A yearning for live theater has driven pent-up artistic energy toward other mediums. Almost a quarter of the way through the decade, the 2020s have given audiences a profusion of musical movies. With some that can already be considered instant classics, the Rotten Tomatoes' aggregate has compiled a catalog of musicals that received the highest amount of praise.
While fans await releases like Jon M. Chu's adaptation of Elvis, musical enthusiasts have plenty of acclaimed films to satiate their thespian pursuits. According to the Tomatometer, these are the most critically approved musical movies of the 2020s so far.
Everybody's Talking About Jamie (80%)
Based on a play adapted from a documentary, Everybody's Talking About Jamie is an uplifting of an ambitious teenager's plans to come out, again, embracing his ion for drag. The original show's director, Jonathan Butterell, returns to set the stage with cinematic flair to the music and lyrics of Tom McRae and Dan Gillespie Sells.
Butterell impresses with daydream sequences that explode with fierce vibrance, particularly in a vogue-inspired runway fantasy set in the hallways of an English upper secondary school. Max Harwood (in his film debut) and Sarah Lancashire are irresistible together as the eponymous protag and his ive single-mother, respectively, providing a refreshing child-parent relationship not often seen in LGBTQIA+ films. Plus, no coming-out-and-of-age tale would be complete without a scene-stealing mentor, played fabulously by Richard E. Grant.
Cyrano (86%)
"Panache" is a word that poet Edmond Rostand remarkably popularized in the English language with its usage in her play Cyrano de Bergerac. Director Joe Wright's musical update heeds Rostand's thematic prose to a tee, with set and costume designs that are confidently flamboyant and a lead performance that is equally self-assured despite the character's plague of insecurities.
While Cyrano possesses a high RT score, the consensus for the film is quick to mention its unevenness. Peter Dinklage and Haley Bennett have such strong onscreen rapport with dialogue so verbose that the musical numbers almost feel unnecessary. Additionally, there is a jarring tonal shift towards the final act as the film cuts to a snow-clad battlefield. However, it does lead to its most powerful number, "Wherever I Fall," which was almost cut from the production had Wright not intervened with the editing according to CinemaBlend.
Vivo (87%)
Vivo may feel slight in comparison to the other Lin-Manuel Miranda-related projects, but it has enough soul to make up for its shortcomings. Miranda lends his signature hip-hop-infused style to the music as well as his voice to the eponymous kinkajou.
Vivid and engaging for all ages, this feature from Sony Pictures Animation carries both the beat and a profound message as characters with unresolved grief find closure through music. Its story is catalyzed by a friendship between a legendary singer and a late songwriter played, respectively, by Gloria Estefan and Juan de Marcos González, both Cuban musicians who provide authenticity to its cultural backdrop. Even if the sound is familiar, Vivo reverberates with infectious vitality, and catchy bangers like "My Own Drum" are likely to be played on repeat.
Tick, Tick...Boom! (87%)
Tick, Tick Boom! Being that Miranda starred as the biographical subject, Jonathan Larson, in a production of the original stage musical, his adaptation emanates a zest for the late icon who was responsible for the Broadway phenomenon, Rent.
Along with Miranda's knack for staging, the film is enlivened by a tour de force performance from Andrew Garfield that led him to receive a Golden Globe for Best Actor and an Academy Award nomination. Despite little musical training, Garfield embodies Larson's aspiration and open-mindedness, making it all the more heartrending when the film reaches its moving conclusion. Notably, of all the films featured on this list, Tick, Tick...Boom! has the highest amount of positive audience ratings with a score of 96%.
Jingle Jangle: A Christmas Journey (89%)
Timeless toys, no matter how dated their concept is, will still entertain if they're assembled with care. If Jingle Jangle occasionally feels unfocused with overfamiliar tropes, director David E. Talbert, the writer of Almost Christmas, is reveling in the festivities.
