High schooler Greg, who spends most of his time making parodies of classic movies with his co-worker Earl, finds his outlook forever altered after befriending a classmate who has just been diagnosed with cancer.
In the forests of the Pacific Northwest, a father devoted to raising his six kids with a rigorous physical and intellectual education is forced to leave his paradise and enter the world, challenging his idea of what it means to be a parent.
This is the beginning of the eighties and everybody is moving to the beat of Pop music, as the brand-new concept of the music video appears on television for the first time. However, in Dublin, Conor, a teenager with a sensitive heart, is trying to deal with a tense family relationship, reconnect with his older brother while dealing with the hostile environment in his new public school. And then one day, he sees her. Tall, with long chestnut hair, a buttery complexion and big, dark eyes; an enigmatically beautiful girl standing in front of his school's gate, indolently observing people passing by. But who is she and how could a boy ever get noticed by such a distant girl? That's easy. He would form a band. Surprisingly, with every lyric Conor writes, the gap narrows and with every song he plays, her heart fills with affection. In the end, before a sea of opportunities lying ahead of them, what will the future hold for a brave love like this? Written by
Conor's father says that he will get a legal separation, but cannot divorce his wife. This is true for the time the film is set in (1985). Divorce only became possible in Ireland in 1997. See more »
While filming the "Riddle of the Model" music video, Eamon knocks one of the drummer's cymbals with his guitar while doing a spin. The cymbal vanishes in the next shot when Conor sings at the microphone. See more »
I'm a huge fan of the movie Once. When I arrived at South By Southwest, and saw that John Carney had directed another movie, I have to say I was a bit skeptical that he could capture the magic of that movie again without the amazing music and raw performances of Glen Hansard.
My fears were unfounded.
SING STREET is a heartfelt, funny and artful coming-of-age movie set in 1985 Dublin. I'm close to an ideal audience member for this film, because I grew up in the 80s myself, a child of the MTV Generation. I count John Hughes' films and the Cameron-Crowe scripted Fast Times At Ridgemont High among the most influential films of my childhood. They are the reason I became a screenwriter, and why I continue to write movies for a teen audience.
Sing Street truly hearkens back to those great teen movies of the 80s. The best stories about teenagers are rooted in pain and isolation, and this is no different - Connor "Cosmo" Lawler comes from an upper middle class family that has fallen on hard times. His parents have constant fights. His older brother Brendan is a college dropout and his sister, the 'smart one,' pretty much keeps to herself. In order for the family to save money, Connor is transferred to the local Catholic boys school, where he's quickly made an outcast and an example by the authoritarian headmaster.
You could say that this is a movie about forming a band. And this genre of story - of artistic awakening - seems to be replayed quite often in British and Irish films like The Commitments, Billy Elliott, The Full Monty, and others. But those movies each had a unique wrinkle, and Sing Street does too. It's the beautifully told story of the way that the inspiration and inception of the best art is rarely an individual act of genius, but rather, the result of a series of interconnected acts of human desire and emotion.
It's the parents who sentence you to a horrible school; the girl who you long for that won't give you the time of day; the other guys who join your band because they're outcasts too... the brother who loves you too much, and is too angry at his own cowardice, to let you settle for less than your best.
There's also a lot of great humor in Sing Street about the fact that you have to try on the styles of your heroes before you find your own confidence. 40-something audiences will definitely get another level of enjoyment out of all the allusions to great 80s bands. The art direction and costumes are done wonderfully in that respect. But I think this movie will work wonderful for today's teenagers as well.
The movie is by turns funny, heart-wrenching, soaring and surprising. And the musical numbers, while not necessarily Oscar winning, like Once, is great. I'm thrilled that a new generation of teenagers will get to experience the release of a movie that's on par with the films I love so much as a kid.
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