Cynical SallyMovie Review
Cynical Sally

Cynical Sally

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Power Ballad

Directed by John Carney

Paul Rudd, Nick Jonas, Havana Rose Liu, Jack Reynor

7.2/10
Musical comedy drama·2026-06-05·Reviewed 2026-06-09
John Carney makes the exact same movie for the fifth time, and the maddening part is that it still works.
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The Review

John Carney has exactly one story in him, a sad musician finds salvation through an unlikely creative partnership, and Power Ballad is roughly the fifth time he has told it. This round, Paul Rudd plays Rick, a past-his-prime wedding singer grinding through other people's happiest days, until fading boy-band star Danny, played by Nick Jonas, crashes one of his gigs and a late-night jam session changes both their lives. Then Danny lifts one of Rick's songs, turns it into the comeback hit of the summer, and the film briefly becomes something sharper, a story about who actually owns a melody. You can set your watch by the beats, and the premiere happened in Dublin because of course it did. And yet the formula hums along, annoyingly effective, like a chorus you swore you hated until you caught yourself singing it in the shower.

The miracle here is Rudd, who finally lets someone film him looking tired. Stripped of the smirk and the franchise paycheck glow, he plays Rick as a man who knows exactly how good he was and exactly how little that mattered, and it is quietly one of his best performances. Jonas, cast as a fading pop idol, is doing something closer to documentary than acting, and that self-awareness gives the film its pulse. When the two of them sit down with a guitar at two in the morning, Carney's old magic kicks in, the camera leans close, the room goes still, and for a few minutes you remember why this man keeps getting permission to make the same movie. The songs are genuinely good, which in this genre is not a bonus, it is the entire load-bearing wall.

The problems arrive on schedule, like everything else in the script. Havana Rose Liu and Jack Reynor are handed characters who exist mostly to wait for the leads, and the film's thorniest idea, that the music industry launders theft as collaboration, gets gently sedated before the finale so nobody leaves the theater upset. Every confrontation resolves exactly one scene after you call it, and the ending wraps a legal and moral knot with a hug and a key change. It is cowardice, beautifully scored. And still, here is the bright side, and it is a real one: Power Ballad earns its tears honestly, the songs will live in your head for a week, and Rudd proves there is a serious actor underneath all that eternal boyishness. Carney's formula is a cage, but inside that cage, the man still sings.

What It Nails

  • +Paul Rudd, deglamorized and quietly aching, delivers one of his most grounded performances in years.
  • +Nick Jonas playing a fading boy-band star is less acting than confession, and it absolutely lands.
  • +The stolen-song plot gives Carney's feel-good formula actual teeth, at least for two acts.
  • +The man still shoots a live music scene like it is a religious experience, and the songs deserve it.

What It Botches

  • -It is Once, Begin Again and Sing Street wearing a rented wedding tux. You have heard this song.
  • -Havana Rose Liu and Jack Reynor are parked in subplots the film keeps forgetting it wrote.
  • -Every conflict resolves exactly one scene after you predict it will, like clockwork with a setlist.
  • -The third act trades its sharpest questions about credit and theft for a group hug and a key change.
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Who It's For

Anyone who has ever cried during a John Carney movie and is fully prepared to do it again, on schedule, with snacks.

Who Should Skip

Cynics who believe a montage cannot fix intellectual property theft, because this movie firmly believes it can.

Marketing Roast

The campaign slapped Paul Rudd's ageless face on every poster next to Nick Jonas and the words 'from the director of Once and Sing Street', which is less marketing than a hostage note aimed at everyone who cried in a cinema in 2007. The trailer buries the actual plot, a fairly sharp story about stolen songwriting credit, under two minutes of golden-hour strumming and inspirational drum hits, because heaven forbid audiences discover the movie contains a conflict. And the release strategy, select theaters on May 29 before going wide on June 5, is the classic 'trust us, it is prestige' shuffle for a film whose entire pitch is that you have already seen it four times and liked it every time.

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