Peter Dinklage elevates exponentially the quality of Joe Wright’s version of this French classic that, to a certain degree, considering its mise-en-scène seems to have come out of Disney.

As mentioned, it is undoubtedly Dinklage presence the clear and undisputed highlight of the movie. It is worth mentioning that it isn’t only his performance (his stare pierces your soul as you are watching him act) what deserves praise but also the fact that it appears that all the rest of the cast’s acting improve when they share the screen with him.

But sadly, he is not in every scene and consequently the movie suffers from it. The rest of performances are rather weak, especially Kelvin Harrison Jr. as Christian. He might be the best singer of the main cast for sure but his acting leaves a lot to be desired.

When it comes to the visual aspects of the film, we find ourselves with a difficult ground to deal with. The 1950 version was the poignant one, the 1990 the poetical, this one seems to be the one to put emphasis on mainly the look of it but unfortunately what it accomplishes is a bit of a hit-and-miss situation. Solid photography at times, good costuming design but for example weak choreographies and musical numbers in its majority.

In summary, this is the cheesy musical adaptation of Cyrano. Nothing against doing something more soapy or musical, but if you want to go through that path you have to make sure that every element works well, or it might backfire. This picture falls mid-way through this task, with great acting by the main lead but not really supported by the rest of the cast, enticing imagery but forgettable musical numbers.

If you watch it, you won’t hate it, but it won’t stick with you either.