ROCK OF AGES (2012)

June 17, 2012

 Greetings again from the darkness. A few upfront disclosures are in order: I spent quite a few evenings on the Sunset Strip during the era of this story; I had no idea who Diego Boneta was and only vague name recognition of Julianne Hough when I walked in; and I never saw the hit Broadway production. These points may help explain my reaction to the movie.

The opening sequence immediately informs us that we are in for something different. Aspiring singer Sherrie Christian (Ms. Hough) is running from her backwoods Oklahoma life to the bright lights of fame offered by Hollywood. While on the bus, we get the first of an endless stream of staged karaoke routines … “Sister Christian” (get it??). Once on Sunset Boulevard, she is quickly mugged and then comforted by Drew (Mr. Boneta), an aspiring singer and current barhop at The Bourbon, an obvious nod to such hallowed rock ground as Whisky A Go Go and Roxy.

 No need to spend much time discussing plot. There is a muddled love story filled with teenager dreams and miscommunication, and a financial crisis at The Bourbon, thanks to back taxes owed by manager Dennis Dupree (Alec Baldwin), and a political backlash against the club thanks to the Mayor’s wife (Catherine Zeta-Jones), who has a not so secret desire for revenge. The only way to save the club is for rock idol Stacee Jaxx (Tom Cruise) to play a gig. The only way to save the love story is to write it out of the film all together. The political agenda is simply an excuse to add two more excruciating karaoke numbers.

 What little fun there is in the movie is thanks to Cruise, Baldwin and Russell Brand, who plays Baldin’s sidekick and confidant. Cruise jumps into the Jaxx role with both feet and seems to understand that a parody should be fun. Being a rock idol isn’t far removed from being the biggest movie star on the planet, so Cruise blends Axl Rose and Bret Michaels to create Jaxx … throw in a pet baboon, two He-men bodyguards, an endless train of groupies, and a dragon codpiece … and you get Stacee Jaxx, legendary rock star and savior to The Bourbon.

 If one is going to make a rock ‘n roll movie, it either needs to be played straight (Almost Famous) or as a head-on parody (This is Spinal Tap). What it can’t do is celebrate the dead zone of lameness: lame music covered by lame singers playing lame characters. No amount of star power actors can overcome material that doesn’t capture the power and passion of the music. And we aren’t even talking real rock n roll here … this is glam rock, stadium rock, big hair bands. Yet, the movie still falls incredibly short of making a statement or providing insight or even entertainment. This one has quite a bit in common with Burlesque (except Christina Aguilera is a terrific singer).

 Cruise’s performance generates some laughs, as do Baldwin and Brand. However, Hough and Boneta aren’t even cringe-worthy. They have zero screen presence and neither belong in a rock movie. The sub-standard singing becomes quite apparent when Mary J Blige belts out her first song.  That is a real voice on a real singer. Maybe the real problem is that most of the songs in the movie have survived these 25 years despite mediocrity … they can easily be sung while intoxicated. Evidently that’s not enough for a decent movie.  I have long been a fan of movie musicals. The ones that work feature good singers with acting ability singing good songs in a way that advances the story.  Rock of Ages misses on all of those points.

note: check for cameos by Eli Roth, Sebastian Bach, Debbie Gibson, Kevin Cronin, and a Lita Ford poster

SEE THIS MOVIE IF: your musical tastes lean towards late 80’s rock OR you want to see Tom Cruise mega-movie star evolve into Stacee Jaxx mega-rock star

SKIP THIS MOVIE IF: you relate a night at the karoke bar to a dentist appointment

watch the trailer:


THE MONKEES – a tribute

March 1, 2012

 Hey, Hey … When the announcement came down that Davy Jones had passed away on Wednesday, fond memories flooded back for many in my age group (the optimal demographic of 20 to 85).  For the last 4-5 years, my “ideas” list has included writing a tribute to The Monkees, and I feel guilty that it took this sad event to motivate me to finish.  Despite my procrastinating, this story deserves to be told, as their impact should not be ignored (yes, I am serious).

