Mamma Mia: Here We Go Again


They’re with the band.

(2018) Musical (UniversalLily James, Amanda Seyfried, Dominic Cooper, Andy Garcia, Pierce Brosnan, Stellan Skarsgǻrd, Colin Firth, Julie Walters, Christine Baranski, Cher, Alexa Davies, Jessica Keenan Wynn, Meryl Streep, Josh Dylan, Jeremy Irvine, Hugh Skinner, Omid Djalili, Anastasia Hille, Anna Antoniades, Maria Vacratsis, Naoko Mori. Directed by Ol Parker

 

I have to confess that I’ve always had a soft spot for the music of ABBA, the Swedish pop group that lit up the charts in the 70s and 80s. Mamma Mia, the musical that utilized the band’s extensive catalogue of hits to celebrate a young girl’s wedding as she tries to figure out which of three possibilities is her biological father. It was a major hit – in 2008. Ten years almost to the day, the sequel arrives.

In it, Sophie (Seyfried), the bride from the first film, is trying to renovate her mother’s Greek Island hotel. Her mamma Donna (Streep) has passed away and poor Sophie is trying to balance mourning for her mom, getting the hotel ready for opening night and dealing with a rocky relationship (she’s separated from husband Sky (Cooper) although she is pregnant). With nearly everyone from the first film returning, along with Cher as Donna’s estranged mom and Andy Garcia as the hotel’s manager, there is a familiarity about the terrain. There are also flashbacks showing Donna’s shenanigans leading to her coming to the Greek islands and getting involved with three different men. The luminescent Lily James plays the younger Donna and she does a terrific job, but she’s no Meryl Streep and the film feels her absence keenly. Streep does return for the most haunting scene in the film as a benevolent ghost observing her granddaughter’s christening.

The plot is essentially an excuse for the musical numbers which I suppose could be said for some classic musicals as well, but here it seems especially glaring. Part of the reason is that the bulk of ABBA’s better-known hits were used in the first film and much of the soundtrack here is made up of album tracks and B-sides so the movie loses much of the familiarity factor that made the first film charming.

Streep’s scene and Cher’s two musical numbers are both the showstoppers here; most of the other numbers are forgettable and kind of repetitive. Also, the beautiful Greek island location of the first film has been swapped out for Croatia in the second; not quite the same. I just didn’t get the same warm fuzzies I got from the first film, more’s the pity. There’s definitely a market for this and I know my wife and son thoroughly enjoyed this way more than I did; however, I found it to be only minimally entertaining at best.

REASONS TO SEE: Streep and Cher are big highlights
REASONS TO AVOID: The plot is terribly flimsy. Streep’s absence is keenly felt throughout.
FAMILY VALUES: There is some mildly sexually suggestive material.
TRIVIAL PURSUIT: Streep is distantly related to both Cher (15th cousin) who plays her mother, and James (9th cousin) who plays her younger self.
BEYOND THE THEATER: Amazon, AppleTV, Fandango Now, Google Play, HBO Go, Movies Anywhere Redbox, Vudu, YouTube
CRITICAL MASS: As of 10/16/19: Rotten Tomatoes: 80% positive reviews: Metacritic: 60/100.
COMPARISON SHOPPING: Jersey Boys
FINAL RATING: 4.5/10
NEXT:
Little Monsters

Larger Than Life: The Kevyn Aucoin Story


Glamour was Kevyn Aucoin’s business.

(2017) Documentary (The Orchard) Kevyn Aucoin, Isaac Mizrahi, Christy Turlington Burns, Jeremy Antunes, Brooke Shields, Carol Alt, Cindy Crawford, Cher, Linda Evangelista, Naomi Campbell, Kate Moss, Paula Porizkova, Amy Sidaris, Isabella Rossellini, Tori Amos, Carla Aucoin Hoffkins, Eddie Greene, Garren, Scottie, Sandy Lintner, Keith Aucoin, Todd Oldham, Paul Cavaco, Linda Wells. Directed by Tiffany Bartok

 

Women have worn make-up for largely thousands of years but it is only relatively recently that it has evolved into being an art form. One of the people responsible for that evolution is Kevyn Aucoin (the last name pronounced AH-Kwan).

