Lexington-Fayette, Kentucky 2021-09-24 17:56:41 –
Tucson, Arizona — With a Broadway pedigree studded with Tony, “Dear Evan Hansen” looked like the material for an instant Oscar.
Instead, it’s a two-hour or longer public service announcement about why not all performing arts should be adapted to the film.
Ben Platt replays his Broadway role, and his empathy and incredible singing voice is tasked with carrying the film.
Pratt’s performance is fine, but not convincing enough to make a 28-year-old actor look attractive as a high school senior.
He oversold the sloppy moody to make him look like a vulnerable teen, and overall performance is out of the question as a distracting attempt to bring the watch back.
Awkwardness translates into the overall tone of the movie.
Stephen Chbosky, who skillfully translated the emotional rhythm of school life in “Wonder,” wasted momentum when he suddenly turned to a song.
Often pulled out late, these numbers definitely connect with the audience in live performances, but they look stiff and disjointed in that they are more likely to laugh than tears.
Pratt plays the title character, a social exile who creates the first popular brush when he begins to pretend to have a secret friendship with his suicide classmate Connor (Colton Ryan).
Continuing to lie to relieve the pain of Connor’s family as well as to increase self-esteem, Evan sinks deep into the trap of his creation, which already accumulates the overwhelming anxiety and anxiety he faces.
Tragically, the fraud undermines his up-and-coming relationship with Connor’s sister and Evan’s long-standing secret crash, Zoe (Kate Lindenberg).
Support casts, including Julianne Moore as Evan’s hectic single mother and Amy Adams as Connor’s broken heart mother, are excellent unless asked to cut out the story and start singing.
This adaptation problem goes back to the original script.
This project may help to completely abandon the musical trap, rely on the profoundness and nuances of its writing, and translate the torrent of adolescent anxiety it brings.
But even after everything was filmed, the film could have benefited significantly from some ruthless edits. Removing two or three song numbers helped smooth the flow of the disjointed movies.
It’s especially disappointing that “Dear Evan Hansen” can’t connect, especially when it’s crazy about this social media, as it brings some challenging concepts of alienation and community, exposing research and debate.
However, the point sounds hollow because the film is running so weakly. “Dear Evan Hansen” feels like a high school movie project by C students.
Rating: 1.5 out of 4 stars.
I saw it at the Harkins Arizona Pavilion on Thursday.