A sugar rush

Rating: 5/10 (26 February 2018)

Quite a frustrating film. The musical numbers are far and away its strongest attribute, which is obviously what any good musical should strive for. Although they aren't all showstoppers, there are some genuinely excellent sequences with tight, kinetic editing, great rhythmic camera movements, and vibrant choreography. The first proper musical number that acts as a prologue to Barnum's life was quite impressive with its fluid execution and ability to convey a large amount of information in a short period of time (which ironically is a quality that ends up being to the film's detriment when viewed as a whole... more on that later). Jackman's and Efron's bar duet is another fun and energetic sequence with a lot of cool camerawork and infectious energy. Essentially all of the songs are pleasant, catchy, and memorable as well, if a bit vanilla.
The strength of these musical sequences is enough to save the film from being bad, and is even almost enough to outweigh the many, many flaws... but not quite. Firstly, the film is attractive to look at to be sure, but it is at times so incredibly glossy that it feels like you're watching a shampoo or jewelry commercial. Sure, it's going for that fairy tale feel, but at times the sheen and shimmer is a little too blinding. And that high-gloss polish is a symptom of a much deeper problem: the incredibly superficial quality of the story and its characters. It's disappointing because this story is genuinely interesting and has the potential for a lot of moral exploration that is completely passed over. Again, I get that this is a musical and a family film, but that doesn't mean it has to be vapid and stupid (see: La La Land). I found it extremely troubling that the film completely ignored the moral quandary of whether Barnum was helping these "unique" people, or exploiting them for his own fame and fortune. These characters never even question his intent, viewing the situation as Barnum helping to "put them out there", gain them social acceptance, and create a "family", where in reality they're quite clearly being taken advantage of in a way that is arguably more reprehensible morally than the protesters who mock them. It's a truly glaring omission from the film that saps so much potential substance from the story.
Contributing to the superficial feeling of the film is another all-to common problem that modern American family films suffer from: the pacing is way too fast. It's like the studios are afraid people will be bored by their films, and thus they design them to speed through plot points and character development in a way that ends up suffocating the life from it. Sure this approach makes the film feel lively and exciting, but it also robs it of actual, meaningful character interactions and development. The result is a film that feels like all dessert and no main course - a bowl of chocolate ice cream sure tastes great but it's no substitute for a satiating meal.
Another nitpick that bothered me enough that I have to mention it: why is a renowned 19th Century opera singer belting out a Celine Dion-esque pop tune for an adoring "high brow" audience in a classic theater? That scene was almost laughable in its absurdity. And although it was by far the worst offender, I would say in general the music in the film, while catchy, did clash somewhat with the period.
Honestly, I really should be giving this film a lower score. Somehow I enjoyed it quite a bit even in the face of the many fundamental issues, which is a testament to the strength of the best sequences. Still this is a deeply flawed film that, for all its visual splendor and admittedly intoxicating energy, amounts to little more than a sugar rush.
Strong 2.5/5