Directed By: Julia Hart Written By: Julia Hart & Jordan Horowitz Based On Characters from the novel STAR GIRL By: Jerry Spinelli Cinematography: Bryce Fortner Editor: Shayer Bhansali & Tracey Wadmore-Smith
Cast: Grace VanderWall, Elijah Richardson, Judy Greer, Uma Thurman, Judd Hirsch, Tyrel Jackson Williams, Chris Williams, Al Madrigal, Nija Okoro, Sarayu Blue
Stargirl Caraway as she journeys out of Mica into a bigger world of music, dreams and possibility.
while better made than the first film. As it seems to have a larger scope. it also seems to have lost a little of its heart. This one might be a bit better because you know what to expect throughout.
As it tries to keep a positive and romantic tone. It still is paced morosely.
As even though it’s a kid’s film it feels like doom or the rig will get pulled under at any minute.
This one also benefits from a more well-known cast of supporting actors. Who gets more time to actually have their presence felt. Instead of the last film which focused primarily on the main couple.
Star girl still seems to be a beacon of optimism And the guys she falls for seem to be the same type. Here she is not quite as mysterious. Not offering a surprising knowledge of music and classic hits. Though there are plenty of singing scenes.
Not quite a musical in the classic sense but more songs were performed without any choreography or dancing. The difference between seeing a performer and a show.
This film is also a romance but maybe as in the last film they spent more time on the romance and her doing the chasing while staying mysterious. This time around we get to know more about her and the romance just seems to happen. It’s sweet but doesn’t feel like it has as much depth this time around.
It pretty much goes through the numbers and is a sweet film. None of it is really believable but keeps your interest. Especially when it is more made to please its audience of Disney viewers
Though everything feels rushed its pace is like molasses.
Written & Directed By: Ken Russell Cinematography: Peter Suschitzky
Editor: Stuart Baird
Cast: Roger Daltrey, Paul Nicholas, Ringo Starr, Sara Kestelman, Rick Wakeman, Fiona Lewis, John Justin, Veronica Quilligan, Nell Campbell
Composer and pianist Franz Liszt attempts to overcome his hedonistic life-style while repeatedly being drawn back into it by the many women in his life and fellow composer Richard Wagner.
This is a movie it has taken me a while to finally watch and its legend has only grown over the years. It’s writer Director Ken Russell’s second collaboration with The Who singer Roger Daltrey as his star.
This is definitely a film of its time period a very experimental look at the composer Franz Liszt. A very hedonistic film and the character
The film sets the tone early as we are introduced to the character in the middle of a sexual seduction with a married woman. Whose encounter is interrupted by her husband and a sword fight happens meanwhile Liszt is mostly naked throughout.
After that we kind of fast forward into little vignettes of surreality that happen throughout the film. W see him perform to roaring crowds of teen girls who all cry and want to touch him as he plays. That is where we are introduced to many composers but mostly It’s Richard Wagner who will become important later in his life and this film.
Next, we see him in domesticity with his wife the woman from the opening scene. Here we see their life played out like a silent film homage to Charlie Chaplin and his leading ladies. Though we know the road and his hedonism will tear away from this seemingly love story bliss.
The early parts of the film play more like a traditional biofilm as far as pace and l learning about the character. Once he decides to become an abbey and therefore more religious while still maintaining His monstrous libido. The film takes a strange turn that allows for the return of Richard Wagner as a kind of vampire. Who decides to build his own Aryan Frankenstein
At that point, the film becomes more of a surreal fantasy film with history and politics thrown in. As with most Ken Russell films you never quite know what you are going to get, but it will be original and quite shocking. As he is a provocateur.
He made many biographical films about composers. This is one of the mroe outrageous ones. Where he tries to make it fun and a kind fi satire. Though can admit at the beginning it is kind of slow but as the film goes along he keeps building the scenes and sets. So that by the end you can’t help but watch in awe. He doesn’t always hit his targets, but he gets close often.
It’s hard to believe but at a certain point, the film becomes somewhat predictable for the most part. Though offers plenty of homages and allegories
The music throughout is actually Franz Liszt’s compositions only with added lyrics to make them mroe modern songs that express emotions. Which isn’t needed and doesn’t exactly work. As it is like trying to update masterpieces.
