The inner cynic in myself wants to dismantle Joyful Noise for its sheer lack of authenticity, originality, and placid narrative. But there’s a heart to Todd Graff’s third directorial effort that I can’t quite shake.

The film follows a small-town choir group dedicated to finally win the National competition after years of ineptitude. Olivia Hill (Keke Palmer) is the elegant and soulful 16-year-old girl who doesn’t have a life outside of choir and school, due to her overbearing single mother Vi Rose (Queen Latifah).

The father apparently “abandoned” the family a couple years ago to head for the army, in order to “pay the bills”. And then there’s their son Walter who has an illness that (insert sickness name) forces him to speak inexplicably and act off of uncontrollable internal impulses.

The melodramatic family moments are just another distraction to segway into the films main purpose: the music. The choir is composed of local, goody-goody folks. It’s that persona that they’ve adopted that’s ultimately been keeping them back from obtaining that championship.

Thankfully the group’s lack of creativity is solved when a new kid shows up in town: Randy Garrity (Jeremy Jordan) a wise-cracking, smart ass 20-something whose Grandmother – G.G. Sparrow (Dolly Patton making her triumphant return) is a founder of the Church and choir.

As with any farcical device, a romantic relationship is formed between Olivia and Randy. And of course Olivia’s controlling mother doesn’t approve and vows to keep the two separated. And of course G.G. – being the free loving woman she is – shares different beliefs with how their relationship should be overseen. And of course this dissolves into a cat-fight between the two older women, duking it out in a middling restaurant, and throwing stale rolls and hot spaghetti at one another.

I say of course, because, well, this by now is to be expected by a film like Joyful Noise: a chummy, slight, and crowd-pleasing affair that’s more forgettable than anything.

While the film continues the choir group rebuilds and reforms beginning to embark on a nuanced journey of gospel music. This is the year that they’re finally going to bounce back and stake their place in the winning circle.

The characters aren’t nearly as interesting as the music they’re singing. A culmination of contemporary hits and timeless classic circulate the atmosphere of Joyful Noise.

Songs ranging from Michael Jackson’s “Man In The Mirror” to Paul McCartney’s “Maybe I’m Amazed” – are sung by the ambiguous choir group. They’re destined for change. Unfortunately – their leader – Vi Rose isn’t. She believes in staying faithful to the Lords antiqued hymns.

But le be hold, she’ll be there when the finale comes around. Which – may I add – is the revelation of the film.

In a concluding set piece that’s completed with absolute, soulful passion – Graff morphs the rhythms and beats from classic gospel music, sex-driven rap by Usher, and Motown perfection by Stevie Wonder – into one, coherent piece of inspirational music.

Surely Joyful Noise is nowhere near the quality of its music sequences. And if I am to be candid, it’s a mediocre piece of cinema – driven merely by caricatures and an unbelievably silly narrative.

But for those who want to feel good, the film just about does its job. It doesn’t reinvent the wheel of musicals – nor does it put a dent of shame into the already lackluster genre.

Albeit that I’ll likely forget about the film by the time this review is published, Joyful Noise – while it lasts - is pure, unadulterated fun.

C+

2 stars out of 4

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