Kevyn, one of four adopted children, grew up in the less-than-accepting burg of Shreveport, Louisiana. From an early age he had a thing about fashion magazines like Vogue and the musical styling of Barbra Streisand. It was not surprising that he became openly gay which was not exactly looked favorably upon by the citizens and youth of Shreveport. Kevyn was bullied, sometimes brutally, scars which stayed with him all through the rest of his life.

Aucoin went on to New York and through sheer force of will hooked on at Vogue. The rest, as they say, was history. He would grow to be the first celebrity make-up artist, penning books sharing his beauty secrets. He was one of the pioneers of contour make-up – essentially using colors to shape a face – and he revolutionized how women apply make-up in the process.

He was an outspoken activist for LBGTQ+ causes and worked tirelessly for gay rights. Sadly though, he developed a glandular tumor which led to an addiction to opioids and an early grave at the age of 40. Still, while his candle didn’t burn quite as long, it burned much more brightly than perhaps even he had hoped for.

This doc on his life features a plethora of testimonials from family, clients and friends and some of the interviews are absolutely delightful. His sister talks about him using her as a canvas to practice his techniques on when they were in high school, while some of his early models talk about his drive and his absolute fearlessness. He had a vision for what he was going to become and he pursued it as relentlessly as he could.

Aucoin was also an obsessive record keeper; he filled journals with notes and diagrams while he utilized video cameras to document all the fabulous aspects of his life – and let’s face it, he did define fabulous for an entire generation of gay men and women of all persuasions. He was the king of make-up artists during the 1980s, arguably the most make-up heavy era in American history. Because he did so much work on music videos, Aucoin was a heavy influence on how people looked whether they were going out to dance at the clubs or headed out for school.

The perceptions of what beauty was did change over time and Kevyn did change with the times even if he was no longer quite as influential as he was at the height of his career. While the documentary stops just shy of being hagiographic – it does cover his drug addiction and resulting personality change fairly clinically – it does approach fawning territory upon occasion. Perhaps though that makes it more heartbreaking as we see him becoming less easy to work with, less fun to be around. The pain from his cancer and from late growth spurts took its toll and led to his untimely death as the pills he took that basically allowed him to function took over his life.

It bears mentioning that Kevyn was fairly promiscuous but he did find his one true love – Jeremy Antunes whom he married and spent the last years of his life with despite Kevyn’s often difficult behavior. It also bears mentioning – since the film didn’t do it – that after Kevyn passed Jeremy was locked out of the home he shared with his husband by Kevyn’s family. Yeah, it might be water under the bridge and the parties involved might be reluctant to reopen old wounds but it should have been at least mentioned. It was the kind of thing ironically that Kevyn was fighting against.

Still, Aucoin isn’t the household name he perhaps deserves to be. He was a giant in his industry, comparable to Michael Jordan or Meryl Streep. On a strictly human level, this is a story of an outsider who fought his way to the very inside; it’s a story anyone can relate to. This documentary, while unremarkable, does at least a solid job of presenting his life and why he is deserving of a feature film. Bartok could have used a little more editing – it feels like some of the interviews regurgitate the same platitudes – but all in all this is a lot more satisfying a film than I expected it to be.

