It is impossible to talk about火箭人，Elton John传记片，没有提及其兄弟姐妹，波西米亚狂想曲，女王传记片。两者都是关于在1970年代出现的摇滚图标的，他们的魅力，摇滚和流行音乐的结合导致了全图的统治地位。两者都以热门歌曲的库为标志性歌手。两部电影至少部分地由德克斯特·弗莱彻（Dexter Fletcher）指导，他控制了波西米亚狂想曲布莱恩·辛格被解雇后。两部电影都严重依赖音乐，尽管这是他们开始分歧的地方，因为波西米亚狂想曲使用皇后音乐作为拐杖，帮助观众度过电影的薄弱部分，并火箭人用音乐实际讲述埃尔顿·约翰的故事。是的，这是正确的，火箭人是一部直接的，公百叶般的音乐剧。我期望电影中的一些音乐元素基于预告片，但是火箭人不只是使用“音乐元素”。这是一部音乐剧。我发出一个安静的“哦，不”，因为这种意识到了，因为音乐剧不是我的包，但我确实意识到火箭人is going to work for a whole lot of people.

音乐剧是讲述埃尔顿爵士一生故事的好方法。他的音乐涵盖了如此多的风格和流派，每个歌曲和舞蹈号码都有自己的风味，其中包括几个出色的数字，这些数字在杰罗姆·罗宾斯（Jerome Robbins）和汤米·曲调（Tommy Tune）的电影作品中即可。还有幻想元素火箭人，这与埃尔顿·约翰（Elton John）的生命大于寿命大，而且坦率地说，这部电影可能会为此做更多的事情。但这确实有时会像火箭人这部电影已经准备好了，这部电影不想做任何如此非同寻常的事情，这对于不可避免的百老汇改编而言是不可能的。老实说，这种自我实现的协同效应比整个“这是音乐剧”的事情更加生气。

火箭人也不同于波西米亚狂想曲in the way it treats its principle subject. For one thing,火箭人doesn’t hate Elton John. There is none of波西米亚狂想曲对性的丑陋羞辱或惩罚埃尔顿爵士自己。如果有什么，火箭人将上一个时代的镇压和否认与埃尔顿爵士的斗争与成瘾和自我厌恶联系起来。埃尔顿（Elton）的母亲（一个令人讨厌的布莱斯·达拉斯·霍华德（Bryce Dallas Howard））说的是一个主意，埃尔顿永远不会“适当地爱着”，并且火箭人这是关于这个想法如何通过埃尔顿的生活旋转，使他陷入有毒的关系，自我克制和滥用药物。

但是，并非所有埃尔顿的关系都是有毒的。火箭人氛围特别能源focu故事时sed on Elton’s relationship with his long-time songwriting partner, Bernie Taupin (Jamie Bell). Taron Egerton is the type of actor who is at his best when bouncing off someone else, and he and Bell are keyed in as Elton and Bernie. Egerton can hold the screen on his own, and he does a credible job as Sir Elton—if Rami Malek can win an Oscar for wearing giant teeth, Egerton ought to at least be in the running for his convincingly balding head—but there is no denying the tangible uptick in energy whenever he has a screen partner, whether it’s Bell or Richard Madden as Elton’s vile partner and manager, John Reid.

What really makes火箭人工作是多么快乐。这部电影并没有掩盖埃尔顿爵士经历的坏事，尤其是当他学会在别人看他的看法之外重视自己，但是通过这一切都是喜悦的强烈笔记，这使这部电影非常有趣。The climax of the film is genuinely triumphant – we’ve rooted for Elton so hard throughout that it is a visceral thrill to see him begin writing music again, post-sobriety, and post-script photos of Sir Elton with his family were met with enthusiastic cheers. We KNOW Elton John is still alive and well, and yet火箭人effectively makes us invest in whether or not “Elton” is going to be okay. A lot of that stems from the theme of the film, and seeing how damaging denial and rejection are, and the knowledge that LGBTQ rights are still under threat. Here is an entire movie about how much damage denial can do, and it does make clear that it is a minor miracle Sir Elton survived, that he got lucky and made the most of his second chance—that’s the spirit that feeds火箭人: that defiant survival in the face of emotional starvation, even cruelty.火箭人是对生存和酷儿积极性的欢乐庆祝。这是我们应得的酷儿偶像的传记。即使是音乐剧。

附件 - 塔隆·埃格顿（Taron Egerton）火箭人前几天在旧金山放映。