Song to Song

First Hit:  Although I’m generally a fan of Director Terrence Malik’s work, especially the visualizations, this film felt lifeless and unmoving all the way through. A Malik film like Knight of Cups, touched me deeply and at that moment, I think I’m aligned with Malik’s vision. However, other films he does I might end up liking the pictures and the theme is lost on me.

In this film, few of the pictures were good and I wondered what the point was. Could it have been that if one takes a bite of the apple (signed to a music record deal) then the world opens up. However it only seemed to opened up with increased opportunities for sexual encounters? If so, then I was left thinking; so what. If the point of the film was viewing how the music life in Austin (Malik went to school in Austin) exists and the people in it are just intimately experimenting with others, and they seem to live in a Song to Song way, then so what. I didn't get the point of the film.

Ryan Gosling plays BV who is a musician who gets signed to a record label run by Cook (Michael Fassbender) who is living the big life, filled with things, women, and connections with bands and rock stars. He's pulling the strings, at least around Austin. One of the women he’s linked with is Faye (Rooney Mara).

Faye meets BV at one of Cook’s parties and they begin to have a relationship. However, because they don’t tell each other the truth and they mostly live through their sexuality and what they can feel, the relationship gets convoluted. Faye still has sex with Cook and BV spends time with his old girlfriends Lykke (Lykke Li) and Amanda (Cate Blanchett).

Cook marries Rhonda (Natalie Portman) but has sex with Faye and Faye has sex with Zoey (Berenice Marlohe). There is a lot more of this that goes on in the film, but because it is a Malik film, it is very stylized, virtually no conversational dialogue, and it jumps from place and scene to a different place and scene frequently.

The pictures around Austin were nice and, to me, better than the actual place as I found it more Texan than shown here.

Gosling was good in many sections but the lack of story direction seemed to make him more lost than usual. Mara was one the better parts of this film. Her face and looks are so filled with questions, depth, and searching energy that it fit well in this film. Fassbender was good as the guy who liked money, power, and the things it allowed him to do. Portman was interesting as her intelligence and darkness shined through her scenes. Marlohe was OK as the attractive woman who seduced Faye. Blanchett was OK as this role didn’t really take advantage of her conversational abilities. Holly Hunter as Rhonda’s mom was intense. Malik did the screenplay and it would be interesting to see what it was and how he scripted the scenes. His direction was muddied if what he wanted was the audience to feel something.

Overall:  This film just didn’t work well for me and I found myself sitting there wondering when it would be over.

Eat That Question: Frank Zappa in His Own Words

First Hit:  Riveting documentary about a music man who followed his own path and beliefs.

At the beginning of the film, Frank makes a statement that went something like this:  There are so many people who only know me from my first few records and concerts. The fact is they don’t know me or my music at all. I’m one of those people who are in this category although I have never claimed I knew much about him.

I saw Frank Zappa and the Mothers of Invention at two locations in 1967, the Anaheim Convention Center and the LA Sports Arena. I was both shocked and engaged by the music and the show that was part of his performance.

It was the original rock performance art and show. It was truly a unique show. Although, I'd occasionally check in by buying an album or listening to a track from a record, but to his point I never saw him perform again and he was never a "must listen". However, I knew that he was a genius and this film confirms it.

The movie consists of interviews and clips of Frank and his band. Chronologically this film shows how Frank walked his own path and never compromised on what he wanted to develop and deliver.

There is one point in the film we see him sitting and listening to an English philharmonic orchestra and conductor he hired to play one of his classical compositions. An interviewer asks him if this is the best use of this high level orchestra? He responds by saying, I saved my money, I’m the one that is paying for all this because I want to hear what I wrote. No one else has any money invested in this except me. Therefore it is my right to have this orchestra play what I want them to play because I'm paying for it.

With this statement, I began to better understand his path and his love for music as he defined it. He loved creating music and because he worked at it 16 hours a day, he had a right to hear it in any way he wanted. It was his life.

Zappa was his enigmatic intelligent self. Thorsten Schutte did a brilliant job of stringing together previous interviews, film clips, and music segments.

Overall:  This was a wonderful film about a brilliant man.

Popstar: Never Stop Never Stopping

First Hit:  This very funny musical parody gives a glimpse of how young pop stars (like the Beastie Boys or One Direction) might respond to immediate fame.

The Style Boyz are three lifelong friends who are musically talented separately but together they are great. Their first album sells like hotcakes and they even have their own dance; “The Donkey Roll.”

Enough people single out Conner (Andy Samberg), the lead singer, to do something on his own which he decides to do leaving his band mates Owen (Jorma Taccone) and Lawrence (Akiva Schaffer) to fend for themselves.

Owen joins Connor’s touring support team as a DJ and eventually gets masked during performances. Lawrence is put out to pasture, literally, by becoming a farmer and also dong wood carvings. Conner’s first album is a success and he becomes a big star.