This film doesn’t reach the heights of TOMMY, maybe because this film is forced to stay within certain boundaries when it comes to facts. While it doesn’t seem to have as much Joy and deeper meaning as that film. This is quite a nice attempt at offering something different and artistic. Even with the melancholy sadness that the film Carries at times
Directed By: John Landis Written By: John Landis and Dan Aykroyd Cinematography: David Herrington Editor: Dale Beldin
Cast: Dan Aykroyd, John Goodman, Joe Morton, Nia Peeples, J Evan Bonifant, Frank Oz, Darrell Hammond, B.B. King, Junior Wells, Aretha Franklin, Matt Murphy, Erykah Badu, Johnny Lang, Eddie Floyd, Wilson Pickett, Eric Clapton, Steve Lawrence, John Popper, Sam Moore, Paul Shaffer, Clarence Clemmons, Issac Hayes, Bo Diddley
Elwood, the now lone “Blues Brother” finally released from prison, is once again enlisted by Sister Mary Stigmata in her latest crusade to raise funds for a children’s hospital. Once again hitting the road to re-unite the band and win the big prize at the New Orleans Battle of the Bands, Elwood is pursued cross-country by the cops, led by Cabel the Curtis’ son (and Elwood’s step-brother), the Russian Mafia, and a militia group. On his new “mission from God” Elwood enlists the help of a young orphan, and a strip club bartender.
I remember when I went to a screening of THE BLUES BROTHERS for a yearly Special festival that played at RADIO CITY MUSIC HALL. That was part of the movie street festival in years past. Where they would screen classic films as a double feature for one week. They showed a special message from Dan Aykroyd on this film’s set and to be prepared for another classic.
I was excited when the Film came out. It, unfortunately, fell Very short.
Watching a documentary on the artists or their performances would be more entertaining than unfortunately watching this film.
How the mighty have fallen, this film feels strictly like a cash-in on the original and franchise.
All the things the first film does brilliantly. This film either repeats badly or just doesn’t know what to do with it. Even more disappointing is that the original film’s director came back to direct the film. Director John Landis
This is why the films only have good scenes other than the Musical performances. Are the car chase scenes and even there the film seems to go over the top and ruins a good thing
As the story is very thin and badly put together to the point it drags along and comes across as an afterthought.
Dan Aykroyd’s Character is just so unresponsive to most things. It doesn’t make his character interesting or entertaining and desperately needs to bounce off of someone. Even when there are two others who try. Leaving the audience just witnessing acts with no rhyme Or reason. Things just seem to happen and characters just seem to change magically all of a sudden.
Joe Morton’s character for instance and John Goodman go through a total character change due to wardrobe changes.
John Goodman is wasted as he has very little reason to be there and is given very little to actually do.
Truly the performance scenes Are the film’s only Saving grace. This is why most of the cast is made up of them performing and relegated to cameos.
Some are returning from the first film and others seem more who were more popular at the time and maybe missed being in the first film. As this film is mainly mostly a retread of the first film.
The film is way too long, and the jokes don’t work and never would. Unlike the musical scenes, the humor seems odd to base, like it was hilarious when conceiving but didn’t play well at all.
If you must watch it. This is the Rare film where I say feel free to fast forward to the performances. If anything it reminds you of how good the original film was and how this film deserves its Legacy.
It is one of those projects that was good in theory but should have been shelved. It comes across as an almost kid-friendly Version of the first film.
Written & Directed By: Damien Chazelle Cinematography: Linus Sandgren Editor: Tom Cross Music By: Justin Hurwitz
Cast: Ryan Gosling, Emma Stone, John Legend, Rosemarie DeWitt, J.K. Simmons, Finn Wittrock, Callie Hernandez, Jessica Rothe, Sonoya Mizuno, Valarie Rae Miller, Tom Everett Scott
Aspiring actress serves lattes to movie stars in between auditions and jazz musician Sebastian scrapes by playing cocktail-party gigs in dingy bars. But as success mounts, they are faced with decisions that fray the fragile fabric of their love affair, and the dreams they worked so hard to maintain in each other threaten to rip them apart.
This is a big Hollywood epic with an indie sensibility.
The film Might be overpraised by some but doesn’t mean the film is without merits.
There haven’t been really too many musicals lately this one came along and is more the classical with having a more avant garde way of telling the story but in a more mainstream way of advancing story and having an emotional core with the songs. Instead of them being an extravaganza meant to be show stoppers and really just there to dazzle.
