Tag: Music

BREAKING GLASS (1980)

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Written & Directed By: Brian Gibson 

Cinematography: Stephen Goldblatt 

Editor: Michael Bradsell

Cast: Hazel O’Connor, Phil Daniels, Jon Finch, Jonathan Pryce, Peter-Hugo Daly, Mark Wingett, Nigel Humphreys, Gary Tibbs, Charles Wegner 

A rock singer is determined to rise to the top of the profession, letting nothing stand in the way of that goal.

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Don’t know how I never heard of this film before recently. As for me, this is an instant classic. The storyline resembles a star is born and even the rose no, it’s different elements, one would say more of THE ROSE, for its lead character kind of achieving theme and going a bit crazy because of it.

What makes this film so different is that it was found during the upheaval in England, so it makes it a time capsule as to the politics, and what was going on in the streets at the time, even if Over the storyline.

The other quality, and that puts it in a herd of other films of its elk is that it doesn’t really feel like there’s too much acting in this room. It almost feels like a documentary, or Lisa docudrama, as everyone is so believable and committed in their performance that it never feels fake. 

It’s one of those dark 1980s movie about the music industry and how you start out, Ernest and all the little compromise. You have to make to achieve popularity and fame while still trying to stay true to yourself and as creative as you once were but also how it’s not only changes you, but it changes the people around you.

As there is a love story of source of her falling for her manager, who believes in her and comes with her to the Fame, but he becomes too controlling, and once he’s lost control of everything, he’d rather quit, then compromise, whereas the female lead falls for more the polished producer who see something in her, but it might be more for his a claim in again to be in control over her

So the film presents an interesting conundrum, where neither of these so-called love interests or people who are supposed to care about her have really her best interest at heart they’re more interested in controlling her and the film seems like she needs that has her energy is all over the place but when she’s being controlled, at least she has direction.

As much as I enjoyed this film, I found out that I saw the American version which is a slightly different cut, whereas in the original version it shows more of her mental breakdown along the way, and in the end, spoiler alert, she ends up in an asylum here the film ends with her, giving her all during a performance in the film ends anonymously, where we don’t know what’s going to happen, or what’s next it just ends.

The songs are catchy and well written, and Hazel O’connor gives an absolute stunning performance in each, and every time she performs in the musical scenes songs in which she wrote. They are just so stellar in iconic that it’s a shock. This film didn’t do more business or is it more popular, even in cult film circles?

As it is a once in a lifetime performance, she appeared and other films and television, but nothing as strong or as big as her starring role here in which you audition, for it was chosen over 3000 others and never expected to have the League she would’ve been happy with just a smaller or supporting role in here. She ended up the lead and she gives her all dressed as a character does.

One believes that once this film is seen by more people, she will enter the lexicon of memorable, female singers in movies wAHO become disillusioned or become legends and inspirations, such as the characters in the films TIMES SQUARE played by Robin Johnson and LADIES AND GENTLEMEN THE FABULOUS STAINS played by Diane Lane and STARSTRUCK 

As with any older films, it’s fun to see certain known character actors of today play smaller, supporting roles in this film, though luckily, it doesn’t take you out of the phone, and still stays as gritty and hard hitting. Truly nihilistic to a certain degree. Though it gives off so much energy that you can’t help but have a reaction to it. It’s a musical about a band trying to make it in the 1980’s 

Surprised to find out Brian Gibson Directed this who directed musical biographies such as WHAT’S LOVE GOT TO DO WITH IT, THE JOSEPHINE BAKER STORY as well as the music comedy STILL CRAZY (My first known Bill Nighy film appearance) as well as the thriller THE JUROR. So while his other films were more well known. His best film is the one that seems to be the least known. 

Grace: B+

ONE SINGS, THE OTHER DOESN’T (1977)

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Written & Directed By: Agnes Varda 

Cinematography: Charlie Van Damme 

Editor: Joele Van Effenterre

Cast: Therese Liotard, Valerie Mairesse, Robert Dadies, Ali Rafie, Gisele Halimi, Nicole Clement

The intertwined lives of two women in 1970s France, set against the progress of the women’s movement in which Agnes Varda was involved. Pomme and Suzanne meet when Pomme helps Suzanne obtain an abortion after a third pregnancy which she cannot afford. They lose contact but meet again ten years later. Pomme has become an unconventional singer, Suzanne a serious community worker – despite the contrast they remain friends and share in the various dramas of each others’ lives, in the process affirming their different female identities.