REASONS TO GO: The film looks at make-up as an art form.
REASONS TO STAY: The run time is way too long and the appeal mainly to a niche audience.
FAMILY VALUES: There is some profanity and plenty of drug references.
TRIVIAL PURSUIT: Among the clients that Aucoin worked with who weren’t interviewed for the film were Oprah Winfrey, Janet Jackson, Barbra Streisand, Liza Minnelli, Halle Berry and Madonna, to name just a few.
BEYOND THE THEATERS:  Amazon,  iTunes, Vudu
CRITICAL MASS: As of 7/31/18: Rotten Tomatoes: 86% positive reviews. Metacritic: No score yet.
COMPARISON SHOPPING: The Devil Wears Prada
FINAL RATING: 6/10
NEXT:
Okja

New Releases for the Week of July 20, 2018


MAMMA MIA: HERE WE GO AGAIN

(Universal) Meryl Streep, Amanda Seyfried, Lily James, Pierce Brosnan, Colin Firth, Stellan Skarsgård, Dominic Cooper, Christine Baranski, Cher, Julie Walters. Directed by Ol Parker

As darling Sophie has become pregnant, she is naturally curious about her mother’s experiences with pregnancy and motherhood. Given the magic of the Greek islands and the music of ABBA, breaking into song is inevitable, which in Pierce Brosnan’s case may well be a violation of the Geneva Convention.

See the trailer, clips, interviews, a video featurette and B-roll video here.
For more on the movie this is the website.

Release Formats: Standard, DBOX, Dolby, IMAX, RPX, XD
Genre: Musical
Now Playing: Wide Release

Rating: PG-13 (for some suggestive material)

The Equalizer 2

(Columbia) Denzel Washington, Bill Pullman, Melissa Leo, Pedro Pascal. Robert McCall makes a living driving a cab but it is his passion to help bring justice for those who deserve it but have been denied it. When one of his closest friends is murdered, it might be justice but there will be more than a hint of vengeance involved.

See the trailer and interviews here.
For more on the movie this is the website

Release Formats: Standard, DBOX, Dolby, IMAX, RPX
Genre: Action
Now Playing: Wide Release

Rating: R (for brutal violence throughout, language, and some drug content)

Maquia: When the Promised Flower Blooms

(Eleven Arts) Starring the voices of Manaka Iwami, Miyu Irino, Yuki Kaji, Hiroaki Hirata. An immortal girl befriends a mortal boy, a forbidden act among those who live forever. She will protect and nurture that friendship through the years and whatever the cost.

See the trailer here.
For more on the movie this is the website

Release Formats: Standard
Genre: Animé
Now Playing: Cinemark Artegon Marketplace, Regal Pavilion Port Orange, Regal Winter Park Village

Rating: NR

Three Identical Strangers

(Neon) David Kellman, Robert Shafran, Eddy Galland, Ron Guttman. It started out as twins, separated at birth, reuniting. From there the story gets weirder. If you want to read the review, you can always check it out on the link below under Scheduled for Review but trust Cinema365 – the less you know going in, the more you’ll like the movie.

See the trailer here.
For more on the movie this is the website

Release Formats: Standard
Genre: Documentary
Now Playing: AMC Disney Springs, Regal Waterford Lakes

Rating: PG-13 (for some mature thematic material)

Unfriended: Dark Web

(BH Tilt) Rebecca Rittenhouse, Betty Gabriel, Chelsea Alden, Andrew Lees. When a teen comes into the possession of a new laptop, he doesn’t realize that the previous owner has been watching him and will do anything to get the machine back. When the teen discovers some files that indicate that the laptop is connected to the Dark Web, he understands why.

See the trailer, video featurettes and a clip here.
For more on the movie this is the website

Release Formats: Standard
Genre: Horror
Now Playing: Wide Release

Rating: R (for some disturbing violence, language and sexual references)

ALSO OPENING IN ORLANDO/DAYTONA:

Broken Star
Dhadak
I Love You, Hater

ALSO OPENING IN MIAMI/FT. LAUDERDALE:

Custody
Dhadak
Don’t Worry, He Won’t Get Far on Foot
Eating Animals
Lover
My Story

ALSO OPENING IN TAMPA/ST. PETERSBURG:

