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Movie Review

Springsteen inspires in lightweight but effective Blinded by the Light

Alex Bentley
Aug 15, 2019 | 12:33 pm
Springsteen inspires in lightweight but effective Blinded by the Light
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Whether coincidental or purposeful, Hollywood is in a stretch where studios are making movies designed to be carried by the music of popular singers or bands. In the last 10 months, we’ve seen biopics like Bohemian Rhapsody and Rocketman, along with films like Yesterday and now Blinded by the Light, which use music to enhance unfamiliar characters.

Blinded by the Light is “inspired by the true story” of Javed Khan (Viveik Kalra), a Pakistani teenager growing up in the town of Luton, England, in 1987. Javed loves writing lyrics for his friend Matt (Dean-Charles Chapman) and poems, but inspiration doesn’t truly hit until a Pakistani friend, Roops (Aaron Phagura), introduces him to the music of Bruce Springsteen.

Javed soon takes every word Springsteen sings to heart, using them in assignments to impress his English teacher (Hayley Atwell) and to win over Eliza (Nell Williams), a girl he likes. They also help him deal with hard issues like overt racism and a period of unemployment in England that hits the country hard, including his father (Kulvinder Ghir).

Directed and co-written by Gurinder Chadha (Bend It Like Beckham), the film is a lightweight drama that mostly sticks to feel-good elements. Javed has to deal with multiple instances of discrimination and is growing increasingly disenchanted with the stifling ways of his family, but all of his troubles seem to find an answer by listening to Springsteen again.

Chadha introduces fantasy elements in multiple scenes, blurring the line of reality just enough to make us wonder if what we’re seeing is meant to be taken at face value. Sometimes it’s obvious, as in sequences where Javed listens to Springsteen’s music while lyrics are projected on buildings and structures around him. Other times, characters start singing in a way that’s only halfway in the style of a musical, with some people participating and others just staring at the spectacle.

Unlike the music of Queen, Elton John, and The Beatles, the music of Bruce Springsteen doesn’t quite have a sing-along nature. Only a few of songs included, like “Dancing in the Dark,” “Hungry Heart,” and “Born to Run,” have remained popular enough through the years to be familiar. But Chadha does an effective job of showing that it’s Springsteen’s deep and personal lyrics, in contrast with the poppiness of '80s singers like Debbie Gibson or Tiffany, that makes his music more meaningful and lasting.

Save for Atwell, there’s not one familiar face in the cast, but that doesn’t stop them from making a great impression. Kalra is rightfully the star of the film, as he has an ability to adapt to a wide variety of emotions. Williams only serves as a romantic partner for Javed, but she still brings an element that sets her apart. And Phagura steals almost every scene he’s in with his unbridled enthusiasm.

To its credit, Blinded by the Light tackles some difficult topics while showing the joy that music can bring. Bruce Springsteen may not be everyone’s cup of tea, but the movie does a great job of demonstrating the impact his music can have on those willing to listen.

Viveik Kalra in Blinded by the Light.

Viveik Kalra in Blinded by the Light
Photo by Nick Wall
Viveik Kalra in Blinded by the Light.
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Movie Review

Andrew Garfield leads peasant rebellion in medieval film The Uprising

Alex Bentley
Sep 10, 2026 | 12:15 pm
Andrew Garfield in The Uprising
Photo by Betina La Plante/Focus Features
Andrew Garfield in The Uprising.

Writer/director Paul Greengrass made his name with a cinéma vérité style of filmmaking that brought immediacy and depth to three Jason Bourne films, United 93, Captain Phillips, and more. In The Uprising, he uses those skills to tell the story of the so-called Peasants’ Revolt in 14th century England.

Greengrass wastes no time starting the main plot as Ploughman (Andrew Garfield) and his fellow villagers object to onerous taxes put on them by the country’s nobility, led by the young King Richard II (Woody Norman), to fund an ongoing war. Ploughman initiates a violent response over the tone-deaf — and unseemly — way the king’s guard go about their business, and the rebellion soon starts to spread across the countryside, with the citizens looking for a degree of autonomy.

The ever-expanding group makes their way toward London to try to make their case to the king himself. Meanwhile, the king’s top advisors, including Archbishop Sudbury (Stephen Dillane) and Treasurer Hales (Tom Hollander), try to usurp power from the inexperienced monarch even as the king’s mother (Katherine Waterston) tries to get him to be more assertive.

The history of the English monarchy is long and lurid, as Shakespeare detailed in multiple plays, including Richard II. Though the events in the film took place almost 650 years ago, it’s easy to see parallels between what the peasants were fighting for and modern-day politics. Greengrass’ storytelling intent is solid, and the righteous anger the citizens feel is initially relatable and palpable.

But the populism theme of the story soon gets bogged down in drudgery and minutiae that is difficult to understand, especially when the details are lost in the thick regional English accents. The leaders of the rebels — including John Ball (Jamie Bell), Wat Tyler (Cosmo Jarvis), and Alyce (Thomasin McKenzie) — are shown doing a lot of planning, but the strong feelings they have about their quest don’t come across well, leaving the audience as passive observers.

When there is action, Greengrass and his team employ a frenetic style that is not great for comprehension. While the gist of what is happening and what side is winning is legible, individual moments go by so quickly so as to be nearly meaningless. Save for Ploughman, any connection that has been made with various characters proves futile, as Greengrass doesn’t seem to have any time for emotion. Scenes that should feel thrilling or heartbreaking instead come off as empty.

Garfield is a two-time Oscar nominee who has done great work across multiple genres. He’s fine in this role, but whether it’s the story, the filmmaking, or something else, he’s not as captivating as usual. The same goes for other strong actors like Bell, McKenzie, Dillane, Hollander, and Waterston, who each seem to be giving their all to their performances but are somehow muted in the process.

Done right, The Uprising could have been a rip-roaring account of people standing up against their oppressors. What Greengrass has made, though, is a film that can’t translate its medieval story for a modern audience and concentrates too much on unexciting elements and too little on thrilling ones.

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The Uprising is now playing in theaters.

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