This is the third film by Agnes Varda that I have seen and wasn’t a plan. Though thankful that I have seen her work. as none of her films were ever at the top of my list to watch, but I am glad to have seen each of them by the end. I am impressed by how they make the audience feel.

This one is pretty epic as it feels like a film on which the Bette Midler-Barbara Hershey movie Beaches might’ve been based as this film observes the friendship between two women over 10 years. From their introduction to one another in their 20s, they reach a certain point of maturity.

The difference is that this film is not only about femininity but also and large part about women’s rights, especially when it comes to their bodies and abortion as that act which was illegal Only a few years before this film was made in Paris, which is the way the friendship starts.

We see both characters through their, many romances and trials and tribulations. as well as they’re changing attitudes and interests. 

While they have mini adventures, the film does feel epic, even if it seems to stray only in a few places. 

Watching the film, it has come along at the right time as its issues are now coming under threat here in the United States, which makes it feel more relevant than ever. Especially Agnes Varda had to admit that she had one as a sign of protest and rebellion was very brave of her. Showing support and solidarity.

This film shows the future that existed because of this act, not because it was an inconvenience. There’s a film that shows the many hardships that the friends go through, but also their endurance, their happiness, and a kind of joy that is rare, and threw it all their friendship, survives and strives, even though they’re not together all the time they encourage each other and inform one another.

Though more common at the time it just reminds the viewer of how few modern films, explore the depth, nature, and strength of friendships.

Not to mention as the title goes, it does have quite a few music sequences, not musical sequences as some are show sing, intentional stage productions, and other scenes just involve the character singing at a protest or showing off the writing of a new song.

It’s a bit long, but after a while, you barely notice as it goes by so fast that it feels more like a book as it hasn’t enriched quality,  time, life, and hope.

The film manages to be political and heavy-handed on one end, but an effective character piece. Where you are enchanted by the characters and their actions as well as their fates

Grade: B+

GIVE ME PITY (2023)

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Written & Directed By: Amanda Kramer

Cinematography: Patrick Meade Jones

Editor: Benjamin Shearn

Cast: Sophie Von Haselberg, Cricket Arrison, Reshma Gajjar 

Sissy St. Claire graces the small screen for her first ever television special, an evening full of music and laughter, glamour, and entertainment. But Sissy’s live event quickly begins to curdle into a psychedelic nightmare.

This film is best not to know anything going in and discover before reading this write-up. As there are spoilers. 

Now this film will probably be compared to the film, LATE NIGHT WITH THE DEVIL, as they are similar somewhat in presentation. Only this film doesn’t show any of the behind-the-scenes action we just see the special as presented with no real backstory before or after. as both films are inspired by movies, such as DEATHWATCH.

this film is hard to exactly explain or identify. it takes place as a live TV special where the film stays in that perimeter for the remainder of the running time and it’s filmed in the same way

Though the special might be haunted or it might just be a collection of errors paired with the star, either overreacting or having a mental breakdown as she might be seeing things or the actual truth as we in the audience, wonder the same thing.

The Songs throughout are funny, but might also be autobiographical for the main character as throughout the special she seems to share a little bit too much with the audience over and overreact in the same way  

The film is brilliant as it is not necessarily quite a thriller or a horror film yet it stays entertaining and is almost a one-woman show for the star played by Sophie Von Haselberg all in front of the camera as she seems to break down.

The lead actress and special is almost a Bette Midler type star Sophie Von Haselberg’s character resembles, but also mixed with Ilana Glazer.

The film gets darker and more unsettling as it goes along, especially when it comes to what are supposed to be skits

The film is an example of how the main character’s past still haunts her, and his manifesting which she talks about early in one of her pieces and one, on ones with the audience

Writer-Director, Amanda Kramer has made another one-of-a-kind film. This one is definitely a classic and not one to ever be forgotten. 

As with most of her films, they are very inspired as she wears her influences on her sleeve, but she managed to make something so original and special with them that you can’t help but be amazed by the end. 

The film definitely has a style. not to mention tons of imagination and obvious skill that went into the making and performing in this film.

The film is psychedelic at times before reason and not annoying. It’s as it shows. It has more of an artistic side. Even in its own strangeness.

Grade: B+

PLEASE, BABY, PLEASE (2022)

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Directed By: Amanda Kramer

Written By: Amanda Kramer and Noel David Taylor

Cinematography: Patrick Meade Jones 

Editor: Benjamin Shearn

Cast: Andrea Risenborough, Harry Melling, Demi Moore, Karl Glausman, Ryan Simpkins, Jaz Sinclair, Dana Ashbrook, Mary Lyn Rajskub, Alisa Torres, Cole Escola

Newlyweds Suze and Arthur become the dangerous obsession of a greaser gang that awakens a sleeping quandary into the couple’s sexual and gender identities.

