Premiering on VOD after the cancellation of its planned theatrical release, The High Note hopes to bring a sweet melody to your lockdown viewing. Starring Dakota Johnson, Tracee Ellis Ross and Kelvin Harrison Jr, the Nisha Ganatra dramedy follows the life of a personal assistant to a famous singer who wants to transition into the role of her music producer.
Glossy, and perhaps insubstantial as a result, The High Note is a relatively enjoyable yet slight music industry drama which suffers from a formulaic screenplay and excessive runtime but is saved by its performances and likeability. Written by Flora Greenson, with original music and lyrics from Amie Doherty, the screenplay unfolds with the predictability of a talent show format, offering little in the way of surprise - that is, until one final twist, which doesn't completely work but has won you over enough to accept it, tries to push the boundaries with mixed success.
Stretching the subplot of Pitch Perfect 2 was never going to offer enough narrative substance to warrant a feature-length runtime, particular when the interesting thematic ground of gender and race within the music industry is left mostly untapped. Too set on reaching the mainstream to capitalise on some of the grittier - and more interesting - content under the surface, The High Note's conventionality holds it back from reaching its full potential and while we shouldn't dismiss a film for pushing the entertainment factor before all else, it does render it a missed opportunity when so much potential slips by, underdeveloped.
Thankfully, the three main performances supply the film with the affability needed to paper over its flaws. Dakota Johnson continues to assert herself as an indie darling with the latest in a string of lovely performances, while Kelvin Harrison Jr charms from beginning to end. Tracee Ellis Ross finally gets the major film role she deserves and compels with her magnetic screen presence; the songs she is armed with are serviceable but unmemorable (Vox Lux this is not) but Ross makes as most of them as possible.
The greatest symphony this is not, but The High Note makes an enjoyable sound. A trio of solid performances alleviates the problems of a formulaic story and script stretched too thin, with Ganatra's glossy project never going as deep as it could and should. Still, as light entertainment and viewing when we all so desperately need it, you could do much worse than The High Note.
Summary: Glossy, and perhaps insubstantial as a result, The High Note is a relatively enjoyable yet slight music industry drama which suffers from a formulaic screenplay and excessive runtime but is saved by its performances and general likeability.