Though the movie can easily be written off as trying to tell It’s story in a classic mode that hasn’t been sued in a while and going. For a certain glory. This film feels like it can only be told in this way
As the film Shows a love of the genre as well as playing by the rules and adding a spin of it’s own. As it Also has a kind of successful A STAR IS BORN type story. Only without the heaviness of a tragic ending. Though it does have it’s own tragic ending of sorts.
The ending is tragic in that it offers up some hope at first before letting the wind out of the soaps of the audience. That reminds the audience of the reality vs fantasy sequence in 500 DAYS OF SUMMER. It’s beautifully and so emotional that every note feels like a moment. Though it is meant to pull on your heartstrings and have an emotional reaction yourself which makes it all the more memorable. As the characters and we Review and look back over all the decisions might they have had a chance to go another way. Not to mention a future that could have been.
An homage to musical while being one itself though owing more to European ones which they share the theme of success but tragedy choosing to show the peril Of the relationship that goes with individual success the difference between art and commerce with a kind of ending that fools us with that could have been making the wound hurt more.
Which is where it doesn’t Feel as familiar in the second half the after the happily ever after even if it involves a character who kind of appropriates culture though more to a degree but that is more subjective than anything a romance at least. Though through it all the film Wears it’s influences and even if knowing where it is going leaves surprises or at least attempts them. Which keeps the audience on it’s tied and excited as the film goes along.
This shows A love of film and a great love story that might remind many of theirs or at least a dream one they wish they had. A reminder of CinemaScope and technicolor musicals of all ages. As it is hopeful and energetic but shows struggling and settling then finding fame and success and it’s painful aftermath. That while great for the individual is not healthy for a relationship. As one might have to settle or give up their dreams and drive for the other to prosper.
A story that shows of old Hollywood and jazz, A throwback simpler classy times. There is Nothing vulgar about it. Which is becoming increasingly rare in movies these days. At least when it comes to movies that have a certain pedigree.
The Dancing is noteworthy. It not phenomenal to show the characters are human and normal. The magic you feel and how strong those emotions or how you wish they would be. The First half feels like a broadway musical almost as it gets closer to reality and more serious less and less musicals
The film Feels like a fair sided testament. The film is infectious and makes you want to watch More as it stays inventive.
The filmmakers previous films all have music or revolve around it. So that you can tell he has a passion for it and in his storytelling here it is goes hand and hand with the story. As This feels more a continuation of GUY AND MADELINE IN THE PARK his first film. WHIPLASH his next film takes place around music and passion but also seemed more dramatic, destructive and dark.
This film Almost feels like a film stitched together from your favorite parts of songs and movies the scenes you fast forward or rewind over and over to get to. Though under a different or new coat. It owes a deep debt definitely to it’s influences like YOUNG GIRLS OF ROCHEFORT and UMBRELLAS OF CHERBOURG
Directed By: Bill Duke Written By: James Orr, Jim Cruickshank & Judi Ann Mason Based On Characters created By: Joseph Howard Cinematography By: Oliver Wood Editor: Stuart Pappe, Pem Harring & John Carter
Cast: Whoopi Goldberg, Maggie Smith, Wendy Makkena, Kathy Najimy, Mary Wickes, Barnard Hughes, James Coburn, Michael Jeter, Sheryl Lee Ralph, Jennifer Love Hewitt, Lauryn Hill, Robert Pastorelli, Alanna Ubach, Ryan Toby, Jenifer Lewis
The sisters come back to Delores’s show to get her back as Sister Mary Clarence to teach music to a group of students in their parochial school which is doomed for closure. One of the girls, who is the most talented of the bunch, is forbidden to sing by her mother, although the choir has made it to the state championship. A group of stereotypical incompetent monks tries to stop them.
The film never seems to shake its beginning. It starts with a vegas stage show and the whole film feels the same way as production. That is glossy and slick and never feels real while it tries to impart a message. Though it comes off as hammy as a hallmark presentation movie. Put on the big screen full of cliché. In fact, Whoopi Goldberg hated making the first one though it revitalized her career one of the reasons she decided to appear in the sequel was that Disney agreed to finance her dream project SARAFINA. If she made this film.