This film is certainly original. It plays like an homage to biker movies of the 1950’s a bit with the gangs of WEST SIDE STORY and THE WILD ONE thrown in. Though the film Dwells on the homoeroticism of the times while being a send-up and satire of them. That offers the characters not as misunderstood but actually very violent and unrepentant.

As the story of the film is a throwback that works. As a kind of lgbtq west Side Story 1950-inspired set. Though supposedly modern. That seems to be more about repression and a bit of fetishization. As well as being free of gender norms. Though showing the hardships of dealing with it in a supposedly repressed society. 

Where everyone seems to be doing it in the shadows themselves. While also seeming to take a look at and send up the time it depicts. Making it more of a camp romp. Though it seems like a farce it tackles these subjects head-on and in a brave and revelatory way. That goes a long way for representation and not as a fetish of any kind. 

We are with a couple who are witnesses to a murder by a street gang. Who seem to invade their lives and territory more and more. It awakens a wanting feminization for the male in the couple and more of an aggressive masochistic side in the female of the couple. 

Demi Moore has an extended cameo that comes out of nowhere but adds to the action. As her character becomes very important overall.

The film is exciting as you watch it. As the audience never knows what is going to show Next. So we are on our toes. The film is campy and avant-garde at the same time. As the film seeks to say something, but the message always seems a bit off. Yet never quite reaches a level of true awe. 

Grade: B-

PAUL DOOD’S DEADLY LUNCH HOUR (2021)

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Directed By: Nick Gillespie

Written By: Nick Gillespie, Matthew White and Brook Driver

Cinematography: Billy J. Jackson 

Editor: Tom Longmore

Cast: Tom Meeten, Katherine Parkinson, Kris Marshall, Kevin Bishop, Johnny Vegas, Mandeep Dhillon, Steve Oram, Alice Lowe, Pippa Haywood

A weedy charity shop worker is set on winning the big national talent show. But when the actions of 5 selfish people cause him to miss his audition, he sets out to seek deathly revenge. It’s 1 lunch break and 5 spectacular murders.

This film comes across more of a comedy of errors with macabre violence.

The film is a crowd-pleaser that gets you to root for the character right from the beginning. He tries to murder the characters but they are usually done by themselves or some mistake they make In fleeing.

The characters are over the top cruel and mean. So you really feel no sympathy for them and the nastier they are the gorier their deaths. That is where the film offers its surprises, in how the deaths happen.

The film ends up strangely heartwarming. That seems to want to comment on the predatory nature of social media. Though the films feel good premise of social media justice feels a bit like bad timing. As more and more mentally ill people commit mass murder. Using it to show their handiwork and try to be immortalized in infamy.

The film comes across as the lead character Simple and sweet. Though with a dark side. The character is pure yet the film is cynical. 

The film offers impressive practical special effects. Which is where it looks like most of the film’s budget comes from.

What seems like it will be a vigilante tale of revenge. As each character seems a bit off, It’s more a tale of karma and justice.

Grade: C+

MUSICA (2024)

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Directed By: Rudy Mancuso

Written By: Rudy Mancuso and Dan Lagana 

Cinematography: Shane Hurlbut 

Editor: Melissa Kant 

Cast: Rudy Mancuso, Camila Mendes, J.B. Smoove, Francesca Reale, Maria Mancuso, Camila Senna 

A coming-of-age love story that follows an aspiring creator with synesthesia, who must come to terms with an uncertain future, while navigating the pressures of love, family, and his Brazilian culture in Newark, New Jersey.

This is an unorthodox yet familiar romantic tale. As it stays fun though it has very few or little stakes.

The film separates itself with its style of warmth, Goodwill, and positivity. its clear love of its culture.

The film is very surreal and an original inspiring musical. That is cultural yet universal, with him being the Co-writer, Director, and star as well as scoring the film, he is a one-man band that makes the film all the more personal allowing it to be imaginative and playful.

Special mention must be made for Camila Mendes is noteworthy here and a dynamic working actress seeing her in so many different projects recently. She is good and in each of them, she grabs her attention immediately, especially impressed with her range comes through despite the emphasis on her in certain roles. It’s all the glory for him but she is the one he chases and is inspired by. Who accepts him for who he is?

