In the Key of Eh

The High Note’s coronavirus-induced direct-to-streaming release might be a blessing in disguise, seeing as it’s a perfect example of a movie that makes no case whatsoever to be seen in theaters.  Its visual palette has that bland, distinctly digital warmth that has become the go-to for so many low-ish budget releases these days.  But since The High Note makes it clear from the get-go that it has no pretensions of visual style, its real test is how it fares as a frothy romantic comedy. Continue reading →