Going back to the mid-60’s, there was an entertainment revolution occurring that impacted TV and music.  In 1964, the Beatles while at their chart-topping peak, released their first movie … A Hard Day’s Night.  Caught up in Beatle-mania, producers Bert Schneider and Bob Rafelson were inspired to capture that same frenetic pace for a TV show, with comedic elements enveloped by pop songs.  Schneider later produced Easy Rider, and Rafelson directed the 70’s classic Five Easy Pieces.  With this idea, the “pre-fab four” was born as The Monkees, what some people call the first boy band.  After a huge casting call, three Americans (Mike Nesmith, Micky Dolenz, Peter Tork) and one Englishman (Davy Jones) were cast as the musical group.

 The series had strong ratings and ran for three years (1966-68) in Monday primetime.  Re-runs then became a fixture on Saturday morning TV until 1973, keeping the group in front of an audience for eight total years.  James Frawley directed 28 of the 58 episodes, and the series would lead to 11 albums (over 65 million sold), a TV special, a feature film (Head 1968), and numerous reunion tours.  It all began with the ground-breaking TV series that really clicked with kids.  The offbeat series seemed to prove that different personalities could do more than co-exist.  Mickey was the class clown.  Mike was the quiet, soulful one.  Peter was the hyper-dork.  Davy was the cool popular one.  This disparate group managed to have fun as friends and make great sounding music together.  Kids could relate to these misfits and it provided hope, as well as some  popular music.

Ahh … the music.  The music is what caught everyone by surprise. The four lads had limited musical backgrounds, so the plan was to use mostly studio musicians.  What music producer Don Kirshner discovered was that, at least vocally, there was plenty of talent in the group.  With harmony groups very popular at the time (The Beatles, Beach Boys, Crosby Stills Nash, The Hollies), The Monkees created a smooth, distinctive sound without the edge or political statements that were all over the radio. Despite being surrounded by the constant claims that they weren’t real musicians, their first album “The Monkees” (1966) stayed number one for 13 weeks, and was the first of four consecutive number one albums for the group.  Here is a brief recap of the four actors:

 DAVY JONES was born in England and at 5’3, had intentions on become a jockey.  He stumbled into stage acting and was nominated for a Tony, as The Artful Dodger in a Broadway production of “Oliver!”.   As a matter of fact, when The Beatles made their U.S. debut on “The Ed Sullivan Show” on February 9, 1964, Davy Jones was also on that same show as a member of the acting troupe performing a scene from “Oliver!”   Jones had four daughters and continued acting and singing throughout his life.  He had performed just two nights prior to his fatal heart attack.

 MICKY DOLENZ was a child star on the TV series “Circus Boy” (1956-58).  When he was cast in The Monkees, he learned the drums well enough to play on some of their albums.  He has since managed to grind out a pretty successful showbiz career with acting, singing, voice acting (cartoons), directing, and even as a radio DJ.  Toni Basil’s 1982 hit “Hey Mickey” was named after Dolenz, as she had choreographed The Monkees’ movie Head (1968).

 MICHAEL NESMITH was a self-described “do-nothing” teenager. He was very involved in the production of music for The Monkees, and was the driving force behind the group’s break with music producer Don Kirshner. After leaving the group, Nesmith invented and sold the concept of 24-hour Music Television to Time Warner, and it eventually evolved into MTV.  His mother, Bette, invented Liquid Paper, from which stemmed a $50 million inheritance for Michael when she passed away.  Nesmith has stayed active in music production and has even written a couple of novels.

 PETER TORK – was a Greenwich Village folk musician and Stephen Stills’ roommate prior to being cast in The Monkees.  He was the most gifted musician of the four and played multiple instruments across various music styles.  Peter was diagnosed with a rare form of head and neck cancer, and in 2009 had successful surgery to remove the growth from his tongue.

After the series ended, Rafelson teamed with Jack Nicholson (credited as co-writer) to create a feature film with The Monkees.  Head was released in 1968 and featured cameo/pop-in performances by such well known personalities as Annette Funicello, Dennis Hopper, Teri Garr, Victor Mature, Sonny Liston and Frank Zappa. Though not a box office success, the film has developed quite a cult following, and the soundtrack has fared very well with critics over the years.  Nesmith still claims the movie was designed to “kill off” The Monkees.

 Throughout the years since, there have been numerous incarnations of reunion tours and special appearances that featured 2-4 of the original group.  The 1996 “Justus” album was the first since 1968 on which all four members performed, produced, wrote and played all instruments (thus the name Justus = Just Us).

