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Alicia Keys: Girl From Hell’s Kitchen (2026) – Review and Summary | Tribeca Film Festival

Alicia Keys: Girl From Hell’s Kitchen acts as both the making of the Broadway musical Hell’s Kitchen and the making of the artist known as Alicia Keys.

ByAmari Allah Hours Posted onJune 15, 2026 7:19 AMJune 15, 2026 7:23 AM

Home - Movies - Alicia Keys: Girl From Hell’s Kitchen (2026) – Review and Summary | Tribeca Film Festival


[Unless Said Otherwise] Spoiler Alert: This summary and review contains spoilers.


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  • "Alicia Keys: Girl From Hell's Kitchen" Film Details
  • Movie Summary
  • Review and Commentary
    • Highlight(s)
      • The Documentary Portion [86/100]
      • Diving Into Her Parents' And Mentors' Stories [88/100]
      • The Making of Hell's Kitchen [82/100]
    • On The Fence
      • It Is Mostly a Fluff Piece [78/100]
    • Overall
  • What To Check Out Next

“Alicia Keys: Girl From Hell’s Kitchen” Film Details

  • Director(s): One9
  • Runtime: 1 Hour(s) and 36 Minutes
  • Public Release Date (Film Festival – Tribeca Film Festival [More Coverage Of The 2026 Film Festival]): June 13, 2026
  • Genre(s): Biopic, Documentary
  • Content Rating: Not Rated
  • Primary Language: English
  • Images © of / Courtesy Of Tribeca Film Festival

Movie Summary

Alicia Keys: Girl From Hell’s Kitchen is a remarkably thorough documentary that uses the Broadway musical Hell’s Kitchen as its base. For while the word “Loosely” might have been used to describe the story of Hell’s Kitchen, the documentary breaks down everything that led up to it, went into it, and who inspired the characters.

This means getting to see archival photos and videos of a young Alicia Keys, when she was Alicia Cook. Exploring not just her life, but taking side streets and going into her mother’s background, father’s background, and exploring both relationships. Just as we see her rise to fame, and the challenges that hold, we learn about the careers and challenges of the people who inspired her, and parts of their story.

Note, not Nina Simone, Clive Davis, and the big names that are world-renowned. I’m talking about Ms. Aziza, her music teacher, and others. She even touches on the careers of the Tony Winners in Hell’s Kitchen to really push that; this isn’t supposed to be just her story, but that of those who provided her opportunities and who she did the same for.

Review and Commentary

Highlight(s)

The Documentary Portion [86/100]

I’m what you call a greatest hits fan of Alicia Keys. I may not know a deep cut, but if it was a single, if it got a music video, I likely know the song. Also, I saw Hell’s Kitchen purely because it was her jukebox musical. With that said, like many, I had an overview of Keys’ story from being raised in New York, coming from a single-parent household, with a White mother, and her family being working-class/poor.

However, her arts background, her parents’ background, as noted below, and her relationship with her dad, weren’t something that felt common to me. So, in terms of getting to know the individual, sans her relationship with her husband, kids, and many of her professional relationships, you get a good amount of “This is how I got to this point in life” information.

Diving Into Her Parents’ And Mentors’ Stories [88/100]

Perhaps the most interesting thing done in Alicia Keys: Girl From Hell’s Kitchen is how it touches on those who raised, mentored, or have been part of Keys’ life. For example, it goes into her mother’s life and background, as a woman from Detroit who came to New York City for opportunities. As noted in the summary, the documentary highlights Alicia’s high school music teacher and gives you insight into her career and life. The same goes for Tony Award winner Kecia Lewis.

But what pushes things into an interesting and vulnerable place, perhaps one of the few that show unresolved issues, tension, and a less triumphant side to the story of Alicia Keys, is her father. Both in archival footage and around the time of the Broadway opening of Hell’s Kitchen, we see him talk about his life and relationship with Keys.

Granted, it isn’t deep and doesn’t really let you into their business, but it does provide insight into an ongoing challenge. One that paints the picture that not everything has been overcome in Keys’ life.

The Making of Hell’s Kitchen [82/100]

It should be noted that this isn’t a nitty-gritty type of documentary that goes into the decade-plus of Alicia Keys making deals, casting, and everything that goes into a Broadway, or even Off-Broadway, musical. We get to see some of the struggles, like with the lead actress, Maleah Joi Moon, recording some of the songs. It talks about the highs of going from the Public Theater to the Shubert Theater. Also, the Tony Awards and what they mean for those who won, and a lot of behind-the-scenes footage.

It’s not necessarily inspirational, but it is interesting, especially as Keys gives you insight into the people some characters are based on.

On The Fence

It Is Mostly a Fluff Piece [78/100]

As should be expected from any documentary where the subject participates, this is not a warts-and-all type of documentary. This doesn’t address any controversy you’d have associated with her, doesn’t touch on her relationships, professional or personal, and it could be submitted that this is all in support of Hell’s Kitchen as a product. If it can’t relate to the musical, then it is omitted.

Overall

Our Rating (83/100): Positive (Worth Seeing)

While undeniably a fluff piece, Alicia Keys: Girl From Hell’s Kitchen still provides more than enough to allow you some insight into who Alicia Keys is. Be it the people behind the characters in her musical or her journey to being one of the most popular musicians to come out of New York City.

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Images used for editorial and commentary purposes. All rights remain with their respective copyright holders.


Listed Under Categories: Movies, Positive (Worth Seeing)

Related Tags: Alicia Keys, Alicia Keys: Girl From Hell’s Kitchen, Biopic, Documentary, Film Festival, One9, Tribeca 2026, Tribeca Film Festival

Amari Allah

Amari is the founder and head writer of Wherever-I-Look.com and has been reviewing media since 2010. He approaches each production with hope, rooting for every story to succeed, and believes criticism should come from unmet potential, while praise is reserved for work that meets or exceeds expectations.

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