SPOILERS!
SHORT TAKE:
Artistic, excellent, and faithful (4th) version of a A Star is Born, a story with a destructive message.
WHO SHOULD GO:
Adults only, let me count the ways: language (I think there is only one adjective they knew and they used it with abandon), sex outside of marriage, excessive drinking, illicit drug use, nakedness, and a bar frequented by those with drastically alternative lifestyles.
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SPOILERS!!!
LONG TAKE:
There is great wisdom in 1 Corinthians 13:11:
"When I was a child, I spoke as a child, I understood as a child, I thought as a child. But, when I became a man, I put away the things of a child."
A lot of movies seen in one’s teens and early twenties, seem like a good idea at the time, but do not stand up well under the scrutiny of age and experience.
One of those is Close Encounters of the Third Kind (1977). When it came out, it seemed like a sci fi fantasy of a man in search of his dream to confirm the existence of extra-terrestrials, who flies off, like Peter Pan, into the stars with them. 
In fact, the movie is about a man who abandons his wife and children to go off on a lark. Regardless of the circumstances, he is a cad of extra-ordinary proportions. 
Then Pretty Women (1990), which holds itself out as a modern Cinderella story, actually Disneyfies prostitution, making it look appealing with a prize at the end 
instead of a body and soul destroying meat grinder (pun intended). 
Ditto for The Best Little Whorehouse in Texas (1982). It holds itself out as a musical comedy but really sets up a madam and a corrupt politician as the main protagonists. 
(Haven’t any of these people seen East of Eden? I suspect Kate’s cold, calculating and cruel flesh peddler is a more accurate version of a madam than Dolly Parton’s cutesy songstress Mona.) You get the idea.
The third manifestation of A Star is Born (1976), with Barbra Streisand and Kris Kristofferson seemed, in the theater, to a 17 year old, a romantic, tear jerking, self sacrificing love story. 
I have seen all of versions 1937, 1976, and 2018 and enough of 1954 to realize that that one is just a badly done and unrelatable Judy Garland vehicle. The names change slightly with each movie. All the men have the surname of Maine, and in this one his given name is Jackson. Gaga's character's name this time around is Ally. In truth A Star is Born – all of them – is about of a man who destroys the person he loves … twice …. because he is a self-indulgent, self-pitying, weak and arrogant coward.
Please don’t get me wrong. 
I loved A Star is Born when I first saw it in theaters right out of high school. And before I launch into my criticisms of the story, let me say that, on one level, 
I thought this 2018 Bradley Cooper auteur production the best of the litter – a magnificent bit of cinema (the plaudits for which I will get to later) ………. but of an inherently bad story.
IF I HAVE NOT MADE MYSELF CLEAR HERE YET, THERE ARE SPOLIERS AHEAD!!!
The premise presents itself about a man who is a 
great star (either singer or actor depending upon which decade’s movie you are talking about) with VERY bad habits, on his way down, who gives "THE FIRST BIG" shot at stardom to a promising female artist. When he realizes he cannot (or will not) cease his destructive behaviors, he kills himself, allegedly, to protect his former protégé, now wife from being held back. 
What is really happening is that an addicted, boorish, self-indulgent loser, who has achieved his dreams, does indeed generously provide a boost to the extremely talented woman of his dreams. BUT instead of doing the TRULY heroic act of changing his own life FOR her, drags her down. When he decides he will not cease his addictions or his self-destructive behavior, this narcissistic, self-absorbed waste of space tries very hard to destroy her again by committing suicide. In all four cases, this second act of destruction almost succeeds. 
In all four cases, we are left at the end of the movie wondering when, not if, it will be her turn to follow in her husband's footsteps.
A very big deal is made in the movie about saying something with your art. I must wonder what it is that this movie is trying to say: "When you hit rock bottom you should grab a shovel and dig it deeper by killing yourself?"
BUT – having said my piece on this point —–
Putting this massive flaw aside, the movie is still a masterfully done piece of art. I cannot place blame on Mr. Cooper for the ending because that IS the way it has always played out. I suppose I could blame him for expending his efforts on a story with a terrible message, but once having chosen this project he does an excellent job with its composition. This IS the way A Star is Born was written 81 years ago. 