Most impressive is the production value, boasting lavish sets, colorful costumes, and a hybrid of stop-motion and CGI animation that encapsulates the yuletide aesthetic with eye-popping grandeur. Jingle Jangle juggles a lot of genres in of song, finding inspiration in classical and gospel music while incorporating R&B and hip-hop dance, and manages to make it work. Speaking of, John Legend's "Make it Work" has all the gears and cogs in place to become a new favorite on the holiday playlist.
Encanto (91%)
Embracing Colombian culture, from its representation to its depiction of community, Encanto refreshingly treads new ground for Disney. Although familiar elements like personified animals and enchanted housewares are present, the central conflict is surprisingly more complex than the standard, formulaic villain sub-plot.
Disney's 60th animated feature proves, again, that the hero's journey can be told without a sinister antagonist driving the dispute, opting to tackle dysfunction, evoking genuine resonance. The reflective journey is made richer by the creative talents of none other than Lin-Manuel Miranda, who received an Academy Award nomination for his song "Dos Oruguitas." Furthermore, the soundtrack continues to dominate charts as "We Don't Talk About Bruno" has consistently held the top spot of the Billboard Hot 100.
West Side Story (92%)
West Side Story (1961) is widely regarded as a classic, and while a remake seems pointless, Steven Spielberg's love for both the source material and pure cinema makes his adaptation one of the best films of 2021. Astoundingly, it recreates the magic of the original, retains the radiance of Rita Moreno, and even improves upon its dated facets.
Spielberg exhibits his love for the craft in exquisitely shot set pieces with expertly choreographed numbers. A game ensemble cast, including the magnetic Arian DeBose, makes songs like "America" feel fresh and relevant again. The execution is so arresting that it's easy to be charmed into forgetting about the darker turns taken in the final act, an adroitly-played illusion through the techniques of impeccable filmmaking.
Belle (94%)
Visionary creator Mamoru Hosoda syncs viewers into his VR world with an inspired take on Hosoda's own Summer Wars, the result is a visually inventive and, often, cerebral exploration of identity.
Hosoda's story focuses on a shy teenager, Suzu, who rediscovers her love and talent for singing when under the guise of her virtual avatar, Belle. While Suzu rises to stardom within the metaverse, her alluring "J-pop" vocals attract the attention of a beastly avatar known as "The Dragon." Granted that a montage sequence pastiches an iconic dance, Belle diverges from the Disney classic and delves into deeper themes of domestic abuse and the escapism that technology offers.
In The Heights (94%)
Lin-Manuel Miranda wouldn't appear on this list as frequently without the Tony Award-winning musical responsible for his breakout success, In the Heights. Vignetting the diverse occupants of Upper Manhattan, Miranda's dynamic soundtrack, amalgamating hip-hop, merengue, salsa, and samba, smoothly translates to the big screen.
Cinematographer Alice Brooks captures the immigrant neighborhood and the big dreams that occupy it with anamorphic widescreen shots. It feels epic in scale and, simultaneously, intimate and personal with strong performances from Anthony Ramos, Nina Rosario, and Olga Merediz. Director Jon M. Chu elevates this love letter to Washington Heights with crisp, kinetic filmmaking that makes the streets of NYC feel alive.
Hamilton (98%)
Lin-Miranda Manuel is undoubtedly a prominent figure in musical filmmaking this decade. Yes, Hamilton premiered on stage in 2015, but a filmed version of the Broadway production was released on Disney+ in 2020, widening its accessibility to reach new fans. Comprised with most of the original cast, audiences were able to experience the show, in all its glory, either for the first time or from a new perspective.
Director Thomas Kali used several cameras to capture footage from two separate performances. Editing the performances down into a single cinematic production by utilizing angles, transitions, closeups, and proximity add emphasis to the acting without sacrificing the uniqueness of theater. To quote critic Christy Lemire of FilmWeek, watching Hamilton from the comfort of one's home is "better than the best seat in the house."
