"BEYOND THE LIGHTS" IS BEYOND EXCELLENT

“Beyond The Lights” is not a story about a singer. It's a story about a singer's circus replete with hangers on, shady music executives, a stage mother from Brixton (move over Mommy Dearest) and the ringleader, a singer, Noni Jean, who has lost her voice. No, not physically, but spiritually and mentally. The songs she sings, the excessive life she lives, and the risque stage performances are all an outlet for a persona, not a real person. Throughout the film, you can visibly hear and see Noni Jean regain and reclaim herself as a woman, a singer, and a performer tremulously and triumphantly. Noni Jean eventually reigns in the madness around her and within her in a moving and profound performance from Shakespearean trained actress, Gugu Mbatha-Raw (Belle, Undercovers). It's a truly astonishing, inspiring, and breathtaking feat.

Gugu-Mbatha Raw effortlessly channels Rihanna, Beyonce, Mya, and the ill-fated Aaliyah as convincingly as her endearing British accent flows from her lips. I'm not suggesting that she is attempting to mirror a particular singing star or even create a composite- her performance is totally original, touching on familiar stories of burnt out young celebs, while offering balanced layers of emotions, motivations, attitudes, and internal conflicts. She's sexual, she's vulnerable, she's innocent, she's rude and it all blends into a believable, complicated character. And the girl can really sing, too!

Nate Parker (Officer Kaz Nicol) epitomizes the officer and the gentleman that women swoon over. Resembling a younger Denzel in appearance and manner, his slight vulnerability is tempered by an undeniable masculinity. Heroically saving Noni from suicide by literally taking the full burden of her dead weight, he unpretentiously sees it as all in a day's work without appearing trite or plastic. His “savior” instinct is realistically built-in to the character without being buoyed up by some false “I was bullied” backstory. Parker's dynamism as both protecting and domineering, loving and slightly smothering is played with incredible tenderness and strength. As Noni's “man”, he never allows himself to become an accessory to her career or celebrity status, but maintains his course and integrity while gently awakening hers.

Minnie Driver nails it. All I saw was her character, Macy Jean, a hard-nosed and domineering mother, delivered in an electric, unapologetic performance. Danny Glover brings a sobering touch as Kaz' community oriented father without stealing the show (he could have if he wanted too). Machine Gun Kelly (Kid Culprit) was a new face for me but his raw, merciless portrayal of a jilted celebrity ex makes you pay attention every time he's on screen.

The chemistry between Noni and Kaz is so real because it successfully harmonizes two strong independent, driven characters like two cellos, or a piano and a harp. Neither is “bigger” than the other, but they play oh, so well together! The parallels between Kaz and Noni are obvious. Both are talented young people, groomed for a certain path by strong single parents. Both periodically resist and succumb to external pressures. Both take the way out that they see. But only one of them is self-destructive. And only one of them can save.

I laughed, cried, and experienced the passion of new love and lurid fascination with the fast pace and underworld of stardom, which is what a great movie about a young singer should do. I anticipated

this movie with a mix of fear and dread. After Gugu's exquisite coming of age performance in “Belle”, I wondered if her career would take a slide in America because of our resistance to the British, especially Black British. I couldn't have been more wrong.

The filmmaker doesn't offer explanations or apologies for celebrity burn out or bad behavior as much as she offers suggestions for confronting it or avoiding it. Almost like a big sister quietly laying out an alternative outfit without saying that she hates what you're wearing. There is a cathartic scene between Noni and her domineering mother, which leads you to believe that Macy Jean wants to be that tender, cookiesn'milk mom and truly reconcile with her daughter, but the script refuses to take that easy way out and uses the moment to include another dimension to their complicated familial/professional relationship. Personally, I came away with a more sympathetic view of some of today's reigning young queens (and kings) of music.

Beyond the Lights is simply a “must-see” film. No moment on the big screen is wasted or gratuitous. Every frame is set up to capture the emotion or action needed to achieve the greatest impact.

So treat yourself to a front row seat and a back stage pass as Beyond The Lights takes you on an unforgettable emotional journey beyond the stage.