Aatagadharaa Siva
Dhadak
My Story
Occupation
Vijetha

ALSO OPENING IN JACKSONVILLE/ST. AUGUSTINE:

Dhadak
I Love You, Hater
Lover
 

SCHEDULED FOR REVIEW:

Don’t Worry, He Won’t Get Far on Foot
Eating Animals
The Equalizer 2
Mamma Mia: Here We Go Again
Three Identical Strangers
Unfriended: Dark Web

FILM FESTIVALS TAKING PLACE IN FLORIDA:

Mindie Film Festival, Miami FL

Cries from Syria


The White Helmets rescue more Syrian children from the rubble of Aleppo.

(2017) Documentary (HBO) Helen Mirren (narrator), Abdullah Kurdi, Kholoud Halmi, Hadi Al-Abdullah Abdul Baset Al-Saroot, Riad Al-Asaad, Suzan Malar, President Bashar Al-Asad, Jamil Afesee, Dr. Khalid Alazar, Zaher Al-Saket, Raed El-Saleh, Abu Mohammad Al-Julani, Ghiath Matar, Hamza Ali Al-Khateeb. Directed by Evgeny Afineevsky

 

What is happening in Syria is absolutely unconscionable. Ruled by President Bashar Al-Asad with an iron fist (ironically he trained as a doctor before stepping in as successor to his brutal father), Syria is a country which has fallen into a morass of death and destruction.

Afineevsky, who helmed the excellent Oscar-nominated documentary Winter on Fire about the Ukraine’s fight for freedom from a tyrant allied with Vladimir Putin, has delivered a very orderly and precise account of the events that have led to the situation as it is. There are a lot – a lot – of talking head interviews in the film which is normally a turn-off for me but their stories are all so varied and effective it’s hard to fault the director.

Afineevsky divides the movie into four chapters; the first details the events leading up to the Syrian revolution; how the Arab Spring gave people hope that they would be able to overthrow their own despot. When some schoolboys in the city of Daraa write some graffiti on their schoolyard reading “It’s Your Turn, Doctor” apparently this puts the fear of God into the authorities for the boys are arrested, tortured and many of them are killed.

This leads to outrage on the part of the people of Syria who feel that torturing children is a step too far. They take to the streets in massive demonstrations but Al-Asad orders his army to fire on the peaceful, unarmed demonstrators who carry flowers and bottled water to give to the soldiers. Some of the soldiers, disgusted by these orders, defect from the Syrian army and form the Free Syrian Army. The Syrian Civil War begins.

You get a sense that the Syrian people, confronted by one atrocity, believe that they’ve hit rock bottom and then another one begins. Al-Asad starts by laying siege to towns where anti-government demonstrations had taken place. He forbids any goods and services to come in, and starts bombarding the towns, labeling the inhabitants as terrorists when in reality most of the dead and dying are women and children. His bombers target hospitals and schools.

Then he starts dropping Sarin nerve gas on his own people, following that lovely gesture up with Chlorine gas. Both of these mainly affect the children, already weakened by hunger. When the UN gets wind of this, they send troops to confiscate any biological weapons but there is evidence that Al-Asad still has plenty in his possession.

After that, ISIS starts taking over villages in Eastern Syria which are more rural and imposing their own peculiar brand of Islam on the inhabitants. They seem to be saviors at first but their true colors show as they begin executing and beating the villagers for infractions that are almost nonsensical. However, the presence of ISIS brings in Putin and his air force and the bombing under Al-Asad suddenly goes on steroids. Aleppo, one of the larger cities in Syria, is essentially being obliterated.

We get scenes of the White Helmets, volunteer first responders who go into bombed out buildings and rescue those buried inside. They inject a little humanity into the unending horrors we witness – one can only wonder how the Syrian people can bear it. There are so many tears, so many screams of loss – it all blends together somewhat by movie’s end.

