The Greatest Showman: an original musical loosely based on the life of P.T. Barnum and his “abnormals assemble” crew. You have two choices with this film: enjoy it as a (very) lightweight piece of entertainment, or thumb through the catalogue of issues with its presentation as an actual ‘movie’. My biggest gripe is the songs – they’re all too similar and formulaic; designed by committee – starting with a quiet talky bit, rapidly build into a punch-the-air, feelgood and uplifting sing-a-long major-key chorus, then ending with a more emotional talky bit. Granted, they’re perfect for a musical, but each one is about twice as long as necessary and the core numbers are continually repeated throughout the entire picture. While it makes the most of the cinematic medium through scale and visual effects, it’s unbelievably stagey and theatrical; essentially begging for a live action theatre run. The story is wafer thin; it is the most positive spin on Barnum’s life told through very broad brushstrokes, and whenever someone is about to do a bit of real acting (starting to get vaguely emotional) they spontaneously burst in to song! The critic character is a laughably knowing pre-emptive jibe at how the film itself would obviously land; engineered to be popular with the masses but sneered at by critics – and I can understand both sides. Every family member, friend, and colleague that’s seen this has gone to the cinema for multiple viewings and subsequent sing-a-long viewings, yet the critical response is lukewarm at best. The Greatest Showman is hammier than a hog roast and cheesier than a fondue: it’s unashamedly naff, but is clearly plugging a massive gap in the popular and musical markets.