WOODSTOCK 99: PEACE, LOVE, AND RAGE (2021, doc)

July 22, 2021

Greetings again from the darkness. Character is revealed in the most unexpected places, and often at a time when one has a bit more freedom than usual. Like the mosh pit at a music festival. You may wonder why I’m disgusted and saddened at what stuck with me after this documentary. Unfortunately, it wasn’t the music. Instead the takeaway from Woodstock 99 is that far too many young men easily succumbed to aggressive and animalistic behavior, and worse, seized the opportunity to abuse women who were simply trying to have a good time. Of course, this was 22 years ago. Maybe we feel better about young men today.

Garret Price, the film’s director, begins by admitting Woodstock 99 played like a horror film, so we brace ourselves for what’s to follow. If you’ve seen Michael Wadleigh’s 1970 documentary about the original Woodstock festival, then you know it’s a blend of some of the best live music of the era and a peek at the ‘peace and love’ counter-culture so prevalent in 1969. To really grasp this version of the 30th anniversary of that first festival, you should know that promoters John Scher and Michael Lang were coming off a very successful and smooth 25th anniversary Woodstock festival in 1994 (Lang was also behind the 1969 festival). 1999 was also the year of the Columbine shooting, we were on the brink of Y2K, and cell phones were quite scarce. The promoters thought was this would be the “last hurrah” for baby boomers. Instead, the festival is referred to as “the day the nineties died.”

The miscalculation by the promoters was in demographics. The transformation of MTV had skewed to younger viewers, and the “Girls Gone Wild” mentality seemed to feed the fantasy of every young male. “New Rock” featuring bands like Korn and Limp Bizkit played up misogyny, homophobia, and aggression. This was the antithesis of where society is headed today. On top of all that, the sweltering heat and overpriced fluids affected behavior, and a water shortage combined with mud pits that were actually raw sewage turned the festival into a nightmare. And then things got worse.

The 1969 music corresponded to that festival’s mission, but thirty years later, Kid Rock in a mink coat and Fred Durst inciting idiocy created a much different environment. Moby is interviewed throughout this documentary offering insight into the festival and how things went wrong. The lineup included only three female acts: Alanis Morissette, Jewell, and Sheryl Crowe, and they were scheduled one per day for the three day festival, meaning many of the other acts seemed to spur the aggression in the massive crowd of 400,000.

With nostalgia non-existent, commercialism booming, and what Jewell terms “fake rage” the calling of the day, rioting, looting, fires, and sexual assaults became the festival’s legacy. Price’s film (produced by former sportswriter Bill Simmons) allows us to watch how quickly things go sideways, and any thoughts of peace and unity disappear. It’s quite a snapshot in time of a generation and culture that was spinning out of control.

Streaming on HBO Max beginning July 23, 2021

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Posted by David Ferguson

SETTLERS (2021)

July 22, 2021

Greetings again from the darkness. With billionaires building their own rockets and blasting off into space, a film about the colonization of Mars doesn’t seem as far-fetched as it did in TOTAL RECALL (1990), or even THE MARTIAN (2015). In his first feature film, writer-director Wyatt Rockefeller minimizes the science-fiction aspects and focuses more on human nature.

A family of three is making their way day-to-day in a compound. Father Reza (Jonny Lee Miller, “Elementary”), mother Ilsa (Sofia Boutella, THE MUMMY, 2017), and daughter Remy (an excellent Brooklyn Prince, THE FLORIDA PROJECT, 2017) have their own greenhouse to grow food, and even (somehow) raise their own pig. We learn they are living in some type of bubble which allows them to breathe without masks, and they have a water supply, though that’s one of countless things that are never explained.

One morning the family awakens to find “LEAVE” scrawled across their kitchen window. It turns out Jerry (Ismael Cruz Cordova, “Ray Donovan”), has returned to reclaim what he says was his family’s home. A battle ensues, and Jerry invites Ilsa and Remy to stay – as long as they don’t bother (or attack) him. Everyone seems to have weapons, though again, we never learn “what’s out there” as a threat.

