Music Double Feature

CBGB

CBGB tells the true(ish) story of Hilly Kristal, the owner of New York nightclub CBGB.  

CBGB, of course, was the epicenter of the Punk Rock movement and a launching pad for acts such as The Ramones, Blondie, The Talking Heads, and The Police.

Alan Rickman (CDNW) plays Krystal, a man with no business sense but a great ear for music.  Rickman’s just wonderful: slovenly, disorganized, kind of a jerk, but totally good-hearted; it’s difficult to see that man in this role and imagine him as anything else.

As for the story, well, I imagine that your response to this movie will depend on your affinity for the subject matter.  If you care about the history of alternative music in general (and punk rock in particular), this movie is for you.  If not, well, it’s a peek into a subculture that wasn’t your thing to begin with.  As for me, the soundtrack alone made it a great film to have on in the background while sorting through paperwork, even though it doubled the time required for my project because I kept putting it down to focus on whatever Rickman was up to next.  As such, I enjoyed CBGB.  I think I’ll buy the soundtrack.

Get on Up

Get on Up is a reasonably straightforward biopic, enlivened by an exceptional performance from 42’s Chadwick Bozeman.

This film, a James Brown biography, skips around the artist’s life to show us, warts and all, what this man was about.  A canny businessman, a relentless self-promoter, an artistic genius, a wife beater, a tax cheat, and an all-around SOB, Brown alienated pretty much everyone on his way to the top, and he kept on alienating them once he got there.

But man, that artistic genius part.  That’s really something. 

Chadwick Bozeman captures all of it, with a lightning-in-a-bottle performance that spans a hardscrabble youth, electrifying performing career, and drug-addled old age.  From the speaking voice to the dance moves to the odd, almost palsied shuffle, the actor has James Brown right on down.  The film is worth seeing for him alone.

As an aside, the film captured the imagination of my 15-yr-old, who’s on something of a ‘60s music and history kick.  I see some James Brown CDs infiltrating his regular Doors/Stones/Hendrix rotation in the very near future.

Wild Target

In Wild Target, Bill Nighy plays an uptight assassin who accepts a contract on manic pixie dream girl (MPDG) Emily Blunt.  But there’s a problem: Emily Blunt is too smart to play a MPDG.  Something about her eyes doesn’t let her do “carefree and irresponsible.”  She looks like she’s faking it.

Nighy never looks like he’s faking anything, and he makes for a fine straight man in this British comedy.  Rupert Grint shows up as a hapless stoner and displays good comic timing, as does Rupert Everett as a very angry villain and Martin Freeman as a competing assassin.  Unfortunately, we never really buy Blunt in the Zooey Deschanel role, and this sucks the air out of the proceedings. 

It’s too bad, really.  I’d buy Ms. Blunt as a detective or a scientist or the Queen of England.  But she just doesn’t have MPDG in her.  Here’s hoping that next time, she chooses a role more in line with her strengths.

Harry Potter and the Half-Blood Prince

First, a note about the trailer for 2012: not even Chiwetel Ejiofor's name on the poster will put my butt in a seat for that one. Second, a note about the following comments: I assume that, by now, you know who the established characters are. Consequently, I'll not try to bring you up to speed.
HARRY POTTER AND THE HALF-BLOOD PRINCE begins with Harry Potter, bloody and exhausted, facing a media onslaught in the aftermath of the battle of the Ministry of Magic. Professor Dumbledore puts his arm around the boy, shepherds him away.

And then we're off, swooping through London with the Death Eaters, in a dazzling and frightening sequence that sets our hearts to racing even as it defines the stakes of the coming war between the forces of Voldemort and Dumbledore.

Back to Harry now, on a personal level as he navigates the currents of late adolescence and learns that, yes, he's pretty good at flirting, too. But Dumbledore appears and there's work to do.

The rest of the film is about a number of things, the story not least among them (Um, Spoiler Alert: Voldemort's up to something and it's up to Harry and friends to stop him.). And that's fine - it's a perfectly good story. But what makes the film worth watching, what makes it race right by, is the way it's also about finding oneself both in big and small ways, about the immediate pain of adolescence and the continuing process of growing into onesself.

Of course, there are a number of movies that address similar themes, and many do it well. What makes HPHBP unique is that it's a Harry Potter movie, a movie that lets us wander around fiction's most marvelous real estate and dazzles us with magic that ranges from mundane to whimsical to downright epic. Additionally, it lets us wander around with a group of actors we've come to think of as our own nieces and nephews; cute kids who are growing up all too fast, even as they make us proud. It supports these young actors with brilliant adults, including at least one who Can Do No Wrong. And it revels in its composition, unafraid to make the fantastical fantastic.

For these reasons and many more, HARRY POTTER AND THE HALF-BLOOD PRINCE is a flat-out great time at the movies. This one is worth catching on the big screen.

Harry Potter and the Order of the Phoenix

HARRY POTTER AND THE ORDER OF THE PHOENIX is true to its source material. OTP is the dourest, least entertaining of the novels up to that point, and the film is no different. It’s dour because not only does Harry feel angry and isolated, but this film takes all the wonder out of Harry’s magical world, leaving us to contemplate accepting previously unimaginable magical occurrences as everyday events. Of course, this is happening to Harry as he grows into manhood, but it’s still a bit sad to see.

This is usually the part where I recount the movie’s hook, but why bother? It’s Harry against yet another Defense Against the Dark Arts instructor, with Voldy pulling the strings. There’s some stuff about teamwork and the importance of friendship, but this film feels most like a trudge through required setup material for the last act of the series. It quickly checks in with the major characters, not giving us enough of any of them to make them worth our while. The final battle feels devoid of resonance, and I just couldn’t bring myself to care.

By far, HARRY POTTER AND THE ORDER OF THE PHOENIX is the least satisfying movie of the series. Let’s hope things improve with the next outing.