La La Land

Early awards buzz for La La Land has seen Damien Chazelle's second feature shoot to the top of a lot of 'must-watch' lists and, if it's not already one you've earmarked to see, you must dash to the nearest cinema to catch it.

It seems odd for a film in these circumstances to achieve such hype, especially considering Chazelle's first film was a critically (but not commercially) adored indie about a jazz drummer, but it speaks volumes, perhaps, for the lack of musicals in the current cinema market not solely produced for a tween audience, and certainly none in thrall to the earlier days of film where the genre blossomed.

This feels wonderfully vintage but shot through with a modern twist. The title cards, dress sense, charm and songs feel classic and we even visit the Griffith Observatory after seeing its place in Rebel Without A Cause. The leads have a date at the cinema and a jazz club but intimate moments are interrupted with ringing iPhones.

For the first third of its run time La La Land is pure musical with three intermittent numbers with full, startling choreography. You won't have seen songs like this on screen for a long time and it feels, initially, like it'll be destined for future West End and Broadway success. After this full-board opening though, we sink deeper into the relationship at the heart of the piece and the musical interludes segue into more realistic means; live bands and piano performances etc. It's important to stress that this is NOT a traditional musical; parents expecting Mamma Mia's dancing in the aisles will not be satisfied which, frankly, is a positive.

Ryan Gosling and Emma Stone sizzle with chemistry to spare after their previous two pairings. Anyone who's seen the wonderful Crazy, Stupid, Love will feel immediately involved with them as a couple and their singing, dancing (and piano playing!) is surprisingly on-point and charming (Stone's solo piece Audition will easily compete for Original Song at the Oscars.)

Chazelle's direction is masterful as well; the aforementioned opening numbers are dazzling with the second in particular (Someone In The Crowd) featuring extensive long takes and iconic imagery, and A Lovely Night (featuring 'the' shot you'll have seen from the poster) not exactly playing as you would think, and all the better for it.

Captivating, enchanting, classic and, for the narcissist in all of us who's favourite rom-com is (500) Days Of Summer because of its downbeat story (just me?) this is a true delight.

It won't be what you're expecting and for that alone it hits the mark.

5 stars *****