Remy befriends a droid that resembles WALL-E. She names it Steve. Steve mostly lurks until one crucial scene which seems to come out of nowhere. This is after the ‘last man and last woman’ scenario is introduced with Nell Tiger Free (“Servant”) playing older Remy. Director Rockefeller filmed in South Africa which proves to be an effective stand-in for the surface of Mars, but just leaves too many questions unanswered for this viewer. The human nature aspect is well-handled. We hear Reza tell Remy, “We left Earth because we wanted more.” And later, “Someday it will be just like Earth”, the latter statement seemingly contradicting the first. However, the actions and attitudes of people on Mars seem to be all too similar to Earth’s inhabitants – and that’s a shame.

Opening in Theaters and On Demand on July 23, 2021

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Posted by David Ferguson

McCARTNEY 3,2,1 (2021, doc)

July 15, 2021

Greetings again from the darkness. Remember when … in 1993 … Chris Farley interviewed Paul McCartney on “Saturday Night Live”? That was awesome. Mr. Farley passed away four years later, and Sir Paul McCartney is now 79 years old and truly a living music legend. This Hulu original consists of six 30 minute episodes directed by Zachary Heinzerling, who was Oscar nominated for his 2013 documentary CUTIE AND THE BOXER. Filmed in black and white from inside a recording studio, McCartney and famed hip-hop music producer Rick Rubin spend three hours talking music, history, and influence.

Many of the stories McCartney tells here are the same he’s told numerous times over the years, however, he infuses each episode with some new tale or, even better, a peek behind the music he’s created over the last 60 years. Of course, there is next to nothing about his private life which he has expertly protected for so long, but this environment is about one topic. A sound studio with a music producer talking music with a musician should only be about the music, and McCartney and Rubin fascinate us by deconstructing some of the most famous and popular songs ever written.

The stories in the episodes meander a bit, rather than go in chronological order, and each contains some color clips that correspond to McCartney’s memory of the moment. Episode 1, “These Things Bring You Together” finds Paul recalling how Edith Piaf not only influenced his songwriting, but also his “French” phase (although Jane Asher is not mentioned). It’s really mesmerizing to hear Paul discuss the “intercontinental rivalry” with the Beach Boys and how the Pet Sounds album motivated him towards “Sgt Pepper’s Lonely Heart Club Band” (sprinkled with a humorous salt and pepper story). An incredible clip of Jimi Hendrix performing “Sgt Pepper”, and Paul incessantly chomps on his chewing gum as he refers to “George’s friend”, who just happens to be Eric Clapton.

Episode 2, “The Notes That Like Each Other”, has Paul discussing how Bach influenced his songwriting, and we get insight into “Eleanor Rigby” (and the Octet), “Penny Lane” (with Dave Mason’s piccolo trumpet), “Band on the Run”, “Blackbird”, and the trip to Lagos. It’s in this segment where Paul first acknowledges the importance of George Martin as producer, performer, and arranger. Episode 3, “The People We Loved Were Loving Us”, opens with “Back in the USSR”, and the Beatles first number one hit in the U.S.: “I Wanna Hold Your Hand”. Paul then reiterates the importance of seeing Roy Orbison, Jimi Hendrix, and Bob Dylan perform, and how every musician is influenced by others. He re-tells the too-familiar “Lucy in the Sky with Diamonds” story, and recalls the band’s trip to India.

Episode 4, “Like Professors in a Laboratory”, is a bit of a hodgepodge, but may include the most new details of any. Rubin and McCartney discuss the process for pushing the treble on George’s guitar for “Nowhere Man”, the opening chord of “A Hard Day’s Night”, and the band’s fascination with having Robert Moog and his new invention at Abbey Road. We also hear “the Ringo moment”, and Paul talks about penning his James Bond theme, “Live and Let Die”, and the segment ends with “You Know My Name”. Episode 5, “Couldn’t You Play it Straighter?”, and Episode 6, “The Long and Winding Road” find Paul and Rubin digging deep into creating some of the unique sounds within the songs – the bass line in “Something”; George telling Paul, “you play it” in regards to the guitar solo on “Tax Man”; John’s impact and the famous bass line on “Come Together”; and George Martin’s string quartet for “Yesterday”. Episode 5 closes with “Helter Skelter”, while Episode 6 ends, of course, with “The End”.

