tick, tick... BOOM! (2021)

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.

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.

The review is positive, describing the musical as a showcase for Andrew Garfield. It singles out his performance as the film’s standout strength.

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.

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.

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.

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.

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.

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.

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.”

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.

The review describes the film as entertaining but imperfect. It singles out Andrew Garfield’s performance as terrific.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.