The Monkees’ music remains a staple on “oldies” radio, and has been recorded and covered by numerous bands over the years, including: Run DMC, Smash Mouth (for Shrek), The Replacements, and Susan Boyle.  Many of their songs were written by the Boyce-Hart team, but also such well known songwriters as Neil Diamond, Carole King and Harry Nilsson.  Despite all the controversy, the group has numerous songs that have held up well over 45 years.  Their influence is clear and they deserve a place in TV and musical history.

**NOTE: The rumor that Charles Manson auditioned for the show was false, as he was in prison at the time.

Here is a list of some of The Monkees’ finest songs.  Some of these are live links so you can see the early music videos while you listen to the pleasant sounds of The Monkees:

A Little Bit Me, A Little Bit You

Daydream Believer

Girl

I’m a Believer

I’m Not Your Steppin’ Stone

Last Train to Clarksville

Listen to the Band

Look Out (Here Comes Tomorrow)

Mary Mary

Monkees theme

Pleasant Valley Sunday

Shades of Grey

She

Sometime in the Morning

The Day We Fall in Love

Valleri

When Love Comes Knockin’ at Your Door

Your Auntie Grizelda – Ok, not one of their best, but certainly one of the funniest

Your Auntie Grizelda


THE BIG STAR STORY

December 2, 2011

 This is not a movie review, but rather an advance notice.  In 2012, a full length documentary is being released detailing the influential cult band BIG STAR.  The band was formed out of Memphis in 1971 by Alex Chilton, Chris Bell, Jody Stephens and Andy Hummel.  If you are a music fan from the 60’s and 70’s, you will recognize the name Alex Chilton.  He was the 16 year old lead singer for THE BOX TOPS on their hits “The Letter” and “Cry Like a Baby”.   BIG STAR’s first album received wide spread critical acclaim, but was poorly marketed by their label, and the band never reached a wide audience before folding in 1974.

 Years later, bands such as REM named BIG STAR as a key influence to their music … and a revival was born.  Chilton and Stephens put a band together and began playing dates.  In 2010, BIG STAR was to play SXSW Music Festival, but Chilton tragically died from heart problems just days before their scheduled performance.  A special tribute show sprang from the fellow musicians at the festival and production on the documentary continued.  It’s entitled NOTHING CAN HURT ME: THE BIG STAR STORY, is directed by Drew DeNicola and Danielle McCarthy, and will be ready for it’s debut during the Spring 2012 festival season.  Here’s hoping Big Star finally finds the audience they deserve.

Here is the official site for the documentary

http://www.bigstarstory.com/

Watch the trailer

Listen to BIG STAR perform:


BURLESQUE (2010)

November 18, 2010

 Greetings again from the darkness.  Attended a Tuesday screening and must admit that I was blown away by Christina Aguilera.  The film is first and foremost a showcase of her musical talent … and quite a talent she is!  Of course, you better be ready for the humor and visuals aimed at the audience attracted to an event featuring Cher and Christina.

Ali (Aguilera) is a bored, small town Iowa girl who heads off to find the bright lights of L.A.  She stumbles into a Burlesque club and is immediately enchanted by the songs, the dancers and the ambience.  The club is co-owned by Tess (Cher) and her ex-husband Vince (Peter Gallagher) and is on a steep slide towards financial disaster.  Local real estate developer Marcus (Eric Dane) rides in on his classic Porsche and fat wallet and offers to rescue Tess and Vince.  Of course, his plan for the club is anything but altruistic.

 Meanwhile, Marcus and Jack the bartender (Cam Gigandet) battle over Ali, though neither are very good at it.  While that battle is going on, Ali manages to leapfrog a burned out Nikki (Kristin Bell) for the spotlight on stage.  This is when the movie really takes off, musically speaking.

From a musical perspective, Cher belts out a couple of solos that easily convince that her pipes are still full strength.  Her two songs are definite highlights and it’s a pleasure to hear her in top form – at age 64!  Aguilera has so many numbers that I lost track.  Most are average songs at best, but her voice is so unique and powerful that the non-descript songs come off just fine.

 Must also mention Alan Cumming and especially Stanley Tucci.  Mr. Tucci is clearly the best actor in the movie, though he basically reprises a previous character (Devil Wears Prada).  Oh and there is the bonus of a very odd Tucci bedroom scene. 