Director Heinzerling has the camera track set up as if to film Rubin and McCartney performing in the round – with a couple of exceptions when Paul picks up a guitar or plops down at the piano to make his point musically. Rubin plays the roles of fan boy, music professional, and interviewer, and he does a nice job getting Paul to go a bit deeper than he typically would. As the two isolate fragments of songs, it’s fun to see the joy on Paul’s face as he recalls the “luck” (his word) involved with some of the band’s quick work in the studio. McCartney does manage to give John, George, and Ringo brief moments of tribute, but make no mistake, this is Paul’s show. For music lovers, this is an enjoyable 3 hours, and whether by design or not, it certainly ups the already high anticipation for Peter Jackson’s upcoming, THE BEATLES: GET BACK for Disney+ later this year.

Premieres on Hulu on July 16, 2021

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Posted by David Ferguson

ROADRUNNER: A FILM ABOUT ANTHONY BOURDAIN (2021, doc)

July 15, 2021

Greetings again from the darkness. As the film begins, we understand there will be no happy ending. Anthony Bourdain committed suicide by hanging in 2018 at the age of 61. As it was reported, everyone was shocked. Oscar winning documentarian Morgan Neville (TWENTY FEET FROM STARDOM, 2013) interviews those who knew him best, and by the end of the film, we are left wondering why these folks were shocked at how his demise.

Bourdain … called Tony by those who knew him … spent most of the last 20 years of his life with a camera focused on him, so director Neville allows Bourdain to tell much of his own story. “I got very lucky” is how he explains turning a dishwasher job into the position of Chef at Brasserie Les Halles on Park Avenue in New York, and then evolving into an author, talk show guest, and host of TV travel and culinary shows.

Perhaps you read Bourdain’s first book “Kitchen Confidential: Adventures in the Culinary Underbelly”, or maybe you know him from one of his four TV shows where he traveled around the globe eating strange food and exploring unusual cultures. Then again, to some, he’ll always be known as the guy who was filmed eating a live cobra heart. All of those bits are discussed here, but the real interesting segments occur as others talk about the man they knew/loved/worked with.

Bourdain’s second wife Ottavio, his brother, his friends, his agent, and his production crew are all interviewed here and are surprisingly forthcoming in their recollections and insight into Tony. We even see clips of Bourdain with his daughter, though she is not interviewed. The descriptions add up to a complicated guy. A natural storyteller who was a control freak and hard on those he worked with. Yet he was also charming, immensely intelligent and articulate, and eager to make satisfying TV. He also comes across a bit lost as a person most of the time, never more than when he’s filmed asking Iggy Pop, “What thrills you?” There is even a segment with Tony in a session with his therapist.

The film, and Bourdain himself, don’t shy away from his addictive nature. He admits to a drug problem when he was younger, and for the rest of his life he jumped from one non-drug related addiction to another. His personal life seemed to take a turn when he fell for Italian actress Asia Argento and he became an advocate for the #MeToo movement. His tragic end is discussed, and maybe those closest to him were simply too close to see what seems obvious to us now. Director Neville uses no shortage of archival footage and photos, but it’s the personal interviews that strike the emotional chord here. Two films, APOCALYPSE NOW and VIOLENT CITY apparently had a dramatic impact on Bourdain, and though the end is tragic, his legacy as an adventurous storyteller lives on.

In theaters on July 16, 2021

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Posted by David Ferguson

THE LONELIEST WHALE: THE SEARCH FOR 52 (doc, 2021)

July 8, 2021

Greetings again from the darkness. The old adage goes, “There’s someone for everyone.” Even for the outsiders and misfits. But what if there is only one? First heard by Navy research in 1989, “the Loneliest Whale in the World” has been named “52” due to his unique 52 Hertz call. He has never been seen and his song was last heard in 2003 … so there is no guarantee he’s still alive. Director Joshua Zemen has long been fascinated by the legend of 52 – a majestic creature assumed to be living in isolation since no other whales can hear his call.