At times, the film looks like a dynamic avant-garde stage play especially in the middle, With many memorable and hilarious scenes that are heartfelt as well as identifiable.

The film plays with the tricky dimensions of the mind and obviously subtle comfortable ways that emphasize the lead character and imagination in the many ways to not only tell a story but illustrate one that might feel common sets itself as an individual.

The film’s strength is strong in the comedic, scenes. the romantic ones feel truly heartfelt and honest classic way made to be modern.

One Could complain about such extravagant use of such a small and simple story but one could also argue while pretty it’s what makes it so real that in life our stories might be small to others, but feel monumental to us in the moment and not only can be surreal, but what we see in our own minds, even if others don’t.

That you might wish would happen and you know you have found a connection when you are with someone who understands or speaks that same language and adds to it making memorable melodies yourselves

Grade: B

BABYMOTHER (1998)

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Directed By: Julian Henriques 
Written By: Julian Henriques & Vivienne Howard 
Cinematography: Peter Middleton 
Editor: Jason Canovas 

Cast: Anjela Lauren Smith, Wil Johnson, Caroline Chickezie, Jocelyn Jee Eisen, Don Warrington, Tameka Empson, Diane Bailey, Vas Blackwood 

A single mother determined to make it as a singer puts together an all-girl reggae group named Neeta, Sweeta, & Nastie with her friends. Living in a housing project with little support, the odds are obviously against her. Emotionally she struggles too as she learns at her mother’s death that her actual mother is the woman she had thought was her older sister. With the help of a female agent, the group starts to get some exposure and rises above their setting.

This is a film I have heard about over the years. Especially in my teenage years and unfortunately forgot about it and then suddenly found it and jumped at the chance to finally watch it. 

The film is certainly eye-catching if even just for the colorful outrageous outfits worn by the cast.   

The film starts off with inventive credits that also help explain who the characters are and how they are intertwined.

For some, this film can be seen as an introduction to dancehall culture before it became popular and mainstream. So that the film Offers a look at characters of Caribbean descent and their culture as they make their way in London. Though at least they are more in their element. As though there are no other races on screen. 

The film is essentially about a woman finding independence and at times romance. While trying to better herself for her children/family. Despite problems with her sister and boyfriend. We see a lot of her and others’ domestic life.

The film might feel a bit familiar. As it comes off as feeling like a Sunday movie. This means something simple, inoffensive that offers something more lightweight and leaves you with a smile on your face. As it affects you like easy listening music and stays smooth, feeling like you are floating for the rest of the day.

The film resolves itself really easily and is not too hard-hitting at all, but why not. It’s nice to see a film that Involves African American characters that isn’t necessarily heavy or traumatic. As most of the characters are likable and the film really doesn’t have any villains. 

Would have been nice if the film delved into other characters’ moves. A bit more as well as their domestic problems. As the film stays with the protagonist mainly Throughout her adventures and challenges. 

The film also has a catchy soundtrack throughout. That would have been nice if performed more with dancing and show-stopping numbers. 

Grade: B-

A HARD DAY’S NIGHT (1964)

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Directed By: Richard Lester
Written By: Alun Owen 
Cinematography: Gilbert Taylor 
Editor: John Jympson 

Cast: The Beatles, John Lennon, Paul McCartney, Ringo Starr, George Harrison, Wilfrid Brambell, Norman Rossington, John Junkin, Victor Spinetti, Anna Quayle 

Over two “typical” days in the life of The Beatles, the boys struggle to keep themselves and Sir Paul McCartney’s mischievous grandfather in check while preparing for a live TV performance.

The film is shot in black and white that makes the film feel timeless. As well as give it a classic fresh feel.

The movie moves along briskly is pretty episodic almost like a Group or music video and live performances with a rather than story built around it. 

Director Richard Lester was ahead of his time based off of this film. He paved the way for music videos. Not just putting out clips of live performances. Fast-paced, rapid editing videos of songs with the band and a storyline of sorts that can be self-contained.

Wilfrod Brambell plays a frisky uncle to Paul. Here to add comedy and have a reason for the hijinks and confusion that keeps the story afloat. 

The film tries to give each member a different personality to play off and their own space to have a singular adventure. It also allows them to be goofier and show a sense of humor and enjoy their youth giving them range And full personalities. After all, this movie is about them.

Even though most of the film feels like filler and comes off as a lark to kill time. Though it has its fair share of memorable visuals.

The film is energetic and freewheeling that feels loose like you can go anywhere at any time. 

