MORE SPOILER-FREE MINI-REVIEWS @ https://www.msbreviews.com/movie-reviews/mini-reviews-2023-edition "Chevalier holds a screenplay by Stefani Robinson that doesn't escape the predictability of the usual biopic structure, but director Stephen Williams offers a careful, surprisingly captivating look at the life story of composer Joseph Bologne. A thematically sensitive yet tremendously inspiring narrative set to incredibly cathartic classical music that allows for a powerful, climactic conclusion. The cast is wonderful, as Kelvin Harrison Jr. delivers one of the best performances of 2023 to date. Costume design and makeup will surely get many nominations in the next awards season." Rating: B

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Chevalier may not revolutionize the biographical picture genre, but it is an incredibly well-crafted film that makes for an entertaining watch. Stephen Williams' direction was one of the biggest standouts of the movie, with his use of smooth transitions and camera work in a 3D space immersing the viewer in the world of the characters. The scene of Joseph Bologne composing his opera while falling in love with Marie-Josephine was a particular highlight, showcasing Williams' ability to effectively convey emotion through his directing. The score of the film was also absolutely incredible, adding to the overall enjoyment of the viewing experience. I am not one for classical music, but many tracks from this film will be added to my music library. The sets and character designs were well-done, but there were some moments where the city landscape looked a bit rough due to the use of CGI. Although not a major issue, it was noticeable enough to detract slightly from the film's overall aesthetic. The story of Chevalier was quite compelling, and the writers had plenty of source material to work with. The film's pace was quick, with a runtime of only 107 minutes, which made for a streamlined viewing experience. However, I do think that an additional twenty minutes could have allowed for more development in the latter half of the film. The performances of the cast were exceptional, particularly Kelvin Harrison Jr.'s portrayal of Chevalier, which carried the film. The supporting actors, including Samara Weaving and Lucy Boynton, also delivered stellar performances that complemented Harrison's standout role. Overall, Chevalier is a well-done film with a unique story that was hidden in history for so long. Going into it, I wasn't sure what to expect, but I was impressed by the film's technical aspects, engaging story, and strong performances. While it may not break new ground, Chevalier is a worthwhile watch for those looking for a well-crafted biographical picture. Score: 78% ✅ Verdict: Great

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I was really looking forward to this, and after it starts with some compelling duelling violins between the eponymous "Joseph" (Kelvin Harrison Jnr.) and none other than the great Mozart himself (Joseph Prowen) that features some magical musical improvisations, I thought I was in for a treat. Sadly, though, t'was not to be. Essentially this is a rather plodding melodrama that could quite easily have been at the more musical end of an episode of "Versailles". Born, illegitimately, to the owner of a plantation and one of his indentured slaves, "Joseph" shows a considerable talent that his father is keen to see developed. He relocates the boy from Guadeloupe to Paris where he must learn - on his own - to thrive. To be excellent. He does, he even befriends Marie Antoinette (Lucy Boynton) and is to be considered for the job of musical director at the Opera de Paris. He has a competitor, though, and the Queen decides that a tournament is the order of the day. "Joseph" recruits the mellifluously talented marquise "Marie-Josephine" (the really quite sterile Samara Weaving) to sing in his new opera but her menacing marquis husband (Martin Csokas) is having none of that and pretty soon young "Joseph" is facing disgrace, humiliation and with losing his popularity at court. Gradually, now, he is drawn into the revolutionary world of his friend "Philippe" (Alex Fitzalan) with quite a denouement looming! The film looks great and when there is music, that is also rousing and distinguished. It's just the story and, for the most part, the acting. It's all just a bit weak. There's way too much dialogue and romantic shenanigans that we know are dangerous, reckless even, but they only manage to clog up the potency of this story of lust, bigotry, politics and power. I enjoyed it, but I suppose I expected - certainly wanted - something a little more like "Amadeus" (1984).

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