It’s a sad story and one that caused a social frenzy as so many related their own stories of loneliness, proving yet again how humans connect with the animal kingdom. Whales have long played a role in the bible (Jonah) and in literature (Captain Ahab from “Moby Dick”), but 52’s unusual call was picked up thanks to the Navy’s Sound Surveillance System (SOSUS) which had been developed to track submarines during war time. It took the late Oceanographer Bill Watkins to recognize the call as biological, creating the origin of the legend and mystery. Watkins claimed we can hear more than we see in the ocean, and there’s much to learn from those sounds.

When the 52 Hertz call was once again heard, director Zemen secured funding for a 7-day excursion off the Santa Barbara coast with the goal of locating the whale. He assembled a team of Oceanographers, Biologists, and researchers – each knowledgeable and passionate. Zemen is the outsider of this group, and in the film’s only flaw, allows himself to be the focus a bit too often. Interspersed within the 7 day mission are history lessons regarding the hunting of whales, once commonplace. All of that changed with the 1970 best-selling record entitled, “Songs of the Humpback Whales”. Hearing their calls and singing led directly to the “Save the Whales” era – and the hunting and slaughtering was cut by 99 percent.

Director Zemen is having quite the year, as his excellent docuseries, “The Sons of Sam: A Descent into Darkness” was recently released. Here he works hard at instilling some entertainment into the science project by including the captain’s 52 Lost Love music tape featuring Pablo Cruise, and a quick segment with the quirky and brilliant Kate Micucci … plus a humorous moment informing us that single bunks are for one person. The film doesn’t get the “tied up with a bow” ending Zemen and the researchers might hope for, but the mystery shifts a bit, and we realize how much we’ve enjoyed spending time with these smart, caring folks. Leonardo DiCaprio donated $50,000 to the project and is listed as an Executive Producer for the film that offers some close-ups and details that are likely new to many of us.

Bleeker Street will release the film in theaters nationwide on July 9 and on Digital July 16.

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Posted by David Ferguson

THE TOMORROW WAR (2021)

July 1, 2021

Greetings again from the darkness. There are some great time-travel movies, some great Science-Fiction movies, and some great alien-invasion action movies; however, there are very few that successfully blend all of the above. Director Chris McKay (THE LEGO BATMAN MOVIE, 2017) and writer Zach Dean (DEADFALL, 2012) come up short in this attempt, and in fact, much of the movie is borderline ridiculous in story line, dialogue, and special effects. It’s extremely rare for me to go two hours (or 2:20 for this one) and never engage with a character or story.

We open on Chris Pratt (and many others) falling from the sky and landing in a horrific war zone. Immediately we flashback 3 decades. Pratt plays Dan Forester, a high school science teacher and former Special Forces soldier in Iraq. He has a supportive wife Emmy (Betty Gilpin, THE HUNT, 2020) and a whip-smart young daughter Muri (Ryan Kiera Armstrong, “Anne with an E”). A glitch in the matrix occurs during the World Cup and a platoon of soldiers announce they are from the future and need help fighting aliens that are annihilating the human race.

Soon, a global military draft is put in place. Thanks to a “worm hole”, those drafted can serve 7 days by bouncing from 2022 to 2051 and back … well at least the 30% who survive get to come back. When Dan is drafted, he hopes to save the world for his little girl, and told her and his students that “science is how you resolve problems”. Of course, big guns help too … but not as much as you’d hope since these aliens are fast, strong, and terribly ugly to look at (with a bit of a throwback look to the 70’s).

In 2051, Dan reports to Romeo Command played by Yvonne Strahovski (“Dexter”), and he works closely with fellow draftees played by Sam Richardson (“Veep”), Edwin Hodge (THE PURGE franchise), and Mary Lynn Rajskub (“24 Hours”). Romeo Command also happens to be a brilliant scientist concocting a potion to destroy the aliens. The hope is to take it back 30 years and prevent the alien invasion from ever occurring. It’s a wing and a prayer plan and there’s a bit more to the story that won’t be revealed here.

Pratt is no stranger to action movies (GUARDIANS OF THE GALAXY, JURASSIC WORLD), and he’s at his best when cracking wise with one-liners. Unfortunately many of those fall flat when there are only 500,000 humans remaining on the planet, and the human race appears doomed. A crazy (and not believable) turn of events leads us to a segment that includes riding snow mobiles on a Russian glacier. The filmmakers try overly hard to work in serious topics like climate change, government incompetence, and anti-war demonstrations (why sacrifice for a war that’s not yet happening?). On top of that, daddy issues abound with multiple characters, which is where a buff JK Simmons (Oscar winner for WHIPLASH, 2014) comes in.