The film uses real music stars to validate Conner’s success by giving them the opportunity to sing their praises of Conner’s work. They even have Justin Timberlake as Conner’s chef. There is also a parody of the television program TMZ with CMZ and how they cover famous artists.

Conner sets out to do his second album and when it drops, it fails miserably and Conner scrambles to put his career back together. This film is about putting his career back together. The songs that truly stand out are:  I’m Not Gay and F#^$ Bin Laden.

Samberg is excellent as Conner the leader of Style Boyz and as Conner4Real, the single act. Taccone and Schaffer are wonderful as his bandmates. They show a level of reverence and their own strength in appropriate levels. Tim Meadows as their manager Harry was wonderful. Samberg, Taccone, and Schaffer wrote a wonderful inventive funny script. Schaffer and Taccone did a great job of directing by creating wonderfully funny musical scenes.

Overall:  It was a good laugh and enjoyable.

Miles Ahead

First Hit:  Oddly entertaining and playfully interesting, this atypical biography kept me watching.

Because Don Cheadle signed on as both director and main character, he must have wanted to connect with Miles Davis the man and his music.

As the film opens it's the 1970's and we immediately delve into the quirky, singularly self-focused, and angry life of Miles Davis as he sits in his messy apartment, headphones on, listening to a reel to reel tape. He’s focused on the sounds which the audience cannot hear.

A knock on the door gets reluctantly answered and there stands Dave Brill (Ewan McGregor) who says he’s a reporter for Rolling Stone Magazine. Punching Brill in the face is the greeting Miles gives.

Together they go to Columbia Records and try to get money for what might be on the tape. However, Columbia states they already own the tape by contract. The obvious unspoken drive is that Miles needs money for drugs.

The film awkwardly goes between present day (1970’s) of the film and his past life (1945) including the love of his life, a dancer, named Francis (Emayatzy Corinealdi).

The awkward transitions do not belie the important information gained, but it makes the film difficult to enjoy. Although I understand the importance of the tape (his future), the focus on its theft and capture didn’t help the film’s story. However, in the end as we learn what is on the tape and what has happened, we see the importance of the next person who understands Davis’ approach to music.

One scene that stayed with me was when Miles discussed how he broke music down to core components to see and learn how to “free it up”. As you might expect, the music in this film was superb.

Cheadle was really strong as Davis. He brought the kind of independent intensity that made Miles’ the innovator he was. McGregor was good as the reporter and supporter of Davis’ quest to own and control his music. Corinealdi was very good as Davis’ wife who struggled under Miles’ increasingly drug fueled paranoid nature took hold over their marriage. Steven Baigelman and Cheadle co-wrote this screenplay that seemed to suffer by the storyline used to document/film part of Davis’ life. Cheadle did direct some wonderful scenes as well as scenes that weren’t as strong. The segues were not well done.

Overall:  It was interesting to get a glimpse of the genius residing in this musician.

Rock the Kasbah

First Hit:  This film was all over the place; intimate, touching, flat, uninteresting, and in the end survives as being very uneven and forgetful.

This film had heart and it was difficult to find.

The real story, which is revealed prior to the closing credits, is worthwhile. I also don’t mind when Bill Murray, playing music manager Richie Lanz, mixes comedy in a story that is has real merit. But when the mishmash of scenes, supposedly pivotal, are handled in such a stilted and lack luster manner, they discredit the real story and the film.

Take for instance the scene in which Lanz comes back to his hotel room to find Bombay Brian (Bruce Willis) lying on the bed threatening to kill Lanz for money that Lanz didn’t actually owe. Or worse the poor plot device to put Lanz in Kabul Afghanistan without his singer - she just leaves? Or even why Merci (Kate Hudson) is in Kabul hooking herself into a bank account large enough to fund a funky retirement. Let alone the “double-wide” mobile home inside a barbed wire compound the size of the double-wide just outside her front door.

Juxtapose these poorly created scenes with the scene of Salima (Leem Lubany) talking to Lanz on the wall of her city. How Tariq (Fahim Fazil), slowly becomes at peace with his daughter’s boldness to sing in public. I also liked many of the settings, many felt very real.

Murray was both funny and mediocre. Some of the dialogue didn’t work well and other times it was spot on funny. Willis seemed like a friend choice to play a role. He didn’t seem engaged and it felt like he was phoning it in. Hudson’s whole character didn’t seem to add much to the film except to help Lanz live up to his obligations. Lubany was very good and seemed like the only person playing it straight. I personally loved the song choices she sang. Fazil was good as the intense village leader, father and protector of their faith. Mitch Glazer wrote a mixed level script and I don’t know how much it was changed by Murray along the way. Barry Levinson has done much better films (Wag the Dog, Rain Man, or Good Morning Vietnam).

Overall:  I walked away disappointed because the whole film seemed like manufactured setup for Murray, but I’m also glad to know that a young woman did actually break a taboo about singing.