Tick, Tick… Boom! – Review

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Like the protagonist Tick, Tick… Boom!, I am currently 29 years old. There are only a few months left to step on the “three heads”, which is often called “the end of youth”. Not yet married, not feeling settled, also still vacillating between continuing to follow the path as desired, or having to give up on the system.

Adapting Jonathan Larson’s musical of the same name, Tick, Tick… Boom! also marked Lin-Manuel Miranda’s directorial debut. It’s hard to believe. It seems that some people will think Hamilton and In the Heights are his works, seeing how the Miranda name is a major selling point. Also related to the results, Tick, Tick… Boom! not like a debutant’s claim. Very ripe. Top Movie Site

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The story acts as a biography of Larson (Andrew Garfield), although the film itself states that there are some fictional parts to Larson’s imagination (Tick, Tick… Boom! the stage musical version is semi-autobiographical).

There are two timelines. The first was 1992, when Larson performed Tick, Tick… Boom! along with his two colleagues, Roger (Joshua Henry) and Karessa (Vanessa Hudgens so stole the show on stage). The show is in the form of a monologue, which is often like a stand-up comedy, because Larson actually invites the audience to laugh at the series of misfortunes he has suffered. Instead of lamenting, the artist chose to celebrate irony.

Best Movie The misfortune in question is set in the time of his second film, 1990, when Larson is preparing a workshop for his first musical, Superbia. His pitching had been turned down countless times, and now Larson felt he was running out of time. His 30th birthday is approaching, but he has yet to achieve success. Still living in a dilapidated apartment, working at a diner, while his girlfriend, Susan (Alexandra Shipp) is considering accepting a job offer in another city. Jobs that do not match dreams, but guarantee economic stability.

That’s where the dilemma culminates. Is giving up an option? His best friend, Michael (Robin de Jesús), who once dreamed of becoming a broadway actor has now turned his back on advertising and recently moved into a luxury apartment. Or should Larson keep fighting, even if there is a risk of failure? What if failure comes after making so many sacrifices?

Steven Levenson’s script is able to represent the anxiety of the quarter-life crisis phase. Larson (and other dreamers out there) are adamant, but not naive. Terrible images of failure must always cross. It’s terrible, because if that happens, it’s likely that not only dreams die, but also principles, values, and self-identity.

Make no mistake, Tick, Tick… Boom! not blaming people like Michael for switching lanes. It’s perfectly legal. Surrendering to reality is not an act of a loser, but an attempt to pursue happiness in a different form. The text does not “encourage” us to continue pursuing our dreams, but rather “embrace” it while stating that insistence is not a mistake. That it doesn’t matter if we keep trying to achieve success after turning 30.

The plot goes fast, also moves quite wildly. In just a few seconds, a series of sequences can consist of so many shots, so many scenes, from different time settings or situations, still connected by the same common thread, to represent an idea. The directing and editing departments work very well, so that the lines of chaos that represent the wildness of the character’s head (a good biopic not only tells a person’s life, but also represents his soul) are neatly intertwined.

Musicals are highly expressive works. Logic is set aside to make room for the expression of feelings. I say Miranda doesn’t look like a debutant, because it’s amazing how she pours her taste in a packaging full of images. Some rough CGI does dampen the emotional impact at some point, but the shortfall is made up for by other moments, including the powerful conclusion, when a song we all know unexpectedly ends beautifully.

I’m sure Andrew Garfield will get his second Oscar nomination next year (possibly against Will Smith, Leonardo DiCaprio, Denzel Washington and Benedict Cumberbatch). This is the actor’s most complete performance. All kinds of gestures and expressions, whether large or those that tend to be subtle, are exhibited. Sometimes he falls, then gets up. Sometimes he messed up, before he was able to organize himself. Such is the dynamics of the dreamer’s life. Here’s to the ones who dream. Movie Review

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