Movie Review ~ Bonus Track

LGBTQ+ coming-of-age films have come a long way in recent years.  On one end, Heartstopper offers a sweet, idealized take on young love; on the other, Call Me By Your Name plunges the viewer into raw, emotional depths.  Julia Jackman’s Bonus Track, her feature debut, aims for the middle ground.  It’s a well-intentioned, charming film that skims the surface of its potential but hesitates to dive deep.  While enjoyable, it doesn’t quite find the unique spark that makes these stories unforgettable.

Set in 2006 (though it’s unclear why), the film centers on sixteen-year-old George Bobbin (Joe Anders, 1917, the son of Kate Winslet and Sam Mendes), a music-obsessed loner searching for connection.  When Max (Samuel Small), the son of a famous musician, transfers to George’s school, the two form a fast friendship that hints at something more.  Their banter is believable, and their chemistry easy, but it feels more scripted than organic when the story shifts toward romance.  It’s like the film is more comfortable in the setup than the emotional payoff.

Jack Davenport (Kingsman: The Secret Service) and Alison Sudol (Fantastic Beasts and Where to Find Them) play George’s parents, a pairing that never fully clicks.  While they have enjoyable moments individually, their dynamic feels underdeveloped.  On the brighter side, Susan Wokoma (And Mrs.), as a perceptive guidance counselor, and Ellie Kendrick (Attachment), as an overenthusiastic life skills coach, inject energy into the film.  Kendrick, in particular, steals every scene she’s in, leaving you wishing for more of her presence, or perhaps an entire movie focused on her.

For a movie so rooted in music, Bonus Track oddly fails to make much of an impact in that area.  The original songs are fine but forgettable, and the 2006 setting doesn’t come alive through the music as it could have.  It’s a missed opportunity to tap into the era’s unique sound and culture, especially for a story about a teenager who uses music to express himself.  The title suggests a hidden gem, but the film treats music as just another character quirk rather than a meaningful narrative thread.

The biggest issue lies in the film’s reluctance to push past familiar territory.  Anders and Small share a natural camaraderie, but the chemistry falters when the story calls for their relationship to deepen.  Their moments together are sweet but lack the intensity or longing that makes for a truly memorable queer love story.  The emotional beats in Mike Gilbert’s screenplay (Gilbert shares a story credit with Challengers star Josh O’Connor who has a small cameo) feel safe and predictable, with the secondary characters often given more compelling arcs than the leads.  This imbalance only highlights the missed potential in the central romance.

Jackman’s direction is confident, and she clearly understands the genre.  Visually, the film is warm and polished, capturing the nostalgia of coming-of-age stories.  However, it plays things a bit too safe, never fully embracing the messiness or vulnerability that could have elevated it.  The finale builds to an elaborate emotional payoff without fully earning it, resulting in a moment that feels more obligatory than cathartic.

To be clear, Bonus Track isn’t a bad film.  It’s competently made, well-acted, and a welcome addition to the growing roster of LGBTQ+ youth stories.  But it’s also frustratingly hesitant.  At a time when audiences have access to more nuanced, emotionally rich depictions of young queer love, a film like this needs to offer something fresh.  Instead, it settles for being nice when it could have been far more sincere.  Representation is essential, and Bonus Track has value in that respect.  But representation alone isn’t enough; the willingness to take risks and explore complexity makes a story resonate.

For those seeking a light, undemanding watch, Bonus Track will do the trick.  But for viewers craving a film that stands out, leaves you breathless, and surprises you the way the best coming-of-age stories do, this one feels more like a B-side than a chart-topper.