If the film had received its originally planned theatrical run, there likely would have been a few refund requests. However, streaming on Amazon is a much better fit for lower expectations.

Available on Amazon Prime beginning July 2, 2021

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Posted by David Ferguson

FIRST DATE (2021)

July 1, 2021

Greetings again from the darkness. This is the first feature film for co-writers and co-directors Manuel Crosby and Darren Knapp. Despite mixed reactions from its Sundance Film Festival premiere, it’s safe to say that this madcap action-comedy-romance-crime drama provides enough to set the stage for additional projects from the filmmakers. It likely works best as midnight fare, but the film juggles multiple genres and tonal shifts well enough that most will find it at least watchable, if not quite entertaining.

Tyson Brown (his first feature film) stars as Mike, a meek teenager too shy to ask his kickboxing neighbor Kelsey (Shelby Duclos, also her first feature film) on a date. When Mike’s boisterous good friend Brett (Josh Fesler) forces his hand, Mike is surprised when Kelsey accepts … setting off a wild chain of events and comedy of errors featuring a whole host of looney characters. But first, Mike has to find a car to drive, or there will be no picking up Kelsey at 7pm.

Mike buys a $300 1965 Chrysler from a shady dude named Dennis (Scott Noble). Now, Dennis is a natural scammer, but there is another reason Mike’s newly purchased clunker is attracting the attention of drug dealers and corrupt cops. Mike and Kelsey’s first date gets delayed a bit due to all the chaos, and Kelsey briefly ends up in the front seat of the Porsche belonging to local stud Chet (Brandon Kraus). Two local cops played by Nicole Berry and Samuel Adamola have multiple run-ins with Mike, each with terrific comic flair courtesy of Ms. Berry. Walking the line between comedy and danger is the crime gang who spend less time chasing Mike’s car and more time on their book club – “Of Mice and Men” generating quite the debate. It’s like a bumbling character convention came to town.

Filmmakers Crosby and Knapp deliver a frenzied opening scene to try and prepare us for what’s coming. There are a few scenes that drag a bit, but for the most part, the pacing is pretty solid and the mixture of laughs and danger is well managed. Calling 8-tracks the vinyl of car radio is pure genius, and once things go awry, it’s no-holds-barred. The big shootout reminds of FREE FIRE (2016), while the zaniness recalls such films as ADVENTURES IN BABYSITTING (1987), AFTER HOURS (1985), and TRUE ROMANCE (1993).

The supporting cast includes Jesse Janzen, Ryan Quinn Adams, Jake Howard, and Samantha Laurenti, and Nicole Berry is quite the scene stealer as Police Sgt Davis. Tyson Brown is spot on as the deadpan Mike whose only talents seem to be misplacing his phone and staying alive, while Shelby Duclos leaves us wishing her Kelsey had significantly more screen time. We can debate whether it’s best to get caught by drug dealers or corrupt cops, and the comedy of errors is sometimes less funny and more dangerous, but that pinch of teen romance keeps the film grounded and personal.

In theaters and On Demand beginning July 2, 2021

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Posted by David Ferguson

THE PHANTOM (2021, doc)

July 1, 2021

Greetings again from the darkness. Will the real murdering Carlos please come forward? Unfortunately it’s too late for the other one. Store clerk Wanda Lopez was murdered in Corpus Christi, Texas one night in 1983. The recording of her 911 call is brief, but documents her identifying the assailant as Hispanic, and noting that he was brandishing a knife … the knife the man would use to take her life.

After a short manhunt, the Corpus Christi police found a shirtless 21 year old Carlos DeLuna hiding under a car. He was identified by eye witnesses and immediately arrested on suspicion of murder. From the beginning, DeLuna was adamant about his innocence and claimed he knew the actual murderer, Carlos Hernandez, DeLuna’s doppelganger.

