The cinema from the 90’s is still probably the best period to capture stylistically the rhythm, colourfulness, and decadence of the 70’s glam scene. Although not being fully able to grab you emotionally, its great costumes and sets alongside really good acting makes this film quite enjoyable.

The flamboyant glam rock star Brian Slade (Jonathan Rhys Meyers) is shot during his latest concert leaving a legion of fans in shock but… a few hours later everything is proven to be a publicity stunt. His fans and loved ones turn their backs on him which dooms his career. Now, 10 years later, Arthur Stuart (Christian Bale) music journalist and former fan of Slade is commissioned with the task of finding out what happened with the former star after falling into oblivion.

The one element that obviously stands out from this production is all the efforts that were put into providing the audience with the glam feeling of the seventies. This is obviously obtained by the great costume design as well as make-up that our main characters, for sure for the two stars that are Brian Slade and Curt Wild (Ewan McGregor) but not only as the good work is also kept throughout the audiences as well as with the other non-involved to the glam wave characters that populate the streets of the grey London.

And precisely together to that element, we find the incredible sets. Apart from the cloudy and boring streets of London, we find ourselves in a similar environment in the 80’s New York, and as a reaction to those we have the various dark and vibrant environments in which our characters sing, dance, make love, get drugged and argue.

All characters are more than adequately portrayed by the big cast, but special praise is needed towards the work of the three main actors: Rhys Meyers, McGregor and Bale. Nevertheless, the one who steals the show is Toni Collette as the passionate, caring and disappointed wife of Slade, Mandy Slade.

But truth be told, even though a really accomplished atmosphere and great cast, the story does not manage to completely grab you. Probably because there are too many open fronts, all the ones impacted by Slade’s decisions (Mandy, Wild and Arthur) and also Slade’s own. The constant flashback and flashforward from their different points of view dissipates the emotional attachment that you may have for the characters and their feelings leaving you quite unfazed to the supposedly most dramatic moments.

Another slight element of criticism could be its musical element. One could expect that a movie about rock stars will have a rather memorable soundtrack, but reality is unfortunately different. It is not a bad soundtrack and while you are watching the film it actually quite fits the mood and fulfils its purpose (from the most punk to the most pop tunes). Nonetheless, there is not one iconic or catchy song that sticks with you once the movie is over, and that considering the nature of the film is quite upsetting.

All in all, this is more of a visual type of work than a true profound one. This per se is not an issue, but the problem arises when you can see the efforts by Haynes of injecting a deeper meaning into the film concerning the troubled lives of rockstars, love and sexuality. While the film excels in its imagery and ambiance on the other hand it lacks concrete focus in this other aspect hurting the potential of the film and leaving it as rather visually impressive and enjoyable but shallow film.