Andrew Garfield is a terrific screen presence in “Tick, Tick … Boom!”
), Garfield fully conveys the tension and drive of a creative mind in full if sometimes frustrated flower. Matching his vocal prowess with a silent clown’s physical elasticity, he is every inch the portrait of the artist as a young SoHo waiter: Serving up Sunday brunches with one hand and pulling songs out of thin air with the other, Jon couldn’t suppress his gifts as a composer-lyricist if he tried. He’s a prodigy waiting to be discovered — and financed.
The work he’s banking on is “Superbia,” a wildly ambitious dystopian musical that he’s been doggedly writing for eight years. It’s earned him the faith and support of everyone from Playwrights Horizons honcho Ira Weitzman to no less a grizzled eminence than Stephen Sondheim , whose influence can already be heard in some of the lyrics. A workshop production of “Superbia” is coming up in about a week, but Jon still hasn’t written the show’s key second-act song, and life keeps getting in the way.
To some extent, that makes “Tick, Tick … Boom!” a movie about a straight young white male artist agonizing about hitting his 30s and learning an important lesson in empathy from his loved ones . It should come as little surprise that Jon’s creative blockage is tied directly to his shortsightedness, or that he’s being set up for a forehead-smackingly obvious lesson — “Write what you know” — that can be splendid advice in the right hands and produce a lot of banal art in the wrong ones.
I’m speaking, of course, about Jonathan Larson, who could scarcely have asked for a more loving or affectionate tribute. But I’m also speaking about Lin-Manuel Miranda, who’s having a busy year at the movies , and whose direction here is a model of unpretentious skill and carefully modulated energy.
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