There will be comparisons to Dreamgirls, Cabaret, Chicago and Moulin Rouge!  This is no litmus test for Ms. Aguilera’s acting ability, though she comes off infinitely better than Mariah Carey in the atrocious Glitter.  Writer and first time director Steve Antin pretty much stays out of the way of Cher and Christina, while delivering the expected and welcome product to his intended audience … not that there’s anything wrong with it.

SEE THIS MOVIE IF: you need an intro to Christina Aguilera’s singing ability OR you are a fan of Cher (like anything could keep you away!)

SKIP THIS MOVIE IF: bump and grind dancing is not your cup of tea OR you can’t appreciate campy humor filmed for the enjoyment of the gay community

See the Burlesque trailer

 


BRAN NUE DAE (2009)

September 12, 2010

 Greetings again from the darkness. Gosh! Enough already! How many Aboriginal musicals featuring a VW hippie van being pursued by a priest must we endure? OK, so maybe the premise isn’t all that common. Based on an extremely popular Australian play from the 1990’s, director Rachel Perkins screen adaptations features the deserts of NW Australia and a loony priest played by Geoffrey Rush.

Though the idea is pretty creative, the film execution comes up lacking a bit. None of the songs are very catchy and the overall talent in the film is mediocre at best. Newcomer Rocky McKenzie in the lead role of Willie is pretty nondescript. Willie is forced by his mother to attend a school led by Geoffrey Rush in order to train for a life in the priesthood. Of course, Willie is a teenager and all he really wants is time to hang out with Rosie … they make flutter-eyes at each other. Sadly, Rosie falls under the spell of a honky tonk musician as Willie heads out to study God.

Jessica Mauboy plays Rosie and has the musical highlight of the film as she belts out “Stand By Your Man”. The downside is that the lip-syncing is so poor that I found it quite distracting. As expected, when Willie rebels and runs away from the cloth and towards Rosie, the fun begins. He hooks up with Uncle Tadpole (an energetic and slightly twisted Ernie Dingo) and a couple of traveling hippies. One of the hippies is played by recording artist Missy Higgins. They are unknowingly being chased by the priest as they try to get Willie back to Broome (and Rosie!).

Along the way they stumble upon a roadside shop run by the great Magda Szubanski, who was so memorable as Mrs. Hoggett in Babe. That’s just one of the challenges they face along the dirt highway. For the sake of comedy, there should have been even more.

The film has bits of Bollywood, Rocky Horror Picture Show and Grease, but the parts just don’t add up to a full musical comedy. The colors and setting are spectacular and the words to the songs often reinforce the plight of the Aborigine people, but everything just falls a bit short of the target. Even the climactic scene where all the pieces of the puzzle come raining down doesn’t compare to the similar type scene in City Island. It’s a sweet, simple enough film with just not enough to offer.

SEE THIS MOVIE:  if you want to tell all your friends you have seen an Aboriginal Musical.  Be forewarned: There are no guarantees they will be impressed.

SKIP THIS MOVIE: if you prefer musicals with catchy tunes or Australian movies featuring big knives and crocodile hunters.


NINE (2009)

January 3, 2010

 (1-2-10) Greetings again from the darkness. I am so conflicted on how to analyze the film and what to say. Being a fan of Fellini’s 8 1/2, I really was hoping director Rob Marshall (Chicago) could pull it off. The cast is dazzling and deep. The question begged, would it be an homage to Fellini, the Broadway musical or go a different route altogether? After seeing the film, I still can’t answer that question and that’s a major problem.

The great Daniel Day-Lewis is in the key Guido role. His musical numbers lack punch, but the rest of his performance is outstanding. All of the brilliant women do the most possible with their musical numbers. Penelope Cruz is quite provocative (as the mistress), Nicole Kidman is classy as the starlet, Fergie is explosive as Guido’s childhood obsession, Kate Hudson is energetic as the lusty American, Judi Dench is sage as the muse, and Sophia Loren comes off as royalty as Guido’s mom.

You will note that I failed to mention Marion Cotillard. The reason is that she stands out among the others. Her first number is the key to the film and the first real emotion that we get. She is outstanding and deserves recognition that she probably won’t get.

Each of the stars is just that … a star. The film never really allows us to connect to a character. There are so many fine pieces, but the lack of cohesiveness causes this one to be a near miss as a complete film. Don’t let this scare you away. If you haven’t already done so, seek out Fellini’s 8 1/2 .. THAT one is definitely worth your time.