Patrick Forbes is a documentarian whose previous topics included Brexit, the human heart, and WikiLeaks. This time he walks us through the steps of a criminal system that executed the wrong man. He uses interviews, archival footage, and documentation from the police reports and trial. We hear from the District Attorney, the defense attorney, Wanda Lopez’s attorney, and the eyewitnesses. The original Medical Examiner (ME) even reads aloud from his report. Forbes presents the facts of the case so that we understand how such a travesty occurred.

The evidence that convicted Carlos DeLuna was limited to the eyewitnesses and a wad of cash in his pocket. No fingerprints. No blood on his clothes. No DNA. Somehow this was enough to not just find him guilty, but also sentence him to death. DeLuna testified at his own trial and claimed under oath it was Carlos Hernandez – a man the Corpus Christi police were unable to find, despite his significant (and violent) criminal record.

We hear from the reporter who received correspondence from DeLuna while he was incarcerated. She recounts their exchanges and notes that she was a somewhat green reporter who had no real idea how to handle this. We also hear from the Chaplain who details the issues that occurred during the execution, and from DeLuna’s estranged brother who tried to assist. Mr. Forbes is efficient and precise in the structure of the documentary based on the Columbia Law School research paper, “Los Tocayos Carlos”. Is the criminal justice flawed or outright broken – for those wrongfully accused and convicted, the answer is simple.

Opening in theaters on July 2, 2021

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Posted by David Ferguson

@ZOLA

July 1, 2021

Greetings again from the darkness. As far as I can tell, this is the first feature film based on an actual Twitter thread. Writer-director Janicza Bravo (LEMON, 2017) works with co-writers Jeremy O Harris and the real life Zola, A’Ziah King to mold the viral 148 Tweets (#TheStory) from 2015 into a somewhat coherent film that may just provide a bit more insight into the social media world than we’d prefer in one sitting. A24 movie studio proves yet again their original, creative, and unique films are unapologetically outside the industry norm … and they are generating quite a loyal following because of it.

Taylour Paige (Dussy Mae in MA RAINEY’S BLACK BOTTOM, 2020) stars as Zola, a waitress with perfect certain “features” according to one of her customers. Zola and Stefani (played by Riley Keough, Elvis’ granddaughter who continues to build a strong and diverse resume, including a standout performance in AMERICAN HONEY, 2016), have an instant connection, and the next day they are off on a road trip to Florida to make big bucks dancing at exotic clubs. Accompanying them are X (Colman Domingo, Cutler in MA RAINEY’S BLACK BOTTOM, 2020), and Derrek (Nicolas Braun, “Succession”), Stefani’s doofus boyfriend.

Be forewarned: this is not the zany female buddy comedy the trailer teases. It’s a dark, twisted comedy laced with dangerous situations and violence. While Zola was led to believe this was a dancing trip for real cash, it turns out X is really Stefani’s pimp, and though Zola stands firm in not taking the sex for cash route, she’s prevented from leaving by a forceful X, no longer the charmer she first encountered. Zola’s wise-to-the-world ways allows her to assist Stefani in upping her cash flow, but things go wrong when Derrek socializes outside the group.

After the infamous Twitter thread, “Rolling Stone” writer David Kushner published an article entitled, “Zola Tells All: The Real Story Behind the Greatest Stripper Saga ever Tweeted”. This is an alternate universe to many of us, though it’s pulled from the “pages” of today’s online culture. Much of the dialogue is in Twitter-speak, and the new Tweet ding is used to emphasize certain spoken lines (think rim shots). Director Bravo instills the “B-word” at the same pace that Tarantino uses the F-word, and it should be noted that both actresses are terrific. Ms. Keough will likely make you laugh, while simultaneously making you uncomfortable. It’s a case study in cultural appropriation – especially her dialect, which is purposefully offensive. We aren’t accustomed to seeing this type of humor these days, but Keough is to be commended for going all in. Ms. Paige’s performance is much different, but no less impactful as her Zola tries to make the best of a horrible situation.

This is a wild story with characters I can only hope you don’t recognize from your own life. It begs the question, what kind of relationships arise from social media? We go a bit deeper on Zola, but really we don’t know much about these people. They are as deep as social media allows, while also serving up a warning to those who might somehow believe internet interactions are anonymous and harmless.

Now showing in theaters nationwide.

