There aren’t many forms of entertainment that unite the world quite like music, which is often considered one of the key universal languages, something that connects us under a shared humanity. Regardless of era, genre or language, there’s something magical about sharing a moment with another person, bonding over a mutual affection for a piece of music that has reached across geographical and temporal boundaries to create something common between unexpected companions. Yet, despite its profitability and prominence in the global culture, it still feels like there are new ideas to explore when it comes to how music is discussed, which is something that John Carney has been steadily investigating over the past twenty years, every one of his solo directorial outings featuring characters involved in music, whether professionally or just as a pastime. His more recent offering comes in the form of Power Ballad, a delightfully irreverent comedy that centres on Rick Power, someone who once aspired to be a world-renowned rock star, but who has unfortunately found himself peddling his wares as the lead singer in a wedding band. He sees his opportunity to escape from this humdrum existence when he meets Danny Wilson, a former teen idol who made his name as a member of a popular boy band, but has now decided to pursue a solo career, but has failed to live up to expectations. The two men encounter each other at an opportune moment and realise that they both have something to offer one another – but when their unexpected friendship takes a more sour turn, Rick has to reckon with his past choices in an effort to get the recognition he deserves. A film that knows exactly what it wants to be, as well as being very much aware of its limitations, Power Ballad is a wonderful curio that may not be particularly innovative, but has enough genuine heart and soul to make up for any potential shortcomings, being as delightfully engaging as it is genuinely very moving, which is more than enough for a film that may seem quite small as a whole, but has a strong perspective that feels honest and earned, even in its more conventional moments.

At a glance, Power Ballad seems like a relatively safe, inoffensive comedy built around the common odd couple premise of a down-on-his-luck wannabe rockstar meeting (and subsequently befriending) a far more famous pop star, who covertly steals his song and turns it into an enormous hit without giving the appropriate credit, leading to a battle of the wits between the two men as they attempt to take ownership of the song. This dynamic immediately brings up a conversation about art and authorship, and the role popularity and public perception play in the creation of a work, especially when deciding who truly can be considered the ultimate authority on it as time progresses. This may seem like a clear-cut situation, but Carney finds ways to explore it in detail, using this film as an opportunity to comment on the cutthroat nature of the music industry, especially towards those who have not received the acclaim and recognition that they feel they deserve. However, this is only one part of the film, since the story touches on several other themes – the character of Rick has tried to live his life as openly as he can, but his own complex relationship with his craft, as well as how he is perceived, complicates much of how he functions, leading him to spiral into an existential crisis that only seems to be remedied by having his song taken by someone who decides to step over anyone in an effort to achieve some fame. Through this, Carney makes some astute observations on modern entertainment, and how many people have no issue sacrificing their moral grounding if it means encountering success. It’s a tale as old as time, and while Power Ballad may not say anything particularly revolutionary on the subject, it nonetheless still manages to be quite a triumph in terms of how it negotiates certain complex ideas with those that are much more simple, creating a balanced and moving story that is far more interesting than it may seem on the surface.

Power Ballad required a pair of actors who could capture the various nuances of the two main characters, especially since the nature of their dynamic changes frequently throughout the film. For the part of Rick, the lovable and feisty washed-up rockstar, the choice to cast Paul Rudd was absolutely inspired – not only is he one of the most inherently likeable actors working today, but he has a specific kind of self-deprecating charm that can be playful without ever leaning into the pathetic. His impeccable comedic timing intersects with his ability to capture very specific emotional beats, making him the perfect anchor for a film that could’ve been hopelessly overwrought in the hands of many other actors, who would have either pushed the character too far into the realm of being pathetic, or not realised the nuances that come with the part. For the role of Danny Wilson, who goes from the clean-cut idol to the film’s primary antagonist, Nick Jonas is quite solid, even if he’s not always as consistent as the actors around him. As likeable as he may be, Jonas has never come across as the strongest actor, and that is shown throughout this film, where he can occasionally be quite one-dimensional and stilted. However, there are a few moments where he allows the innate charisma that made him a star in the first place to shine through, which are amongst the best moments in the film. Carney makes the smart decision to cast two actors who are almost opposites in terms of skill, not as a means to contrast one over the other, but rather for them to complement one another, with Rudd’s skills as an actor and Jonas’ singing talents balancing each other out and covering up any shortcomings that would have otherwise been far more prominent had they not found such an interesting rapport. The nature of the film requires the two leads to go from friends to enemies quite fast, and while it may not always feel as smooth as it perhaps could’ve been, there’s a method to what the film is doing that makes a lot of sense, drawing on the unconventional chemistry between two actors who may make an unorthodox pair, but ultimately do serve a very interesting function in how the film explores certain topics.

