La La Land | Salt Lake City Weekly
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  Rated PG-13 · 128 minutes · 2016

Comedy drama, Musical, Romance
The movie musical is built almost entirely on the willingness of an audience to submit to romanticism, and writer/director Damien Chazelle wastes no time announcing what sort of movie this is with a “CinemaScope” title card and a dance number set in Southern California freeway traffic. The plot is simple bordering on simplistic—a “boy meets girl” tale of an aspiring actress (Emma Stone) and struggling jazz musician (Ryan Gosling)—built on the easy chemistry between the two leads and their sheer commitment to the kind of movie they’re in. But while Chazelle frequently name-checks vintage movie history, it’s not because he’s claiming an equal place. This is a movie about the euphoria that beautiful, silly and, yes, romantic art can inspire in viewers, maybe the kind of movie that matters most in a time when cynicism feels easiest.


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Director: Damien Chazelle
Producer: Fred Berger, Jordan Horowitz, Marc Platt and Gary Gilbert
Cast: Ryan Gosling, Emma Stone, John Legend, Rosemarie DeWitt, J.K. Simmons, Finn Wittrock, Meagan Fay, Callie Hernandez, Sonoya Mizuno, Jessica Rothe, Tom Everett Scott and Josh Pence

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Boise Weekly Here's the Inside Scoop on How to Win Our Oscar Contest Expect the unexpected and beware of the Best Actress/Supporting Actress scam. by George Prentice 02/08/2017
Inlander Los Angeles is Singing The new musical La La Land isn't for everybody, but it might just work on you by Paul Constant 12/29/2016
Boise Weekly All-Singing, All-Dancing and Poetry in Motion All are now playing. by George Prentice 12/28/2016
1 more review...
Charleston City Paper La La Land makes musicals cool again The last time I was bowled over by a musical was back in 2002 when Chicago cleaned up at the Academy Awards. Going from there to the leg shaking mastery of Fred Astaire, there's not a lot in between. But now, from Damien Chazelle, the directorial wunderkind who made banging a drum such a vicious game of egos in Whiplash (2014), the increasingly rare genre gets a slick revisionist redress that takes bold chances and wins on most counts. by Tom Meek 11/30/2016

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