It’s usually necessary to play “September” and “Celebration.” They’re hardly rock stars, according to one member of the Bride and the Groove, the band at the heart of John Carney’s new movie. They are human jukeboxes. However, in “Power Ballad,” a pop star and a singer from a wedding band meet. The music industry’s stratification disappears for one night. “Power Ballad” begins like a fairy tale.
The Irish writer-director has concentrated on the restorative power of music in his films since “Once” in 2007. As a former bassist for the Frames, Carney has firsthand knowledge. From “Sing Street” to “Flora and Son, he has written blatantly sincere stories about how a song or simply picking up an instrument can transform people’s lives.
Without a question, this may push Carney into the emotive area. Fortunately for him, his topic of choice, music, is more deserving of emotion than nearly anything else. However, in “Power Ballad,” a film that starts with the soft sweetness for which Carney is renowned but veers into something more dissonant, the song doesn’t quite stay the same.
It’s usually necessary to play “September” and “Celebration.” They’re hardly rock stars, according to one member of the Bride and the Groove, the band at the heart of John Carney’s new movie. They are human jukeboxes.
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