Visceral hatred for a con job

Rating: 1/10 (2 January 2017)

If a producer is going to deconstruct a genre, the producer owes it to the audience to warn them early on (like in "Purple Rose of Cairo" or "Unforgiven"). This film, which has been lavishly praised, earns my visceral hatred because it did not do so, and I frankly cannot recall a movie which has ever triggered that sort of reaction even though I have seen thousands of them.
I went to this movie because I was in the mood for a warm, "feel good" movie. The promo's and a goodly part of the film deliver that "feel good" warmth, like The Artist, but this time, as an updated classic song-and-dance film of the 1930's to 1950's. You can also see the homages, like those to Astaire/Rodgers and Kelly, as well as a knowing glance to a key scene in "Rebel Without a Cause". Sounds just like what I wanted.
But about two-thirds of the way through, something begins to change (no spoilers here). The crack widens until the end, which at least one review has called bittersweet. For me, I felt rage. I got conned, without warning, into seeing the kind of movie I did not want to see. So you bet I'm angry.
In terms of the mechanics, the film does not quite follow the basic lines of an early song-and-dance musical. Invariably, there is a secondary subplot involving different characters who, depending on the film, build tension, contrast, or comic relief. None of that existed here, although there were some opportunities which never bore fruit. Perhaps some more false leads by the writer? I saw them as distracting dead ends.
There are also a number of plot holes which are annoying, a couple of which involve cell phones and unexchanged cell phone numbers that would have happened in real life. Any musical expects people to suspend disbelief, but the suspension of disbelief is generally in the musical parts, not the narrative.
Two of the best parts of the movie were the acting by the two leads-- excellent. They were also game at the singing and dancing, and clearly worked darn hard to do a great job. But to be honest, Gosling's singing (a presumed effort to mimic Astaire's approach) was not good, and Stone's dancing didn't hold a candle to a really trained, talented dancer (like the lead in the opening number).
You can make musicals which have twists, like the ending in West Side Story, but they don't pretend to be homages--they make it clear, up front, they are something different. So, for ruining my Sunday afternoon, I give this movie a 1.