In this review from the archives, Liam De Brún takes a trip to the stars as he looks at Rocketman.
2018 saw the release of two films I had bad relationships with: Bohemian Rhapsody and Robin Hood. Bohemian Rhapsody was the winner of four Oscars at that year’s ceremony. Fans adored it. Many people have told me it’s their favourite film of the past few years. I don’t get it. Granted, Rami Malek delivers a showstopping performance. But the film itself was a watered-down retelling of Freddie Mercury’s turbulent life - more concerned with playing it safe than telling his riveting story.
Director Dexter Fletcher is who most people assume made Bohemian Rhapsody. In reality, Fletcher only came in for the final few weeks of production after Bryan Singer was fired. Fletcher was the man being thanked in the award speeches, despite it not really being his film. He needed his next project to be his own. Robin Hood was my lowest-rated film of that year. To understand why, just watch the opening ten minutes. It’s a disaster. Taron Egerton, the film’s lead, was starting to rack up a couple of duds. He needed his next role to remind the world how talented he actually is.
Where does Rocketman tie into all of this? It’s the film that tells the world Dexter Fletcher is a director to be reckoned with, and that Taron Egerton is on his way to an Oscar. Rocketman tells the story of Elton John’s (Taron Egerton) rise to superstardom and the fall that followed. The story is cleverly told through flashbacks as Elton recounts his life at an AA meeting. Having Elton himself — an unreliable narrator - framing the story allows the film to break away from the traditional biopic mould. Instead of a straight retelling, Rocketman transforms into a musical fantasy. Key periods of his life are told through song. Numbers like The Bitch Is Back and Saturday Night’s Alright (For Fighting) are grand, over the top set-pieces filled with dozens of extras and a flurry of activity in the background. Each song pushes the story forward.
It may sound like a family film. It isn’t. Elton is an addict, using drugs and sex to fill the void in his life. Unlike Bohemian Rhapsody, Rocketman doesn’t shy away from difficult subjects. Elton’s drug abuse is depicted in a way that never hides or glorifies his addiction. His sexuality isn’t hidden in the background either. Even though the press didn’t know about it at the time, the audience sees a man trying to embrace his true self in a world that won’t accept him.
Rocketman takes risks, when judging by the previous year’s box office, it could have easily played it safe. Like Elton himself, this film is not interested in being normal. “Musical fantasy” wasn’t even a genre I knew existed before this. From start to finish, the film is magical, heart-breaking, intense and joyous.
Elton John has both literal and metaphorical big boots to fill. He is one of the few artists alive who can be considered an outright superstar. Egerton not only does justice to the icon — he delivers a career-defining performance. Not once do you feel you’re watching an impersonation. This is a young actor proving he should never have been written off. From Elton’s plucky early years to the meltdowns of a directionless man, Egerton captures it all.
It’s worth noting: Egerton does all the singing. No miming. He tackles songs that would terrify most vocalists. His dramatic chops, though, are what really make the performance soar. The final act, which dives into Elton’s downfall, is genuinely tough to watch. Egerton conveys the anxiety and heartbreak of a man everyone loves on stage but ignores off it. One scene, with him staring into a mirror, leaves you with goosebumps. It cannot be overstated: Egerton is extraordinary here. This is the performance of the year from a young actor who’d been teetering on a slump. By nailing this impossible role, he’s secured at least an Oscar nomination — and a career that will never again see him in something like Robin Hood.
The supporting cast adds to the film magnificently. One of Rocketman’s central themes is toxic relationships. The lack of love in Elton’s life fuelled his descent. Bryce Dallas Howard and Steven Mackintosh play Elton’s distant parents. Howard is unrecognisable as the overbearing mother with no interest in her son’s passions. I spent half the film trying to work out which English actress she was — I nearly choked on my popcorn when her name appeared in the credits. Mackintosh is superb as the father who refuses even to hug his child. Watching Elton’s upbringing is devastating, with only his grandmother (played with elegance by Gemma Jones) providing any warmth.
Richard Madden is the real standout, playing Elton’s manager and former lover John Reid. Charismatic, intimidating, detestable - it’s a side of Madden we rarely see. Known for his noble roles, he relishes being cruel here, sparring with Egerton in biting exchanges. He feels like the Game of Thrones alumnus most destined for lasting stardom. Jamie Bell, meanwhile, plays Bernie Taupin - Elton’s only true friend and lyricist. Bell and Egerton share a delightful chemistry, portraying a lifelong friendship with real tenderness. Every supporting performance is grounded in character, never impersonation. Fletcher wasn’t making a tribute act - he was making a film.
And what a film. Fletcher made all the right choices. The direction is flawless, with musical sequences that push boundaries. The Rocketman number itself is mind-bending. Fletcher gives the film the spirit of The Graduate, Chicago, and Almost Famous rolled into one. Crucially, he knows when to ease off the spectacle and when to let it rip. Having already worked with Egerton on the under-seen Eddie the Eagle, Fletcher clearly knows how to draw the best out of him.
Lee Hall’s sharp script spares no one. Characters are never just good; they’re flawed, messy, real. Arguments carry the same weight as fight scenes. Cinematographer George Richmond paints vivid, lasting images that burn themselves into your memory. Together, Fletcher and his team have created something remarkable - a film that only a few years ago would have struggled to get made. Sensitive yet bold, honest yet fantastical, Rocketman is Fletcher’s declaration of intent. Whatever he makes next, the world will be watching.
I had no expectations going into Rocketman. After Bohemian Rhapsody, I braced myself for disappointment. To say I was blown away would be an understatement. Sometimes a film just clicks into place - and this one does. The music, the direction, the acting, the heart: everything works. If you’re an Elton John fan, you’ll be delighted. If you’re a musical fan, you’ll be delighted. Even if you’re not into either, it doesn’t matter.
Rocketman is the kind of experimental, risky film that isn’t supposed to succeed - but it does. If you’re a fan of cinema, you’ll love it.
Liam De Brún
