{"id":259,"date":"2026-05-29T12:07:57","date_gmt":"2026-05-29T12:07:57","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=259"},"modified":"2026-05-29T12:07:57","modified_gmt":"2026-05-29T12:07:57","slug":"power-ballad-reviewed-a-bromantic-conflict-over-a-hit-song","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=259","title":{"rendered":"\u201cPower Ballad,\u201d Reviewed: A Bromantic Conflict Over a Hit Song"},"content":{"rendered":"
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The myth of untapped genius runs rampant through mass culture, whether on talent-scouting shows like \u201cAmerican Idol\u201d and \u201cShark Tank\u201d or in the transformation of \u201creal\u201d people into celebrities on reality TV. Genius hiding in daily life is similarly at the heart of the Irish director John Carney\u2019s new film, \u201cPower Ballad,\u201d a musical dramedy starring Paul Rudd as an American rocker in Ireland who crosses paths with a former boy-band star (Nick Jonas) in search of a solo career. It\u2019s the story of what happens when an unrecognized artist\u2019s great work is appropriated without credit by another artist who\u2019s rich and powerful. In \u201cPower Ballad,\u201d this premise (a version of which, oddly enough, also appears in Boots Riley\u2019s new film, \u201cI Love Boosters\u201d) is worked into a plot that\u2019s admirably tight and irresistibly catchy. But Carney, who wrote the script with Peter McDonald, develops it in one and only one register: warmhearted populism. \u201cPower Ballad\u201d is a sentimental tale of family and friends both fostering and thwarting a dream. It finds an unusually strong current of authentic (if narrow) emotion while leaving wilder ideas and feelings trapped beneath its surface.<\/p>\n

Read more Postscript: Donald Newhouse<\/a><\/p>\n

Rudd plays Rick Power, a middle-aged American wedding singer living in cozy domesticity in Crumlin, a suburb of Dublin. Formerly part of an American band that toured in Ireland, he\u2019s married to an Irish woman, Rachel (Marcella Plunkett), with whom he has a fourteen-year-old daughter, Aja (Beth Fallon). Rick is a devoted family man who organizes his life rigorously and cheerfully around each morning\u2019s school drop-off, but he has a nagging frustration: he prides himself on his songwriting, yet his music career is limited to playing in a cover band called the Bride and Groove. The movie\u2019s first scene, in which the band plays a wedding at a lavish country estate, highlights his problem. He gets the crowd moving with a vigorous rendition of \u201cCelebration,\u201d but when he leads the band through one of his own songs the dance floor quickly empties.<\/p>\n

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The event, however, has an unusual guest, one Danny Wilson (Jonas), a friend of the groom\u2019s and an ex-member of a successful boy band, who\u2019s now struggling to go solo. (Jonas\u2019s character\u2019s name matches that of the protagonist in the musical film noir \u201cMeet Danny Wilson,\u201d a scuffling but ambitious singer played by Frank Sinatra.) To amuse himself, Danny joins the band onstage, and hits it off with Rick on a duet of Stevie Wonder\u2019s \u201cI Wish.\u201d After the bash, when all are chilling, Danny invites Rick to his luxury suite on the property, where they jam, drink, and have a bromantic heart-to-heart. Danny despairs of finishing some songs he\u2019s writing; Rick has a few ideas that he\u2019s glad to contribute, and he plays some of his own tunes for his new friend. On parting, Danny gives Rick a fine old acoustic guitar and asks him to stay in touch. Six months later, Rick is at a shopping mall when he hears a song of his, sung by Danny, who has turned it into a major-label release with a grandiose pop production.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Unbeknownst to Rick, the track, a love song, is a phenomenon, with millions of streams. It becomes a No. 1 hit, and everyone\u2014including Aja and Rachel\u2014is crooning along to it everywhere. Rick is, in effect, secretly a world-famous songwriter, and, though he\u2019s happy that Danny has managed to reinvent himself, he is resentful that he hasn\u2019t got the acclaim, the money, or the career that writing a hit song should bring. There\u2019s no paper trail to show that the song is his, and no proof that Danny ever heard him play it. What\u2019s more, Rick can\u2019t get through to Danny, because the pop star\u2019s brash and aggressive manager (Jack Reynor) refuses to put Rick through, and responds to his claims with threats. Direct action is required: Rick and his bandmate and best friend, Sandy (Peter McDonald), head to Los Angeles to confront Danny in person.<\/p>\n