As a primer for what’s happening in Syria, this film succeeds triumphantly although there are those – an admitted minority of trolls – who mark it as propaganda. There’s no doubt that the filmmakers are on the side of the Syrian people and some think that the Syrian people are terrorists. Those that do tend to be ignorant of the facts but then that’s never stopped anyone from trolling, right?

This is not easy to watch – you may need to step away from time to time and give yourself a break, but it is important viewing. In watching it you’ll run the gamut of emotions – heartbreak, outrage, horror, disbelief, admiration, sympathy, sadness and hopefully, a desire to help. There are ways to assist the Syrian people without having to fly to Damascus. Look into them if you can.

Even though the fourth chapter on the Syrian refugee issue doesn’t measure up to the first three chapters, it is incumbent on us to understand what the refugees are fleeing from and why we need to take them in and give them shelter. It’s only the Christian thing to do, or have we forgotten two travelers to Bethlehem who were denied shelter?

REASONS TO GO: A detailed account of how the civil war began and the events afterwards. An absolutely heartbreaking account of what the Syrian people have had to endure. Excellent graphics make the names of the speakers easier to identify.
REASONS TO STAY: Some of the footage is gruesome and might be too disturbing for the sensitive.
FAMILY VALUES: There is some brutal wartime violence; definitely not for the squeamish.
TRIVIAL PURSUIT: Cher recorded an original song for the film, “Prayers for This World” which plays over the end credits. The song was written by Diane Warren who also penned her big hit “If I Could Turn Back Time.”
BEYOND THE THEATERS: HBO
CRITICAL MASS: As of 3/13/17: Rotten Tomatoes: 100% positive reviews. Metacritic: 78/100.
COMPARISON SHOPPING: The White Helmets
FINAL RATING: 10/10
NEXT: Afterimage

Take My Nose…Please


Lisa Lampinelli reacts to finding Christmas displays up in March at Wal-Mart.

Lisa Lampinelli reacts to finding Christmas displays up in March at Wal-Mart.

(2016) Documentary (Parvenu Ventures) Emily Askin, Jackie Hoffman, Joan Rivers, Kathy Griffin, Star Jones, Cher, Wanda Sykes, Roseanne Barr, Margaret Cho, Lisa Lampinelli, Judy Gold, Stacey Eisner, Dr. Mark Constantion, Phyllis Diller, Dr. Vail C. Reese, Linda Wells, Rob Fuchs, Steve Smyth, Dr. Sherrell J. Aston, Dr. Paula J. Martin, Julie Halston, Virginia Postrel, Adrianne Tolsch. Directed by Joan Kron

miami-film-festival-2017

Beauty is in the eye of the beholder, meaning that the definition of beauty is subjective. That’s not quite true however. Women, particularly those in the entertainment industry, are held up to almost impossible standards of attractiveness – a svelte figure, soft skin, shiny hair, perfectly applied make-up – women spend a ridiculous amount of time “getting ready” and not because they all want to but because it is expected.

In general, women have been made to feel unattractive if they don’t look like a supermodel. They starve themselves to get into a size 2 dress and get surgery to augment their breasts because men like ‘em big. And as far as cosmetic surgery goes, women make up more than 90% of the patients. Some of it is vanity but how much is it really?

Take My Nose…Please follows two comediennes who are considering getting nose jobs. Emily Askin is fairly new to the business but she has been told point blank that in order to find success in the industry a smaller nose is a must. Jackie Hoffman is a veteran comic who believes herself to be ugly but has nonetheless had a pretty decent career. She regrets not getting a nose job when she was offered one early on in her career and has decided that now approaching middle age she wants to get one done now. We do follow them from the initial consultation to the final unveiling. It’s somewhat fascinating just from a “how does the process work” standpoint but it isn’t as interesting at least to me as the other part of the movie.