The film makes no sense half the time whereas at the end of the original Whoppi Goldberg’s character seemed to be world-famous and here she is a vegas star. Though no one seems to recognize her when she dons the habit. (Hence the title) to become a nun again to teach inner-city children. Even the administration. One of the few pleasing aspects of this film is that it seems more of a film to highlight fresh new talent in acting and performance. In fact, this was the first time I remember seeing singer Lauryn Hill. She has practically the near lead out of all the students and Ryan Toby of the R & B group City High.
I guess it was more intended for family audiences. Whereas the first one was also but played more for the adults. This one seems more aimed at teenagers. It takes place in the inner city but is the nicest inner city you’ll ever see. In fact, Lauryn Hill’s plotline involving her mother made no sense. it only seems to be here for false conflict.
The recognizable big-name cast in the film. That is cast in small supporting roles. Seem here to add marquee value to the dwindling film. Making the film look more respectable. Though the actors are only here for a fast paycheck and also so they can be in a film that looked to be a slam dunk at the box office. Though it is nice to see them they only add to the gloss and make the film shiny while never cutting deep.
I will tell the truth I am a fan of the first film. In fact, it still holds the record for the movie I saw the most in theaters (As well as such films as PULP FICTION, HEAT, THE BIRDCAGE and GET SHORTY) SISTER ACT was PG-13 and I could actually go see it without a parent. I also remember all my friends and family wanting to see it. So I would volunteer to see it with them. The film was very charming to me. It was also cute and funny. When I didn’t ask too much about my entertainment and art. When this film first came out I liked it. I didn’t hate it. In fact, I still don’t. Just watching it now is so disappointing. It hasn’t aged well at all. Though I doubt it was ever really good. It seems like a film that tries hard to be hip and meaningful but was played out even before it went to theaters.
It plays like a film that is only interested in making money for its brand and seems like they tried hard to try to come up with a reason for a sequel. Though the answer wasn’t really that good. I still find it to be a mild guilty pleasure as it reminds me of the time that it came out. I did like the film and its music I even bought the soundtrack and think Lauryn Hill’s rendition of His Eye is on the sparrow is spectacular and haunting. Wait for Television,
This is one of the last times I feel Whoopi Goldberg really gave of herself and put in a performance. No matter how much she seems on autopilot here at least she looks like she is trying and engaging. Especially considering the material.
Directed By: Leos Carax Written by: Ron Mael & Russell Mael (Sparks) Cinematography: Caroline Champetier Editor: Nelly Quettier
Cast: Adam Driver, Marion Cotillard, Simon Helberg, Devyn McDowell
Against all logic, Henry and Ann–he, a struggling stand-up comedian, she, a beloved opera diva. fall madly in love and become inseparable after a chance encounter in bustling, modern Los Angeles. However, all great romances are fraught with pain. Faced with the public’s surprise and the dark side of success, Ann gives birth to gifted Annette: the fruit of their love, a miracle, a child prodigy, and the couple’s damnation.
I didn’t Love it, But I like it, kind of. There is A lot to dissect.
Starts off purely cinematic then the following film has its Moments and looks beautiful but never matches. As it seems more satirical at times and less an intimate story maybe taking on so many subjects and story beats rather than keeping it simple.
It’s special as it is not typical or something you see often. Or is it lazy or subpar filmmaking but didn’t white make the connection or inspire amazement. Though keeps interest throughout but feels overwrought at times.
Amazing how it starts off with so much promise and the belief that anything can happen or at least if what will happen and steadily loses steam, But manages to keep you watching with hope. Interested to hear others’ opinions about this film. I certainly have mine.
Director Leos Carax The French David lynch obviously loves films and cinema. Only he has his own vibe and influence.
Always excited when he makes a new film, never knowing what we are going to get and will it be something to enjoy, study or both.
I believe most of his films Are meant to be seen in theaters as a requirement. Having said that I will admit I have never seen one in a theater but am fascinated and taken away by all of his films.
As they are constantly Alive. Unpredictable, breathing, moving, emotional they have hearts and minds. Where by the end you have an opinion or the both in them as they engage and make you think stylish and able to shock they have their eccentricities and personality.
As they strive to be different yet tell stories that are recognizable and somewhat identifiable in their own way. You can always call them different and yet seem exactly to come out of an individual’s Imagination. Who has made no compromises and told the tale the exact way they wanted to, no matter how it is taken. Not made necessarily to entertain or even be understood completely but to share and experience. Which ultimately shows its personality.
