It occupies only a small part of the movie, but Mike Myers’ casting as a skeptical record executive in Bohemian Rhapsody is a masterstroke. Haloed by a 1970s perm and growling with philistine contempt for the arty band in his office, Myers gives the movie audience something tangible to root against. He thinks the members of Queen are all wrong about their approach to rock, insisting the operatic six-minute single (which gives the movie its title) won’t get played on the radio. Myers revels in the character’s boorishness, and we chuckle, knowing how wrong he is. The capper is an inside joke: Myers declares that “Bohemian Rhapsody” will never be the kind of song kids rock out to in their cars, exactly describing a famous scene from his own Wayne’s World.
If only the rest of this movie had this kind of loose, wacky vibe. Most of Bohemian Rhapsody plods ever-so-seriously through the saga of Queen and, more specifically, the band’s flamboyant front man, Freddie Mercury.