tick-boom-reviewed-the-hole-at-the-center-of-lin-manuel-mirandas-movie-musical-adaptation) - **Digital Spy**, Ian Sandwell (90/100, inferred): The critic calls the film one of the year's best and a beautiful celebration of Jonathan Larson's talent. They single out Andrew Garfield's magnetic performance and Miranda's inventive staging and direction for praise. [Read](https://www.digitalspy.com/movies/a38278315/tick-tick-boom-review-netflix-andrew-garfield/) - **Paste**, Aurora Amidon (8.2/10): Amidon finds the film’s unconventional structure emotionally effective despite some jarring interruptions and an anticlimactic ending. She especially praises Andrew Garfield’s charismatic, empathetic performance as Jonathan Larson. [Read](https://www.pastemagazine.com/movies/netflix/tick-tick-boom-review) - **Den of Geek**, David Crow (4/5): Crow praises the film as an insightful, emotionally devastating adaptation and a striking directorial debut. He singles out Andrew Garfield’s anguished, emotionally clear performance as its centerpiece. [Read](https://www.denofgeek.com/movies/andrew-garfield-jonathan-larson-tribute-tick-tick-boom/) - **/Film**, Hoai-Tran Bui (8/10): Bui finds the film painfully earnest and exuberantly life-affirming, while noting that its adulation of art softens the original work’s rough edges. She especially praises Andrew Garfield’s dazzling performance and the film’s imaginative musical sequences. [Read](https://www.slashfilm.com/659300/tick-tick-boom-review-lin-manuel-miranda-turns-an-artists-lament-into-a-joyous-love-letter/) - **Polygon**, Noel Murray (80/100, inferred): The critic finds the film heartfelt and moving, though its structure sometimes feels episodic and its ending rushed. He praises its standout musical numbers and its vivid attention to period detail. [Read](https://www.polygon.com/22776394/tick-tick-boom-review-netflix/) - **NME**, Alex Flood (★★★★☆): The review finds the film a hopeful, enjoyable tribute to Jonathan Larson, though serious moments sometimes feel rushed. It praises Andrew Garfield’s compassionate performance and singles out the diner ensemble number “Sunday” as a standout. [Read](https://www.nme.com/reviews/film-reviews/tick-tick-boom-review-andrew-garfield-3100187) - **Collider**, Matt Goldberg (B): Goldberg finds the film a captivating, heartfelt tribute, though its themes take time to cohere and Jon may be hard to relate to. He singles out Andrew Garfield’s vulnerable, nuanced performance as the film’s central strength. [Read](https://collider.com/tick-tick-boom-review-andrew-garfield/) - **The Wrap** (70/100, inferred): The review finds the film engaging and energetic, while arguing that its lack of self-awareness weakens its treatment of artistic ambition. It particularly praises Andrew Garfield’s sincere, convincing central performance. [Read](https://www.thewrap.com/tick-tick-boom-film-review-netflix-andrew-garfield-lin-manuel-miranda-jonathan-larson/) - **Film Stories**, Tom Beasley (60/100, inferred): The review finds the film charming but uneven, with its hurried storytelling and muted visuals holding it back. It praises Andrew Garfield’s energetic performance and singles out a quiet piano scene about Larson’s friendship as the film’s best moment. [Read](https://filmstories.co.uk/reviews/tick-tick-boom-review-lin-manuel-mirandas-movie-directing-debut-has-its-moments/) - **Eye for Film**, Jennie Kermode (10/100, inferred): Kermode pans the film as slick, clichéd comfort filmmaking that fails to generate genuine emotion. She particularly criticises Andrew Garfield’s heavily mannered performance and the film’s shallow treatment of the AIDS crisis. [Read](https://www.eyeforfilm.co.uk/review/tick-tickboom-2021-film-review-by-jennie-kermode) ## Details - **Director:** Lin-Manuel Miranda - **Director:** Lin-Manuel Miranda - **Screenplay:** Steven Levenson - **Cinematography:** Alice Brooks - **Editor:** Andrew Weisblum, Myron Kerstein - **Production design:** Alex DiGerlando, Lydia Marks - **Costume design:** Melissa Toth - **Producer:** Julie Oh, Lin-Manuel Miranda, Brian Grazer - **Cast:** Andrew Garfield as Jonathan Larson; Alexandra Shipp as Susan Wilson; Robin de Jesús as Michael; Michaela Jaé Rodriguez as Carolyn; Ben Levi Ross as Freddy; Jonathan Marc Sherman as Ira Weitzman; Vanessa Hudgens as Karessa Johnson; Joshua Henry as Roger Bart - **Runtime:** 2h 00m - **Certificate (PISF):** 16 - **Release (Poland):** 19 November 2021 - **Genres:** Drama, Music - **Also in:** [Golden Globe Best Musical or Comedy winners](https://film.one/collections/golden-globe-comedy.md) (Nominee, 2021) - **Trailer:** https://www.youtube.com/watch?v=YJserno8tyU ## Where to watch in Poland - Netflix: streaming *Checked 2026-09-24.* Also available in: AE, AR, AT, AU, AZ, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IS, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country. ## If you liked this - *All That Jazz* (1979), Fi1m 84: Bob Fosse’s own countdown, made when he could still hear the clock. — [Fi1m page](https://film.one/film/all-that-jazz.md) - *Inside Llewyn Davis* (2013), Fi1m 87: A week with a musician whose talent is real and whose luck is not. — [Fi1m page](https://film.one/film/inside-llewyn-davis.md) - *Once* (2007), Fi1m 88: Two people, a Dublin street and songs written as we watch. — [Fi1m page](https://film.one/film/once.md) - *Frances Ha* (2012), Fi1m 82: Another New York twenty-something dancer with no money and a best friend moving on. — [Fi1m page](https://film.one/film/frances-ha.md) - *The Umbrellas of Cherbourg* (1964): Demy sings the whole thing, and the sadness comes in colour. --- © 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/tick-tick-boom