Kron also spends a lot of time looking at how cosmetic surgery is often not spoken about publicly although comediennes have been unusually open about it; Phyllis Diller was one of the first celebrities to discuss her own cosmetic surgery in interviews and in her own act. These days those women who get work done are not shy about admitting it as far as female stand-ups go but when it comes to mainstream actresses and non-entertainment industry celebrities, cosmetic surgery is often a dirty little secret. In fact, non-celebrity women who have “work done” often don’t tell anyone but close friends and family.

In fact, as much time as is spent with Askin, Hoffman and their surgeons, the real center of the movie is how women self-perceive and how society affects that. One of the things I found refreshing is that Kron doesn’t appear to have a problem with women who have cosmetic surgery; women who think their noses are too big, hook too much or have an unsightly bump just want to improve themselves and there’s nothing wrong with that. A person ought to look the way they want to and if they can afford to have the surgery, good for them. I think that’s a far better attitude than stigmatizing women who have a nip and/or tuck done, or a boob job or a nose job as vain peacocks who are all about surface things. I didn’t get that impression from either Hoffman or Askin. Their goal was to make their lives better but there is the cautionary tale of Totie Fields which the movie does explore.

Fields was one of the funniest women of her time (the 60s into the mid-70s). She went into have some work done and complications from that surgery led to blood clots which led to the amputation of one of her legs. Her career was never the same and two years later she died from more blood clots causing a pulmonary embolism. She discusses her health problems candidly on a talk show, footage of which is shown in the film. Her story is perhaps the most heartbreaking in the movie.

Considering this is a first film, the work here is impressive. There are plenty of interviews which can be fatal to a documentary but Kron makes sure that the interviewees are funny and have something important to add, so the reliance on them isn’t a problem. There are plenty of very funny segments and even a little bit of insight as to what women think of themselves. If there’s any issue I have with the movie it’s just that Kron might be attempting to do a little too much – there are segments that don’t really add much to the movie and detract from the focus. Otherwise this is quite an excellent documentary that takes a subject some might find innocuous and turns it into something marvelous. That’s no easy feat, let me tell you.

REASONS TO GO: The film makes some valid and insightful points about how women are viewed by our society. The comediennes keep things light-hearted and interesting. Although there are a lot of talking heads at least they’re not boring.
REASONS TO STAY: There are some occasional tangents that didn’t need to be there.
FAMILY VALUES: There’s some profanity here.
TRIVIAL PURSUIT: Kron, who has spent most of her career as a journalist (the last 25 years at Allure) is making her film directing debut at age 89.
CRITICAL MASS: As of 3/4/17: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: The Truth About Beauty
FINAL RATING: 8/10
NEXT: Lipstick Under My Burkha

The Wrecking Crew


Another day at the office for the Wrecking Crew.

Another day at the office for the Wrecking Crew.

(2008) Musical Documentary (Magnolia) Cher, Brian Wilson, Mickey Dolenz, Nancy Sinatra, Glen Campbell, Herb Alpert, Leon Russell, Glen Campbell, Tommy Tedesco, Plas Johnson, Hal Blaine, Dick Clark, Carol Kaye, Jimmy Webb, Carol Kaye, Joe Osborn, H.B. Barnum, Lou Adler, Al Casey, Bones Howe, Don Randi, Snuff Garrett, Bill Pittman, Carmie Tedesco. Directed by Denny Tedesco

When people look at the golden age of rock and roll, there are few better places to turn their gaze to than Southern California in the 60s and early 70s. Some of the most iconic music of the rock and roll era came from that time and place. Bands like the Beach Boys, Sonny and Cher, the Mamas and the Papas, Gary Lewis and the Playboys, the Monkees and so on routinely recorded there. However mostly what they provided was the vocals; the music was actually made by someone else.

They were called The Wrecking Crew, although not by themselves. There were about 20 to 30 main players in the pool of studio musicians that lived in L.A. at the time (the movie lists more than 100) who appeared on the bulk of the albums that came out of the area, including from bands that were made up of actual musicians, like The Byrds.