Rudd\u2019s natural air of genial tension, of neurosis without an edge, plays into his character\u2019s rigidly disciplined but relentlessly upbeat domesticity. Rick is tightly scheduled, punctilious to a fault, endowed with verbal wit that gently but firmly shapes and smooths social interactions. Warm and wise with Aja, and never nonplussed when she out-cools him or simply fails to flatter, he also performs middle-aged hotness just self-deprecatingly enough. His charming but locked-in sense of commitment makes him an apt front man of the Bride and Groove\u2014he glows with a little more wattage than his bandmates do\u2014but it\u2019s also why he\u2019s not the group\u2019s real leader. That would be the drummer, Binzer (Rory Keenan), who sits at the back of the stage, surveys the group and the roomful of revellers, and pliably makes adjustments that keep the party going. Rick\u2019s taut precision, by contrast, can cause trouble at the mike; when Danny first asks to join in on a song or two, Rick\u2014fiercely protective of the band\u2019s routine and his place in it\u2014refuses, until Binzer firmly implores him to be a sport. There are roots to Rick\u2019s extreme defensiveness. The American band that he\u2019d been part of in his youth, called Octagon, had been big enough to sign with a record label, but when Aja was born Rick took a year off and the label dropped him. He\u2019s been fortunate enough to make a living as a musician, but his bitterness about the loss of that big break lingers.<\/p>\n

Read more Should You Automate Your Life?<\/a><\/p>\n

When Danny performs, though, something startling is revealed, something that\u2019s built into the casting. Rudd just sings, but Jonas is a singer: Rick delivers songs, whereas Danny makes them his own. Performing \u201cI Wish,\u201d Danny approaches melody, rhythm, and lyrics with a sense of freedom that transcends the sheet music and gives the composition a three-dimensional life. What Danny does, Rick can\u2019t. Their respective performances mark the difference between a mere professional and a star, with one caveat: if not for Rick, Danny would have no new song to infuse with life. Danny\u2019s gift is what he does onstage; Rick\u2019s is what he does sitting alone in a room.<\/p>\n

Unfortunately, the movie doesn\u2019t follow through on this idea, and Rick\u2019s hidden aptitude remains largely invisible. When he sings his own song at the wedding in the opening scene, a bandmate reproaches him, implying that Rick has tried out his own material before with similarly dismaying results. (The bandmate tells him to sing only \u201cthe hits\u201d and reminds him that their job is basically to be \u201chuman jukeboxes.\u201d) The setup is too pat. In Rick\u2019s many years as a wedding singer, has he never won any admiration for his songs? Not even at home? Has he kept going with no positive reinforcement at all, based on nothing but his own confidence in his talent? The film\u2019s themes of creative frustration and unmet potential are fruitful and fascinating but are left undeveloped, and the movie is painfully short on psychology. What takes its place is feel-good human connection and reconciliation, whether found in unlikely places\u2014such as in a climactic showdown between Rick and Danny in Los Angeles\u2014or in its familiar setting, at home.<\/p>\n

Sentimentality has been a consistent strain in Carney\u2019s directorial career. He won international recognition for the 2007 romantic musical drama \u201cOnce,\u201d set in Dublin, about an encounter between an Irish and a Czech musician. His 2013 drama, \u201cBegin Again\u201d\u2014which he\u2019d originally titled \u201cCan a Song Save Your Life?\u201d\u2014is the story of a man who loses his job as a record executive but gets his musical mojo back when he connects with a young woman singer-songwriter. In those films, as in \u201cPower Ballad,\u201d music serves not to undo and reshuffle romantic relationships but to restore and reinforce them, even as it forges new emotional bonds. Carney is a moralist, a filmmaker of fidelity\u2014and of renunciation, depicting the romantic near-misses and what-ifs that his characters leave behind.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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In \u201cPower Ballad,\u201d Carney\u2019s musical moralism remains superficial, worked out neither in the detailing of his characters nor in his pragmatic, efficient direction. Rick\u2019s unyielding faith in his own artistic powers is a weighty secret and a constant burden; his absence of torment in the face of it, his apparently content and unruffled life with his friends and family, ultimately suggests less about Rick\u2019s temperament (which gets an all too scant workout) than about Carney\u2019s own mild-mannered aversion to such inner conflicts. The story\u2019s most powerful and expressive possibilities go unexplored, in a way that reflects the substance of the movie itself: just as \u201cPower Ballad\u201d emphasizes the difference between a songwriter and a singer\u2014between the creation of formidable raw material and the amply imaginative realization of it\u2014it also unwittingly displays the distinction between screenwriting and directing, between potent ideas and their bland development. The movie is more than a celebration of persistence in the face of rejection, of faith in oneself, or of the power of love. It exalts, above all, the practical genius in the division of labor.\u00a0\u2666<\/p>\n

Read more Inside Lebanon\u2019s Fraught Push to Disarm Hezbollah<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Richard Brody reviews John Carney\u2019s dramedy, in which a thwarted songwriter, played by Paul Rudd, crosses paths with a former boy-band star in search of new material.<\/p>\n","protected":false},"author":1,"featured_media":258,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-259","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-current-cinema"],"yoast_head":"\n\u201cPower Ballad,\u201d Reviewed: A Bromantic Conflict Over a Hit Song - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=259\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cPower Ballad,\u201d Reviewed: A Bromantic Conflict Over a Hit Song - 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