This is Definitely a film made by an auteur, not by committee, more like An expression of thoughts that come to a point, A theory
Movies have usually been driven by romantic notions and definitely influenced by music seeming like they are albums themselves with each scene or section of film being their own song or ballad.
The film is Stylish above all else. Bringing his passion and interests into the story. That still seems filled with surreal shots that seem straight out of a perfume ad or filmed perfectly for one.
The Director even cameoed at the start to show that he is the engineer behind it all before introducing his collaborators in a musical sequence in which they are all together. Keep in mind this was also written by the band sparks. Who has a cult following for their music which is original on its own. So this was going to be far from conventional in the first place.
Did the advertisement influence a certain kind of filmmaking or just copy the artistic type European style and Concepts?
Maybe as a more American English language production steers it not as homemade and comfortable but as a work that is more foreign common and for him a little more straightforward and normal
Obviously a musical. It wants to be an opera of its own, a kind of grand tragedy with big feelings and scenery yet personal and between few characters to keep it intimate with a huge Falsetto voice as it is not within the range of normal but gets attention and can be achieved.
Which will Make you notice and hit several notes, Not that easy to do. Yet lying seems to be easier for most than others but then again to maintain a lie you must create others to maintain which takes creativity
Whereas the truth is easier a s it is natural but hard when wanting to go against or refuse to believe it .
The film can be Graphic sexually but manages to make it sexy.
Instead of Driven showstoppers or performances more seems to be little ditties to go with the story or to tell with a few full song show stoppers.
The Camera always exploring as he creates his own world or a world that is quite different
Like a true musical the film feels constantly performed but within the confines of a certain reality in all of its absurd ness and artistic design.
There is a certain sadness that hangs over his films but also a current and electricity that makes the films somewhat exciting. Definitely a journey and excursion that feels like a trip.
Sacred It feels monotonous and more staged, artificial doesn’t cut straight to the heart. As it usually does not emotionally truthful yet is still emotional.
Adam Driver with long hair can go from heartthrob or ruggedly Handsome. Looking like a grown geek who loves with his parents or worse the guy who still not only has a ponytail. But thinks it is still cool. Of course the stand-up that he performs isn’t funny but more of a one-man show that is theatrical but is most Stand up like that? Confessional with laughs and jokes or a humorous way to look at situations and stories of your life personal and all, opinions.
Knew it was fake or skewed as his audience drank exclusively wine and cocktails and not one beer in sight.
The fleeting emotions and feelings, care and moods of crowds and fans especially. if you do any meet their idealism of what they want from
You Don’t give them what they want as they feel if they pay to see you they have made an investment into you and you are supposed to give them what they want out of you. But they never say exactly so you are supposed to guess or do what you supposedly normally do to entertain, only they want the same if what they have seen or updated new material in the same vein but if you evolve some will stay but others will go against. As how some people in your life want you to stay the same and any time you move on or change for the better personally they take it as an insult or against it because it is not the same they remember.
The rejection of the conventional or being dismayed that it is unconventional and challenging that makes one not a fan or that makes one a fan as it is different and outsider art.
The film while being indulgent is also about toxic male masculinity. Having to control and be in control. So much so that as the film goes on Marie Cotillard’s Character seems to shrink not physically but from the film. As we see her less and less and spend more time with him and when they are together he seems to take over. Physically because of his size and his direction.
It doesn’t help that we get many dimensions of him, but for her she forever stays mroe representative and never really get any inner life form her. So much so that she remains a symbol throughout instead of a real character
At the end Playful and silly. It always feels like a full on experiment project rather than a heartfelt and committed one .
Directed By: Patricia Birch Written By: Ken Finkelman Based On Characters Created By: Jim Jacobs & Warren Casey Cinematography: Frank Stanley Editor: John F. Burnett
Cast: Michelle Pfeiffer, Maxwell Caulfield, Didi Conn, Lorna Luft, Pamela Segall, Adrian Zmed, Eve Arden, Sid Caeser, Connie Stevens, Christopher McDonald, Tab Hunter
Two years after the life-altering events in Grease. Sandy’s cousin Michael, a straight-laced English student, is the new guy at Rydell High. Stephanie, the Pink Ladies’ foxy blonde leader, is about to break up with Johnny, the T-Birds’ leader, but she still likes her men dangerous, even as Michael starts to attract her attention. Now Michael needs to up his game: learn how to ride a motorcycle and transform himself into Stephanie’s hot leather-clad fantasy. Is he up to the task?
