Music Review

Stepping out from beneath her giant wig to go behind a film camera, multi-platinum-selling artist Sia provides a tumultuous directorial debut. The musical play of a struggling, self-made household lays out with heartfelt purpose and soda song-infused messages of empowerment and inclusion. Its launch was marred with controversy, but following the statement that Sia's neurotypical muse Maddie Zeigler would play with the autistic adolescent lead personality, Music.

Zeigler frees her elastic physicality to the function (in her dreams she's without her disease ), however, the casting option is too distracting and overly damaging. It is improbable that earning Zeigler the movie's central star would create Music a much better movie, but it would give more service to Sia's defence of projecting her.

Both Hudson and Odom Jr frenetically fling themselves in the movie's musical, retina-stinging reveries. Hamilton heavyweight Odom Jr provides a welcome dash of humility and lively integrity into the trio, while Hudson is energised but restricted to enjoying with a reductive routine of a recovering addict. The vignettes -- every grander variations of Sia's vastly effective music movies -- are ambitiously choreographed with Alice In Wonderland proportions and patterns. Yet this effort to navigate issues of disability and dependence by means of a Technicolor pantomime appears as crass, along with the corresponding tunes are hackneyed paeans to love and addition that sense sterile and sprawling.

So inflated and regular are such musical set-pieces they shrink down the narrative to some saccharine, underdeveloped family play that's at best forgettable, at worst a disservice to the marginalised individuals the movie markets itself as championing. Throwing at a eccentric director cameo where Sia flaunts her humanitarianism just affirms that Music is just one self-serving, charmless filmmaking debut.