It also seems to show how normal the Beatles are despite the fame and situations they find themselves in. More a service to their fans to get somewhat up close and personal.

The film works as a time capsule of the times and culture. As well as a place to show and satirize the level of fame they had, that was the beginning and how they dealt with It in behavior and attitudes. 

It’s a fun film that helps if you are a fan. As it’s an inside look to a degree. This first film is their best film. Not quite as surreal as the others, but more artistic, comedic, and simple.

So that there are constantly scenes and moments to remember. Even if just the songs as the soundtrack is an original album itself.

Remember the excitement for this movie when it got re-released and finally came out on DVD. Which is when I first saw it. It was kind of my introduction to the Beatles. As I had heard of them and a few songs from them before but never quite got into them to kind of learn about them and investigate them and their music until I saw this film. 

Grade: A-

DANNY COLLINS (2015)

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dannycollins2

Written & Directed By: Dan Fogelman 

Cinematography: Steve Yedlin 

Editor: Julie Monroe 

Cast: Al Pacino, Annette Bening, Christopher Plummer, Bobby Cannavale, Jennifer Garner, Nick Offerman, Melissa Benoist, Josh Peck, Katarina Cas, Giselle Eisenberg, Brian Thomas Smith, Scott Lawrence 


Inspired by a true story, Al Pacino stars as aging 1970s rocker Danny Collins, who can’t give up his hard-living ways. But when his manager uncovers a 40 year-old undelivered letter written to him by John Lennon, he decides to change course and embarks on a heartfelt journey to rediscover his family, find true love and begin a second act.

Inspired by the story of singer Steve Tilston, who learned of the existence of a letter that John Lennon had written to him 34 years after the letter was written.

The film is a feel good film that feels a little like a fantasy but is a heart warmer and feels lived in. Will admit this is an easy film to overlook. as once you see the trailer you feel like you have it all figured out. Though once you watch it you are shocked at how much it grabs a hold of you and moves you.

Al Pacino shines in his role her where he gives a heaviness to a role that could be easily written off as lightweight. He gives it his all and makes a charismatic sympathetic character who could have been more comedic. Though the fact that he isn’t makes us pay attention and wonder.

The previews for this film focused more on the romantic angle between him and Annette Bening’s Character but as the film progresses that is only one part of this character study. As most of the drama revolves around him and his estranged son’s relationship.

There are plenty of isn’t that convenient moments but in the end the film leaves you with a smile on your face. As it is a film that could be a family film Except that is some scenes it goes out of it’s Way to show you the material is more adult with drug use and a scene of nudity.

The film lightly explores being afraid of challenging yourself and taking the easy way out. While also asking not o hard if you have built up a reputation for making others happy but it doesn’t make you happy anymore. Do you still owe the people what they want or are you allowed to let yourself be happy and express yourself even if it’s it in a way that others are used to or might not even approve of and try to deny.

Christopher Plummer is good as always and it’s fun to see him play more of a tough guy.

For such a noted cast this is actually kind of lightweight material. Though for the most part they are the true reason to watch this. As they give the material the respect even though they are above it to a certain aspect.

Though in the end this is feel good entertainment with a little bit of an edge and basically gives the cast an easy walk with letting them play characters who are more lived in and having the younger cast members play smaller roles that are more like sketches of characters.

It also asks how much do you owe your audience as they are the ones who supported you and admire you, but ho much do you owe them when you want to express yourself more truthfully and honestly though that stands at odds with what your audience wants or will even let you do. Who is more in control especially when you have given them years and been made rich off of it but aren’t being true to yourself.

Grade: C+

HOUSE PARTY 2 (1991)

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houseparty21

Directed By: George Jackson & Doug McHenry
Written By: Rusy Cundieff & Daryl G. Nickens
Story By: Rusty Cundieff
Based on characters created By: Reginald Hudlin
Cinematography: Francis Kenny
Editor: Joel Goodman & Janice Hampton 


Cast: Christopher Reid, Christopher Martin, Martin Lawrence, Kamron, Queen Latifah, Tisha Campbell, Iman, Georg Sanford Brown, Helen Martin, Tony Burton, William Schallert, B-Fine, Boulegged Lou, Paul Anthony, Christopher Michael, Barry Diamond, Daryl Mitchell, Eugene Allen 


When Kid’s college money is stolen by a crooked music promoter, Play’s solution is to stage the ‘mutha’ of all pajama parties. Continue reading “HOUSE PARTY 2 (1991)” →