With its highly imaginative direction and Taron Egerton’s magnetic performance, ‘Rocketman’ finishes on a high note.

It’s impossible not to think of Bohemian Rhapsody while watching Rocketman. Not to mention the fact that Rocketman director Dexter Fletcher himself assumed directing duties after Bryan Singer’s untimely exit while shooting Bohemian Rhapsody, both musical biopics feature flamboyant, gay pop-rock icons who reinvented themselves amidst adversity.

Rocketman, however, has a surefire edge over the other as Taron Egerton here does his own singing. We first heard him spectacularly perform an Elton John classic in Dreamworks’ Sing, and that credential alone suggests that he might have the vocal chops to do the rest of his jukebox. And he does not disappoint. Egerton may not exactly look or sound like Elton, but he channels the superstar’s flair and vibe with such authenticity that goes beyond an impersonation. Donned with signature over-the-top costumes, he successfully puts on a fearless and electrifying show. If Rami Malek can win an Academy Award for his work in Bohemian Rhapsody, it’s only righteous to start the Oscar hype as early as now for Taron Egerton.

Both movies pretty much follow a standard template for musical biopics – a calculated yet effective retelling of the rise, the fall and the rebirth of an icon, accompanied by a wheelhouse of greatest hits. In Rocketman, piano prodigy Reginald Kenneth Dwight (Elton’s birth name) meets an aspiring lyricist Bernie Taupin (Jamie Bell) and together, they produce a number of hits that skyrockets Elton’s hollywood career to superstardom. The costs of fame soon catches up and he falls into an abyss of depression and various addictions – shopping, alcohol, painkillers and even sex. Whereas Bohemian Rhapsody is on a disadvantage for being confined to a PG-13 setting, Rocketman greatly benefits from its R-rating as it avoids sugarcoating the edgy chapters in Elton’s extravagant and promiscuous lifestyle.

But what makes Rocketman truly soar is Fletcher’s assured and adventurous direction that deftly weaves fantasy elements into Elton’s trajectory. Unlike Bohemian Rhapsody, the film disregards the chronological release of his songs and goes for a full-blown musical: the characters break out in songs and dances whenever the narrative calls for it. Given the eccentric nature of its protagonist, it’s quite easy to suspend disbelief and allow the film to take us to wherever it wants to go.

Musical scorer Matthew Margeson brings new arrangements to some of Elton’s songs and in doing so, the film produces multiple music genres that bear wide range of emotions. An energetic “Saturday Night’s Alright for Fighting” marks Elton’s rebellious transition from childhood to young adult. The “Crocodile Rock” performance – where gravity cease to exist for a moment and the crowd starts floating – represents an insurmountable joy during Elton’s music career. “Bennie and the Jets” is played with an increasingly aggressive tempo to portray his psychedelic descent to rock bottom. The highly imaginative sequence of “Rocketman” is presented as an accompaniment to Elton’s suicide attempt and desire to leave the spotlight.

The film also shines with its slow ballads like the iconic “Tiny Dancer” being reinterpreted as a song about longing and unrequited love; an intimate “Your Song” that brings earnestness to the film’s core friendship; and an emotional duet of “Goodbye Yellow Brick Road” that reflects Elton and Bernie’s anger and disappointment at each other. It’s an epic celebration of the superstar’s enduring legacy and Elton’s spirit is very much alive throughout.

At times, Rocketman feels like a Broadway production, where its pompous musical numbers occasionally outweigh the introspective drama involved. But thankfully, Fletcher takes us back to a third act where film’s cliché narrative setup – a frustrated Elton recounts his life during a therapy session – finally pays off as he confronts his inner demons. It’s in this moment when the pieces fall together and we understand the complexities of the character. Here is a son who poses a peculiar persona in a subconscious attempt to gain the affections of his uncaring father (Steven Mackintosh) and promiscuous mother (Bryce Dallas Howard). A performer who took risks in the music industry because his dashing yet devious manager/lover (Richard Madden) urges him to leave a mark in the world. A gay man whose told to be choosing a life of loneliness because of his decision to embrace his sexuality. A star who succumbs to self-destruction after failing to earn the validation of the people who mattered to him. And finally, a flawed human who decides to turn his life around with the help of his loyal best friend.

With all the entertainment that Rocketman offers in its great performances and splendid production design, there lies an incredibly relatable tale of unconditional friendship, atonement, freedom and self-actualization. It’s only fitting that the film ends with the song “I’m Still Standing” to cap off Elton John’s moment of redemption. This can be your song too, and you can tell everybody.

4.5 out of 5 stars

Directed by Dexter Fletcher, ‘Rocketman’ stars Taron Egerton, Jamie Bell, Richard Madden, Bryce Dallas Howard, Stephen Graham, Gemma Jones, Jason Pennycooke, Kit Connor, Matthew Illesley, Charlie Rowe, Steven Mackintosh, and Tom Bennett. 121 minutes. R-13.