Directed by a noted choreographer Patricia birch. Who was the choreographer for the first film. The film’s showmanship is all there unfortunately the film isn’t. As it feels like a rerun of what we have already seen.
This film is the epitome of 1950’s nostalgia that seems to be big in the 1980s. Though also an unneeded sequel.
I loved this movie as a kid. Watching it so many times. Even owning the soundtrack which I managed to get again a few years ago and enjoying it. As I know quite a few songs by heart. The songs are catchy and actually pretty good, but unfortunately still as memorable as the first film or its songs.
As there it comes off as an inferior copy that isn’t quite as sharp at all. It’s duller and the cast isn’t as memorable as their roles seem more uninspired. Making the t-birds more idiotic and not tough.
Though the characters trying to carry on in the grand legend and showing that they fall short isn’t intentional. It pretty much sums up this movie and its relationship to the first film.
Here they come off as imposing yet more jokes and comic relief caricatures as they Aren’t threatening. It’s an interesting case study in trying to act cool when truly scared in the role that you choose.
Everyone tries to give it they’re all but watching certain things come standing out. Such as it’s set in the 1950s yet Michelle Pfeiffer seems to be the only character who dresses in 1980s (when the film was made) fashion. This also helps showcase her future stardom as she definitely shows star potential more than anyone else. The movie is a true stepping stone for her
Other than most of the cast being obviously Too old to play teenagers. You can tell everyone in the background is a dancer just waiting to start dancing and singing on camera. Especially when it comes to their enthusiastic acting and facial movements.
It’s also ridiculous that no one can recognize the cool rider as Michael. As he doesn’t really change his voice. Only lowers it, and even though he wears a helmet he takes it off and only wears goggles that are barely shaded.
He even makes out with Michelle Pfeiffer and she never still recognizes him. Then singing the big number HANDS OF TIME comes off as one of the most unintentionally overblown ridiculous numbers.
No one is truly a character. They all play types. It doesn’t help that unfortunately, Maxwell Caulfield has the looks but his singing can’t hit certain notes.
Even his plans to seduce her come off as douche. As they are more about manipulation and falsehoods. Even if the film tries to portray it as some kind of cute romantic turn. As he is basically dishonest throughout with her.
Though the film is a cash-in. The production also has earnestness and energy. As well as campy as hell. Even if the plan was a quick cash-in and hoping to ride the success of the first film for the producer Allan Carr. Though the script for a proposed third film was resurrected later and made into HIGH SCHOOL THE MUSICAL.
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.
Written & Directed By: Damien Chazelle Cinematography: Linus Sandgren Editor: Tom Cross Music By: Justin Hurwitz
Cast: Ryan Gosling, Emma Stone, John Legend, Rosemarie DeWitt, J.K. Simmons, Finn Wittrock, Callie Hernandez, Jessica Rothe, Sonoya Mizuno, Valarie Rae Miller, Tom Everett Scott
Aspiring actress serves lattes to movie stars in between auditions and jazz musician Sebastian scrapes by playing cocktail-party gigs in dingy bars. But as success mounts, they are faced with decisions that fray the fragile fabric of their love affair, and the dreams they worked so hard to maintain in each other threaten to rip them apart.
Directed By: Agnieszka Smoczynska Written By: Robert Bolesto Cinematography By: Jakub Kijowski
Cast: Martz Mazurek, Michalina Olszanka, Kinga Preis, Andrzej Konopka, Jakub Gierszal, Magdalena Cielacka, Zygmunt Malanowicz, Marcin Kowalczyk
One dark night, at water’s edge, a family of musicians encounter aquatic sirens Silver and Golden. After assuring the family that they won’t eat them up, the winsome sirens are recruited to join the Figs and Dates band at a neon-lit Warsaw dance club. When Silver becomes romantically entangled with beautiful blonde bassist Mietek, the more cunning Golden, who cannot escape her bloodthirsty nature, worries that her sister’s relationship will doom their shared dream of swimming to a new life in America.
Cut To The Chase 