REVIEW: London Road [2015]

“It was a complete nightmare” For anyone who believes cinema currently languishes in a rut of remakes, rehashes, sequels, and been-there-done-thats: you aren’t looking hard enough. Those works are what the media force-feeds because they’re the ones making big money come opening weekend, but there’s more out there if you’re willing. Some financiers like BBC Films still gravitate towards unique visions that may or may not end up successes but definitely will spark conversation and in turn possibly advance the medium into places it has yet seen. This is what…

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REVIEW: The Decline of Western Civilization Part III [1998]

“Your spit is greatly appreciated” To a certain extent The Decline of Western Civilization Part III could have been titled The New Western Civilization. The first two films in Penelope Spheeris‘ trilogy showed us the music that was changing American youth culture as well as the people performing it and listening to it. This entry is different, though, as the music and bands take a backseat to the story of a disenfranchised and abused generation with nowhere to go. It’s no longer about the music being an outlet from the…

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REVIEW: The Decline of Western Civilization Part II: The Metal Years [1988]

“It doesn’t matter—the size of your pencil. It’s how you write your name.” Director Penelope Spheeris changes the aesthetic and to some extent the goals of her documentary series The Decline of Western Civilization with Part II: The Metal Years. Like its predecessor depicting the contemporary 1980 Los Angeles punk scene, we get a glimpse at obscure metal bands like Odin, London, and Seduce as they traverse the circuit with varying levels of success. Interwoven with them, however, are interviews of the genre’s mostly glam metal pioneers like Steven Tyler…

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REVIEW: The Decline of Western Civilization [1981]

“I don’t think of myself as a happy person, but I had fun tonight” You don’t get much more punk rock than Penelope Spheeris‘ concert documentary The Decline of Western Civilization. At least not American punk since the film details the club life in Los Angeles during the 80s rather than mid-70s Britain. We’re talking Black Flag, Germs, Catholic Discipline, Circle Jerks, X, The Bags, and Fear. Spheeris had both audience members and band members sign waivers to have their likenesses used in a movie and preceded to film multiple…

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REVIEW: Les demoiselles de Rochefort [The Young Girls of Rochefort] [1967]

“The illusion of love is only love unseen” The fair is in town and love is in the air. Welcome to Rochefort—a little seaside navy town in France full of sumptuously bright colors and plenty of light-footed citizens ready to dance accompaniment for anyone willing to belt their hearts out in song. It’s a harbinger of unrequited love, lost love, and dreamers seeking an ideal they aren’t sure reality possesses. Tourists come and go, laughter is shared, and natives seem to always gravitate back after adventures abroad. The city beckoned…

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REVIEW: Presenting Princess Shaw [2016]

“Why am I going in the same direction with no direction?” Even though Presenting Princess Shaw isn’t a film about filmmaking, you can’t help wondering about the logistics of its creation considering director Ido Haar is listed as the project’s sole cinematographer. The story of Princess (Samantha Montgomery) and Kutiman (Ophir Kutiel) focuses on music and the internet creating a community of disparate strangers miles away from one another with an ever-present potential for collaboration between them. We watch Samantha live her life in New Orleans as a nurse attending…

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REVIEW: Sing Street [2016]

“Happy sad” Writer/director John Carney emotionally stripped ex-The Frames bandmate Glen Hansard bare in his 2007 feature film Once and now he does it to himself. The hiccup that was an attempt to recreate lightning in a bottle despite the conscious addition of polish and star appeal with Begin Again is thankfully a distant memory because the musical dramatist has again struck gold by sticking to his roots, his home, and his heart. A semi-autobiographical tale about a young boy’s life being upturned in a way that pushes him towards…

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REVIEW: Born to Be Blue [2016]

“Hello fear. Hello death.” I’m not a jazz guy. I’ll listen, enjoy, and promptly forget it straight away. It all kind of sounds the same to me, but to each his own. If you can differentiate Miles Davis‘ sound from Chet Baker‘s you’re a better music fan than me. So to hear Robert Budreau‘s biopic of the latter wasn’t actually a biopic was to think it could be the greatest thing to happen to his story—not that Baker’s legendary life of West Coast Swing and heroin addiction didn’t provide ample…

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REVIEW: What Happened, Miss Simone? [2015]

“I’ll tell you what freedom is to me: no fear” As someone who heard “Feeling Good” on a Muse album in the early 2000s thinking it was their song until the promotional advertisements for season four of “Six Feet Under” got me researching the female vocalist singing its “new” rendition, a documentary on Nina Simone is something my musical education was in desperate need of watching. But that doesn’t mean Liz Garbus‘ film won’t also resonate with the musician’s most ardent fans—it’s extensive look at her tumult and genius can…

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REVIEW: Hail, Caesar! [2016]

“It’s all in the hips, the lips, the eyes, and the thighs” You don’t think much when you read the Coen Brothers have been bouncing Hail, Caesar! around since 2004. After all, they’re prolific auteurs that often write scripts for other directors, so a decade-long gestation period is nothing to scoff at. Only when you learn the idea was little more than an idea that you start wondering about the final product. Maybe they loved that initial pitch so much the words simply poured out over the last couple years.…

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REVIEW: Velvet Goldmine [1998]

“It’s funny how beautiful people look when they’re walking out the door” What if Citizen Kane wasn’t about Charlie’s Foster Kane but instead the interviewer tasked with speaking to those in Kane’s life, mining for the meaning of “Rosebud”? This is sort of where director Todd Haynes (co-written with James Lyons) begins his fictional account of Brit glam rocker Brian Slade (Jonathan Rhys Meyers). Velvet Goldmine deals with this enigma of a star and his tumultuous life before fading completely out of the public consciousness following a misguided stunt. (Or…

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