(The first version was in 1937 with Janet Gaynor and Fredric March, both BARELY out of the silent film era.)
Kudos to Cooper’s commitment to the project. He mastered guitar playing for this role in an 18 month Blitzkrieg, including performing live at a festival, singing his own original songs, on the same stage with Kris Kristofferson, who previously played the same role for which Cooper was training – all while keeping the movie under wraps! AND Cooper is not just the star of the movie, but also was one of the adapting screenwriters, is the director, one of the producers, did all of his own playing and singing and wrote four of the movie’s songs. 
I admired the way Cooper approached the story. This Star’s incarnation hits all the high notes, the low notes, the musical arcs and has the same finale as all the others.
Lady Gaga, born Stefani Joanne Angelina Germanotta, I was shocked to discover, is quite a talented actress. Not a big fan before hand, I liked "Poker Face" and "Bad Romance," but was not familiar with her videos. I was jaw dropped to see her name in the trailer credits. 
She, more than a little, resembles a young Barbra Streisand in her manner, looks and singing talent. (She even complains about her nose.) This fits, as Bab’s manager/boyfriend at the time of Streisand's Star was Jon Peters, whose production company made Cooper's Star.
There were a few amazing surprises among the actors, not the least of which was Lady Gaga herself, as already mentioned, who did an incredible job. There is one scene in particular where in she finds herself on stage with Jackson Maine and her subtle and delicate transformation from newbie, frightened singer to confident but still terrified performer whose potential is glimpsed and then blossoms and matures throughout movie is subtle, transformative and deserves recognition. 
Other stand out performances include Sam Elliott as the REAL hero of the movie who stands by Jackson as long as he can 
as his manager, confidante, keeper, and older brother.
Andrew Dice Clay made a perplexingly successful career as a stand-up comic by being blunt, vulgar and every –ist you can think of. When you are boycotted by Sinead O'Connor and a regular cast member, Nora Dunn, for a Saturday Night Live appearance, and then from MTV for 18 years for being too offensive, you should consider that perhaps there are some issues with your routine. In A Star is Born he is pleasantly unrecognizable as Ally's gentle and supportive father, who whimsically reminisces about how he could have been a crooner "like Frank Sinatra".
The songs are – in a word – excellent. Catchy and communicative with a readily accessible emotional core, they were all the more surprising in that four of them were written by Bradley Cooper, not heretofore known as a musician.
I was very impressed by some of Mr. Cooper’s directorial decisions. 
For one thing there is no soundtrack except for the songs being performed or played on the radio or jukebox. 
There is none of the emotional manipulation, which is almost ubiquitous in other movies’ accompanying score. Don't get me wrong, I love a good soundtrack which often enhances or forewarns the audience in a particular scene. I have often wished I personally had a soundtrack to my life so I would know in advance what was coming.
Mr. Cooper plays his scenes with no such safety net. 
Some of the movie even feels somewhat documentary. Not in the dry, dusty, awkward way in which we appear as unwanted guests into other people's lives, but as a welcome friend sitting across the table watching the interchange between these two friends, lovers, and musical partners who must inevitably part.
All in all, I enjoyed this incarnation of A Star is Born. I had looked forward to it with a lot of expectation and most were fulfilled. I was sorry they had cut out one particularly appealing scene from the trailer where Jackson tells Ally she is beautiful and her eyebrows rise precipitously in surprise. But in the end I was a little disappointed, but not really surprised. I had hoped against hope, knowing the story, that with this fourth variation on a theme Mr. Cooper would have found a way to make the story more uplifting. It is a faithful telling of the story, but it is unfortunate that the story itself is fatally flawed. So I do not fault Mr. Cooper for the ending.
Just as you are not likely to turn Anna Karenina into a musical comedy, it would be very difficult to alter a classic tragedy without making it unrecognizable. 
(Although Steve Martin did just that with Roxanne – 
creatively found a way to forge a happy ending with Cyrano de Bergerac but still keeping the essence of the tale intact.)
I just can’t help musing that a truly noble heroic Mr. Maine would have manned up to his own weaknesses, sent his protege on her way, and done something meaningful with the rest of his life: mission work in Africa, volunteer for at-risk kids in inner cities, used his notoriety to become an example of what could happen in Scared Straight programs, done PSA's against drugs and drinking. But alas the Roxanne ending was not to be.
