Conor: “We’re just starting. We need to learn how to play.”
Brendan: “Did the Sex Pistols know how to play? You don’t need to know how to play. Who are you, Steely Dan?”

Sing Street reminds me of what The Commitments would be if the band members were still in high school, and instead of being inspired by Motown soul, they were inspired by Eighties new wave bands like Duran Duran and The Cure.

Ferdia Walsh-Peelo plays Conor, a teenaged Dubliner whose parents have shipped him off to a lesser-quality parochial school to save a few pounds. A chance meeting with an intriguing, beautiful girl named Raphina (Lucy Boynton), who fancies herself a model, leads to a blurted offer to put her in a music video, and suddenly Conor has to put a band together in order to do what music has done for eons—woo women!

This film clicks on just about every level. The story is sweet and heartfelt without being syrupy, and there are a number of genuinely funny moments. One of my favorites has Conor playing on the school stage with the band, but imagining what his video should look like, in an ideal world. And not only will the soundtrack awaken your inner 80s’ child, you’ll likely be surprised to find that a few of the songs original to the film are really good, too. Director John Carney delivers a film liberally peppered with “moments”—details that make you realize how much care he’s put into the film. For example, as the band discovers new music, not only does their music change, but so does their look, almost from day to day, as they try to discover their own identity. It’s not made a big deal of in the film, but those who grew up in the Eighties will certainly smile knowingly as they recognize the fashion influences.

The performances here are what push this over the top, and elevate it to a great film. Walsh-Peelo gives Conor a nice blend of naiveté and confidence that endears him to us, and Boynton is so luminous, with just a dash of quirkiness, that’s it not hard to imagine Conor falling for her at first sight, and making her his muse. Even the supporting cast here is nearly perfect—from Conor’s bully (Ian Kenny) to his older brother Brendan (an artful turn by Jack Reynor, who won Best Supporting Actor—film in the Irish Film and Television Awards for the role).

If the film has a weak spot (and I’m not really convinced it does), it’s that it occasionally dips a bit into John Hughes-ish cliché territory. But that’s not a terrible weakness to have, and honestly, I liked the performances so much that it didn’t really bother me. I guess I also would have liked a little more development of Conor’s bandmates, but again—not really a deal-breaker.

This is a great little film that just wants you to love it, and if you’re like me, you will. There’s just something about it that registers with the part of us that remembers the best times of our youth. We’re just heading into July, but I would be surprised if this doesn’t end up on my “best of the year” list. IMDB has it at a 8.3 (and it’s got a nearly perfect score at Rotten Tomatoes). I’m giving it a solid 8.0. If you don’t enjoy this film, you have no soul. (The immaterial actuating cause of human spirit, that is, not Motown’s finest.) (running time 1:46)