Friday, June 5, 2026

Power Ballad: Music to our ears

Power Ballad (2026) • View trailer
Four stars (out of five); rated R, for relentless profanity and some drug use
Available via: Movie theaters
By Derrick Bang • Published in The Davis Enterprise, 6.7.26 

Irish writer/director John Carney clearly loves music as much as I admire his films.

 

Starting with 2006’s charming Once — with its poignant, Academy Award-winning song “Falling Slowly” — and continuing through 2013’s Begin Again, 2016’s Sing Street and 2023’s Flora and Son — Carney has found fresh ways to explore the complicated, sometimes maddening relationship his characters have with music, and their muse.

 

After a blend of swapped stories, too much alcohol, and a mutual love of songwriting,
Danny (Nick Jonas, left) and Rick (Paul Rudd) play original tunes for each other.

His newest beguiling drama, co-written with Peter McDonald, focuses on the frequently shattering impact today’s corporate, money-driven music industry has on talented individuals who don’t ... quite ... make it.

Back in the day, American singer/songwriter Rick (Paul Rudd) established a modest presence and released a few albums. While performing in Dublin during an international tour, he met and married Rachel (Marcella Plunkett) ... and never left. Pop star aspirations were set aside 14 years ago, when their daughter Aja (Beth Fallon) was born.

 

Rick now is the charismatic lead singer of a pop/rock quintet dubbed The Bride and Groove, which is reasonably successful on the local wedding circuit. Unfortunately, Rick has a tendency to sprinkle one of his own early tunes among the band’s popular, by-request selection of power ballad covers such as Kool & The Gang’s “Celebration” ... to the constant annoyance of band leader Binzer (Rory Keenan).

 

While at  home, Rick continues to noodle away at new songs. One in particular — a sentimental ballad titled “How to Write a Song Without You” — has obsessed him for years, but he can’t quite get it right.

 

He frequently shares his efforts with his disinterested daughter, who scoffs at romantic lyrics.

 

What do you want out of a song, Rick asks.

 

“Revenge,” Aja replies, without skipping a beat.

 

The band’s next booking is a posh gig at a massive estate reminiscent of Downton Abbey. Toward the performance’s conclusion, newlyweds George (Robert Mitchell) and Elaine (Mae Higgins) ask the band to let a “friend” share a song. He turns out to be American pop star Danny Wilson (Nick Jonas), a former “boy band” sensation now struggling to establish a solo career.

 

Later that evening, once all the revelers have retired, Rick and Danny bond over their shared love of music. After plenty of alcohol and shared stories, they play music for each other; Danny gratefully accepts Rick’s suggested feedback and lyrical notes. As dawn approaches, Rick plays “How to Write a Song” on the piano, which clearly impresses Danny.

 

Carney lets this warm and enchanting montage sequence unfold at a leisurely pace. Both actors are note-perfect as their respective characters thaw, surprise and impress each other, and develop a palpable level of mutual respect.

 

As they part, Danny hands Rick his record label’s business card, encouraging him to keep in touch.

 

She Dances: Plenty of the right moves

She Dances (2025) • View trailer
3.5 stars (out of five); rated PG-13, for fleeting profanity and some drug references
Available via: Amazon Prime and other VOD options

This is a Wince During The First Half And Pray For A Reasonably Happy Outcome movie.

 

I don’t mean that in a bad way. Director/co-writer Rick Gomez’s feature debut is a frequently charming little character drama, which depicts the often embarrassing struggle of an estranged father and his teenage daughter trying to re-connect, after a tragedy ripped the family apart.

 

As Claire (Audrey Zahn, left) and Kat (Mackenzie Ziegler) look on with mounting
dismay, a flummoxed Jason (Steve Zahn) discovers that his intended hotel room
upgrade has misfired in a devastating way.
The film also features a noteworthy acting debut by dancer/choreographer Audrey Zahn, working here with her father Steve Zahn, playing — you guessed it — the aforementioned daughter and father.

This seems to have become something of a thing. Ethan Hawke directed his daughter Maya in 2023’s Wildcat; and Ewan McGregor and daughter Clara played a similarly estranged family unit in that same year’s Bleeding Love.

 

This new film is considerably better McGregor’s effort, and for several reasons. The situation is more relatable; Gomez’s touch is gentler, and at times quite funny; and the script — by Gomez and Steve Zahn — grants everybody plenty of persuasively awkward moments that’ll likely feel familiar to many viewers.

 

Kat (Audrey Zahn) has spent her entire life dancing, both for joy and in competition. Her bedroom is filled with ribbons and trophies, and everything has built up to the impending Southern Regional Dance Finals. Kat lives with her mother Deb (Rosemarie DeWitt); her long-unseen father Jason (Steve Zahn) parted following their divorce.

 

The plan was for Deb to take her daughter and longtime partner/BFF Kat (Mackenzie Ziegler) to the competition, but a last-minute emergency demands Deb’s presence elsewhere. With no other options — although Claire initially views this as a non-starter — Deb calls Jason and asks him to step in. Claire still is 17, and the rules require her to be accompanied by a parent or guardian.

 

“It’ll be perfect,” Deb insists.

 

“It’ll be perfectly imperfect,” Claire snaps back.

 

Due to the sort of coincidence that often lurks in stories of this nature, Jason and longtime business partner and best friend Brian (Ethan Hawke) are in the midst of negotiating the sale of their popular Two Jack Bourbon business. Immediately recognizing the importance of this opportunity, Brian insists that the astonished Jason doesn’t pass it up.

 

Zahn’s wavering expressions, over this wholly unexpected turn of events, speak volumes: Jason is surprised, pleased, worried and — most of all — terrified ... particularly because he can tell, over the phone, that Claire isn’t wild about the idea. He hasn’t spent quality time with her for years, and hasn’t the faintest idea how to relate to her.

 

Then, too, the long-ago tragedy hovers over everything.