tick, tick... BOOM!

I liked this movie a lot more than I thought it would. I find that Netflix movies are hard to predict normally they are let downs but this one broke the cycle for me. It was thoughtful. There was obviously research done by everyone involved. Considering this is his directorial debut I do think that he does a good job for the most part. I think some scenes are amazing and will stick but others can be a little plainer. Andrew Garfield is the star of the show though. His performance was fantastic. He really gave into the role. The pretentiousness, the heart, the sadness. He played the typical "musical theatre nerd" perfectly. It was so theatrical and over the top which worked. But the moments that called for more depth were also amazing. He was about to really capture the sadness. I was really impressed. The music is as great too. The majority of the songs had a life of their own and felt original. They felt fresh even though this play was wrote in 1990.

wow

tick, tick... BOOM!_720p(480P)

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Thought it wouldn't be my type of movie but I found it endearing and enjoyable to watch. Andrew Garfield was great. Energetic, sang great, really captured the character and struggles. The music are wonderful too.

I love musicals and I wanted to like the film But I just couldn't get into it. The acting was great but I could not stand the characters. The direction I found was all over the place also.

"I'm the future of musical theater." Jonathan Larson (Andrew Garfield) Director Lin-Manuel Miranda (Tony and Pulitzer-winning creator of Hamilton) shows his genius was not a just one-off. In tick, tick . . .Boom! Hamilton revives the memory of Jonathan Larson (Andrew Garfield), the creator/composer of Rent, a contemporary rock musical that inspired a new generation of shows for Broadway. That Larson should die at 35, the night before the preview of Rent, lends a melancholy air to this adaptation of his autobiographical musical and this film's influence by his first failure, Suburbia, inspired by Orwell's 1984. Tick shows the evolution of Larson's signature realism, a fulfillment of his agent Rosa Stevens's (Judith Light) exhortation to write about what he knows. Poverty, paying rent, facing down rejection, protesting for justice, and HIV friends dying in droves are issues he knows and will exploit in his iconic musical. Yet for this film, he is promoting his tick . . ., and while the lyrics are uneven and scattered but generally first-rate, it involves a too-large cast including aliens. Although Garfield is gawky and endearing in equal measure, Larson's work has the mentoring of Stephen Sondheim (Bradley Whitford), who I understand, knows something about musicals. Whitford, by the way, does a credible, impressive imagining of Sondheim. The ticking boom of time in the title has several reference points, not just Larson's impending death but the dynamic change of Broadway Larson ignited. Andrew Garfield does a yeoman's job of giving life to Larson, who has a naivete, energy, and self-centeredness that bespeak the lasting influence he has had on the modern musical. In some ways, Miranda has done that himself with this exciting, melancholic musical about musicals and the geniuses who lose their lives creating them. Netflix.

What a blast. And finally a movie that really went under my skin this year. A great portrayal of an artist that left the stage far too soon. An emotional musical about ambition, friendship and just living towards your dreams. Its contains a sensational performance by Andrew Garfield in the role of Jonathan Larson. Not only can he sing brilliantly but the way he embodied that role, captured and expressed the emotions and really developed into it was just out of this world and can easily marked down as one of the best performances of the year. With the charm and looks of a young Tom Hanks, Andrew Garfield really and once for all pushed himself to the firmament of Hollywood. Fantastic. Robin de Jesus once again pulled out a fantastic supporting performance. He already made my Top 5 last year with his tremendously underrated performance in "The Boys in the Band" . Glad he is finally getting the attention he deserves. Alexandra Shipp rounds the cast up with a wonderful turn. Her singing number is the peak of the film but also the performance around it is filled with a great amount of naturalism and convincing from the first to the last minute she is on screen. I also liked Judith Light whose role was a bit cartoonish but fun. And last but not least Bradley Whitford was wonderful in his short performance. Definitely noteworthy. Lin-Manuel Miranda's directional debut was filled with great aspects as editing, sound and cinematography. Miranda showed great care for his character and knew what kind of story he wanted to tell.. It may have had some lengths at the beginning but then, tick, tick... BOOM!

First thought: If Steven Levenson adapts something that's not his work, everything's fine. If it is his, then we get trash like Dear Evan Hansen. I had little knowledge of tick, tick... BOOM! Prior to the announcement of the film, save for it being a semi-autobiographical story about Rent writer/composer Jonathan Larson, and that Larson passed away just before Rent opened. In early 1990 New York City, aspiring composer Jon is about to turn 30 and wants to be like his idol Stephen Sondheim, who opened his first musical, West Side Story (on which he wrote the lyrics) at 27. His girlfriend Susan needs him emotionally but Jon is too obsessed with the upcoming workshop for Superbia, which draws some bizarre accuracies to present day. Outside, Jon, a bohemian, is losing friends rapidly to the HIV/AIDS pandemic, and his best friend/roommate Michael has abandoned his own showbiz dreams for a practical career in advertising. The narrative is framed around an in-universe production of the titular show, which was workshopped throughout the early 90s. From its transfer from stage to screen, it seems that the story can flourish visually, as the scene is not contained to a single stage. Andrew Garfield gives his second bravura performance of 2021, although Jon is considerably more likable than evangelist Jim Bakker. Lin-Manuel Miranda's feature directorial debut shines with the help of an ensemble cast, including Alexandra Shipp, Robin de Jesùs, Vanessa Hudgens and Bradley Whitford. This abundance of talent and balance of wit, emotion and self-awareness is enough to ensure repeat viewings to find the cameos during "Sunday".