One of the reasons many appreciate Carney’s work is often related to one of the main criticisms he receives: he makes very similar films, to the point where they almost become quite predictable. He is one of those filmmakers who always works towards our expectations, but is mercifully someone who plays in a very comforting, endearing key, to the point where we don’t mind that these stories can border on being quite derivative at the best of times. It ultimately doesn’t make too much of a difference how we feel about the plot mechanics, since the purpose of Power Ballad is not to be some insightful, complex treatise against the music industry, but rather a lovable underdog story that is intentionally rough around the edges, which is precisely what the director seems to be focused on establishing, which he does through a careful blend of sentimental emotions and good storytelling, which is ultimately more than enough to keep us invested. There is a simplicity behind this film that we can certainly appreciate, since it holds no belief that it is somehow the definitive statement on any of these ideas, and is instead far more focused on the experience than any attempt to be subversive. We can obviously predict nearly every narrative beat, and any attempt to create tension is easily overtaken by the knowledge that the protagonist was always going to emerge victorious (even if the outcome may not be exactly what he intended to achieve), so it never truly builds momentum as some complex satire – but as a very charming character study, Power Ballad is remarkably effective. There are the usual eruptions of slightly heavy-handed emotions, and the happy-go-lucky tone could be grating to those who don’t find value in Carney’s inherently whimsical approach, but ultimately the goal here was not to create something unique, but rather play into familiar ideas in such a way that evokes the kind of good-natured escapism that may not be revolutionary, but is always comforting and endearing, especially when it comes to building itself around the premise of one small voice going up against an industry known to destroy far more spirits than it realises dreams, which is what makes this such a charming little film.

It is certainly undeniable that Power Ballad is a film that retreads familiar territory for the director, since it is the fifth consecutive film he has made about musicians trying to navigate hostile worlds where the only thing keeping them sane is the ability to express themselves through music. Those seeking a more subversive or complex exploration of these ideas from Carney should look elsewhere, since he makes it known that he is pursuing the stories that interest him, and the genres that inspire his work. This may lead to allegations that he is limited as a filmmaker, but once we dismantle the film and see that the similarities to his previous work is merely a superficial, exterior sheen, and that it contains its own unique observations on the human condition and the power of art, it’s easy to understand why this film has resonated so deeply with audiences, who are united in their shared affection for this delightfully sweet examination of the life-changing power of music. This is not a particularly serious film, and instead works best taken at face value – a charming comedy about one man taking on an entire industry (the classic David and Goliath story that has proven to be exceptionally powerful, even at its most conventional), anchored by some wonderful performances, punctuated with a tremendous soundtrack that includes so many terrific songs, both originals and covers, helmed by a director who has always been steadfast in his commitment to telling likable, meaningful stories that never shatter boundaries or redefine the medium, but instead serve as firm reminders of the power of simple, straightforward storytelling. Power Ballad may not rise to the heights of Once or Sing Street (the latter very likely bound to be considered Carney’s masterpiece), but its good-natured attitude, lovable characters and captivating story make it very clear why the film strikes a chord with so many viewers – pun intended.