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Posted by David Ferguson

A&E Biography: KISStory (2021)

June 27, 2021

Biography: KISSTORY (2021, 2-part Documentary)

Greetings again from the darkness. Even for those who aren’t rock ‘n roll fans, there is a familiarity and curiosity about the band KISS and their fans, known as the KISS Army. It’s the face make-up, the outlandish costumes, the raucous concerts, the best-selling albums, and of course, that tongue. Director D.J. Viola, working in conjunction with A&E’s “Biography” series, has put together a comprehensive 2-part documentary billed as a backstage pass to the history and impact of the band.

KISS has been performing and recording for almost 50 years, and Volume One (as the first episode is titled) goes back even further, as we learn Gene Simmons was born in Israel and moved to the U.S. in 1958, while Paul Stanley was born in Queens. The two men met in 1970, and much of the time is spent with the two co-founders of the band recollecting those early years. Viola chronicles their memories with clips and photographs, as well as commentary from others. The band’s “End of the Road” tour, supposedly their farewell act, began in 2019 and has been suspended until August 2021 due to COVID.

The early formation of the band is a bit unusual, as Gene and Paul found drummer Peter Criss from an advertisement Criss put in the newspaper, and Ace Frehley answered the band’s “Village Voice” ad for a lead guitarist. 1973 brought the first KISS photograph, their earliest known recording, and the earliest concert footage. Their time in Electric Lady Studio, the same one used by Jimi Hendrix, is recalled with reverence, and we get to hear how the band was committed to being “big” on stage, and were influenced in their style by New York Dolls, Alice Cooper, and the idea of a full musical production on stage. It didn’t take long for smoking guitars, airborne drum sets, blood baths, and pyrotechnics to become inseparable from the music and these comic book heroes.

Each band member created their own makeup and character. For instance, Gene’s demon was supposedly influenced by “Phantom of the Opera”. Their new manager, Bill Aucoin recognized the potential and hooked them up with Neil Bogart’s Casablanca Records. By 1975, the band had their anthem, “Rock ‘n Roll All Nite”, and as Dave Grohl describes, their stage show was “ballistic”. Despite all of that, they were definitely a “people’s band, not a critics’ band”, and it took the huge success of their “Alive!” album to save the band and the record label. And what typically follows success?  Yes, turmoil. By 1982 both Criss and Frehley had left the band, due to drugs and creative differences.

Volume 2 of the two-part documentary focuses on the band’s ever-changing musical styles and various personnel changes at drummer and lead guitarist, as well as the rollercoaster ride of popularity and faded stardom followed by recapturing the magic. It’s difficult for a band to reinvent themselves once their look, style, music, and stage show have garnered such a loyal following. Disco, dance music, androgyny, and a rock opera didn’t work for the band or their fans, and Gene and Paul readily admit they spent some years floundering.

It was 1983 on MTV when the band first appeared without makeup, in yet another attempt to reinvent themselves. After the split with Criss, Frehley, and Aucoin, the next dozen years brought multiple lead guitarists, the tragic loss of one drummer to cancer, and even a delve into acting by Simmons. It was an appearance on “Unplugged” in 1995 that led to a huge reunion tour for the band, including KISS Convention – a traveling museum for fans. Predictably, the big bucks tour as not enough to stave off yet another band breakup. Gene and Paul were the leaders of the band, as they were the two that had stuck it out through good times and bad.

This is a band that has sold more than 100 million records and countless concert tickets over a five decade span. Self-destructive band members, an addict as a manager, and changing music tastes of the public were all obstacles that couldn’t ultimately stop the band. Peter Criss and Ace Frehley declined to participate in the making of this documentary, so we have to accept most of this is told from the viewpoint of co-founders Paul Stanley and Gene Simmons. Still, it’s been a fascinating journey for one of rock’s most unusual bands. If it truly ends after the farewell tour, their place in history is secure (2014 inductees into the Rock ‘n Roll Hall of Fame). Until then, “You wanted the best, you got the best. The hottest band in the world. KISS!”

The four hour, two-night event airs on A&E on Sunday, June 27 and Monday, June 28, 2021, from 9-11pm ET/PT.

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Posted by David Ferguson

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