A One Mann’s Movies review of “Power Ballad”. (2026, 3*, 15).
This tale of creative differences in the music business isn’t going to set Rotten Tomatoes alight or indeed the box office (given by the three or us in the huge cinema auditorium who were watching it today). But the film has a solid first-reel and a cute, if slightly improbable, end. As such, it is a perfectly pleasant way to spend a Saturday when the rain is lashing against the windows.
Furthermore, Paul Rudd is actually quite good in it!
One Mann’s Movies Rating:
Plot:
Kansas-born Rick Power (Paul Rudd) is lead vocalist in a Dublin-based wedding band called “Bride and Groove” (LOL). A frustrated songwriter, he gave up his (perceived) shot at fame to raise his daughter Aja (Beth Fallon) with his Irish wife Rachel (Marcella Plunkett). But when one night his path crosses with ex-boy-band star Danny Wilson (Nick Jonas) and the pair start composing drunken songs together, perhaps that might be going to change?
Certification:
UK: 15; US: R. (From the BBFC website: “Strong language.”)
Talent:
Starring: Paul Rudd, Nick Jonas, Peter McDonald, Rory Keenan, Paul Reid, Keith McErlean, Beth Fallon, Marcella Plunkett, Havana Rose Liu, Jack Reynor.
Directed by: John Carney.
Written by: John Carney & Peter McDonald.
Running Time: 1h 38m.
Review:
Positives:
- The film started strongly for me. We are introduced to Rick’s happy homelife and his bandmates. (There is a very funny scene of them strutting their stuff in a line, “Right Stuff”-style, eyeing-up the female wedding guests!) Rick is clearly artistically frustrated. A scene where Rick deviates from the band’s set-list of ‘bangers’ to sing a song “many of you will know” off his “first album” has the predictable effect of clearing the dancefloor. But it also cleverly reflects (a nice bit of camerawork and effects) on how washed-up he is compared to his mental vision of the star he wishes still to be.
- The titular power ballad – “How To Write a Song” – is absurdly catchy, such that its chorus has permanently downloaded itself into my brain and is just stuck there, whirling round and round like some demented donkey on a wheel. I doubt this film will get anywhere near any Academy Awards elsewhere, but I rather hope the song at least gets nominated.
- The film also has a cute ending, with a discovery, whilst unlikely, also being actually quite moving.
- I can’t claim to be a massive fan of Paul Rudd’s movies, especially when he tries to play it relatively straight, as in this film. But I was surprised at how well he did here. His accent in particular is nicely done: distinctly American still, but with a light Irish twang that denotes his 15 years spent in the Emerald Isle.
- Elsewhere Marcella Plunkett and Beth Fallon also impressed as Rick’s wife – a bit of a sexy ex-hippie-chick – and daughter Aja (which I heard throughout as “Asia”); and Havana Rose Liu, who is having a very busy month with “Tuner” now in cinemas, also impresses in what is little more than a cameo.
Negatives:
- While the film starts strongly and finishes well, the screenplay in the middle reel feels a bit wooly and unfocused to me.
- In particular, the structure of the film meant I was never sure who we should be caring for. Both Rick (Rudd) and Danny (Jonas) are portrayed as two really nice music-loving guys who come together over their creativity and love of song. So when rejection happens, the film struggles to seem anything other than a bit mean-spirited: why is Danny being such an ungrateful asshole? I wanted the script to somehow deliver an outcome where differences could be resolved: but it actually sticks to delivering a winner and a loser.
- While the film feels moderately credible for much of its running time, a trip by Rick and his ex-con friend Sandy (co-writer, Peter McDonald) to Los Angeles descends into unbelievability. As I expected arrests to follow from the data misuse in the recent “Finding Emily“, so I would have expected nothing less than assault charges and a penitentiary lock-up for the hapless duo here!
- Some of the camerawork, particularly in the early part of the film with the home driveway scenes, was handheld and literally made me feel seasick, the camera swaying all over the place.
Summary Thoughts:
It’s been pointed out elsewhere that the film’s story has a remarkable similarity with that of Irish composer Ray Heffernan, who claims that in a drink and drug-fuelled jamming session Robbie Williams lifted from him his outline for the multi-million-selling “Angels”. (See this BBC News article.) But the film makes no reference to that allegation in its credits: it is said to be a work of fiction and to be fair, the music industry is littered with many other similar examples of songwriters arguing that such-and-such a track sounds remarkably similar to their own composition.
As a concept, it’s a fun one. But this film, although an entertaining watch, never quite lands its full potential.
Where to watch?
Trailer:
The trailer for the film is here: https://www.youtube.com/watch?v=Evvpx6oxRZ8.
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