I'll give it this, it is not Singing in The Rain. There is no soft peddling, sanitizing or making light of the music profession. And I suspect this Star is an accurate account of the insides of the industry, 
where one is lucky to get a guest spot at a bar for drag queens while holding down a job as an unappreciated waiter at a local restaurant. That even if you are lucky enough to "make it," the experience is just as likely to make you an addicted, deaf, jaded wreck as it is to provide you with wealth and power and fame. Star does not paint a pretty picture. What it lacks in virtue it makes up for in honesty. If you can’t be a good example, at least be a horrible warning.
I look forward to Mr. Cooper's next project. I hope it involves some singing because he is quite good. I also look forward to seeing Lady Gaga act again. 
The relationship between the two was electric and portrayed with a natural chemistry. All of the elements were beautifully crafted and fit like an intricately harmonious chord. I just hope Bradley Cooper finds a more noble project to lend his considerable talents to in the future.
But long before Bridges was old enough to step into John Wayne’s shoes as the eye-patched Rooster Cogburn in the Cohen’s Brothers truly and brilliantly inspirational remake of True Grit, Bridges was more male model than macho with a mustache. One of these gentler outings, in particular, rose above the rest as a sci fi cult favorite – Starman.
Karen Allen (Raiders of the Lost Ark) is Jenny, a young, deeply grieving, widow living alone out in the country. An alien space ship crashes near her home. 
The surviving alien force (Bridges) grows a living breathing body from the DNA of her deceased husband, then persuades her to drive him to an unknown destination with SETI hot on their heels. 
Part sci fi, part buddy movie, part romance, Starman is both darkly witty and schmatzy, 
but with enough sci fi to keep the nerd in your relationship engaged in the story.
Meg Foster is Stella, a successful real estate agent who takes in 
Albert (Perry King), an acquaintance, when he loses his job. They begin to become fond of each other as Albert becomes her house cleaner and live-in chef. The “different” part is that Albert is gay and Stella a lesbian. 
But when Albert, who is from Belgium, is threatened with deportation, Stella marries him and they manage to fall in love. 
This is where the real story begins as they learn to tread the waters of a normal marital relationship with all of its acmes of joy and pitfalls of mistakes.
And now for something REALLY different. For those of you under 50 who are probably not aware that a diminutive musician/actor/singer/writer named Paul Williams penned most of the award winning and Top 40 pop tunes of the 1970’s and 1980’s, this is a one-of-a-kind.
Phantom pokes a sharp stick at many of the cliched musical trends of that day: country, hard Goth rock, pop, folk, Beach Boys ‘50’s retro, and rock opera. And keep in mind Phantom PRE-DATED Rocky Horror Picture Show by a YEAR!
Phantom is populated with a number of actors who MIGHT be vaguely familiar, 
INCLUDING the voice of 
Rod “Twilight Zone” Serling, who does a brief narrative intro over Swan’s company logo.
Paul Williams is Swan, a music guru and tycoon, former child music genius and star, who oversees his music empire, Death Records, with “almost” supernatural power, both anticipating and controlling the emerging popular trends. 
William Finlay is Winslow Leach, the frustrated composer of a cutting edge rock opera who is unjustly thrown into prison by Swan. 
Jessica Harper is Phoenix, a beautiful talented songstress. 
Gerrit Graham is Beef, the hilarious scene stealing heavy metal rock star whose tough on-stage persona is the complete opposite of his off-stage proclivities.
Everything was written by Paul Williams. The story is, at turns: tragic, funny, creepy, romantic, grotesque, and philosophical, occasionally all at once – walking a VERY thin tightrope between slapstick comedy and Gothic drama.
Combine The Odd Couple, Beauty and the Beast, The King and I, and The Sound of Music (without – uh – music), make it a comedy and you have this delightful, funny, charming and (mostly) family friendly movie. 
Fran Drescher is Joy Miller, a hair dresser who, mistaken for a science teacher, is hired to be the nanny and tutor to the children of President Boris Pochenko, an Eastern European dictator (Timothy Dalton). 
The yin and yang of the New York comedienne Drescher with the classically trained Shakespearean Dalton blend with adorable chemistry in a perfect example of that old saw about opposites attracting.