One of the most respected of them was guitarist Tommy Tedesco. A raconteur with a great sense of humor, Tedesco also had the kind of skill that made him comfortably at home in any style of music. He was also a whiz at Spanish/Mexican guitar. He teamed often with bassist Carol Kaye (one of the few women among the Crew) who was responsible for iconic baselines such as the ones found in the Mission: Impossible theme and on Sonny and Cher’s “The Beat Goes On.” Hal Blaine was also one of the most prolific and respected drummers of his time; as he himself recounts, the Crew judged each other not by how many gigs they got because all of them were fully booked, but how many they turned down.

The Crew also worked on movie and television theme songs (the guitar on the Bonanza theme song, for example, was Tedesco). It is actually kind of thrilling to watch saxophonist Plas Johnson play the iconic notes to the theme of The Pink Panther.

None of the Crew craved the limelight and only a few of them really achieved any notoriety, chief among them Glen Campbell who went on to a long career doing country-tinged easy listening music (with such hits as “By the Time I Get to Phoenix,” “Wichita Linesman” and “Rhinestone Cowboy,” many of which utilized his colleagues in the Wrecking Crew) as well as an acting career. They are almost without exception not listed on the albums they played on as musicians. However, their influence has been incalculable; Blaine himself played on seven straight Record of the Year Grammy winners, a feat that has never been duplicated before or since, and he is a member of the Rock and Roll Hall of Fame.

But largely the Crew labored in public obscurity, content to play music, collect large checks and shape rock and roll as we know it. The director, Denny Tedesco, is the son of Tommy and started this project in 1996 as a means of tribute to his father, who would pass away a year after he started filming the project although a group interview including his father plays a substantial roll in the documentary. There are also other subjects, like Dick Clark, who were alive when interviewed (and in Clark’s case, unaffected yet by the stroke he suffered in 2004). Campbell himself suffers from Alzheimer’s but was perfectly lucid in his pre-diagnosis days.

There are also interviews with the stars who they worked for. It is interesting to hear Cher, who normally is an effusive and self-confident interview when talking about her latest film project kind of revert to the shy and less confident personality she had when she was first starting out. We also get to see Brian Wilson talk about the Smile sessions that would later become the most famous album never released (although it has since) with some of the tracks showing up on the Pet Sounds album.

The music here is simply unbeatable. Nearly every clip brought a smile to my face. Not all of it was rock and roll; the Crew backed up all sorts of different musicians, including most of the members of the Rat Pack. We can hear Frank Sinatra joking with his daughter Nancy on audio tape taken from the sessions when they recorded “Something Stupid” together. Stuff like that is priceless.

It took Tedesco 13 years to assemble the film and nearly as long to get it released theatrically. As you can gather, getting the rights to use much of the music in the film was a formidable task It took a lot of money that the production didn’t have, so they used Kickstarter to acquire the funds to help them get permission. People of a certain age, however, will certainly appreciate the effort. While the filmmakers don’t really go too much into what the main folks in the Crew thought of their fame or lack thereof, or what happened as the business changed and studio musicians fell out of favor, but that dose of reality would likely have made this a lesser film. There are insights into the time and place of the Crew, but little of themselves. If you’re looking to get a feel for who these people really were, you won’t get much beyond “talented musicians with stories to tell.”

Still, Denny Tedesco wisely lets the music do the talking for them. It’s rare you get a movie where you exit the theater feeling better when you walked in; it’s even more rare when you learn something in the same movie. The Wrecking Crew accomplishes this and it might motivate you to go spend your paycheck on Amazon or iTunes gathering the songs here into your own personal collection, if they aren’t already there. If they aren’t, they should be.

REASONS TO GO: Incredible soundtrack. Some nice insights into a bygone era of music. Definitely a labor of love and it shows.
REASONS TO STAY: Doesn’t really delve into the issue of being “the men (and woman) behind the curtain.”
FAMILY VALUES: There is some salty language here and there and some adult themes.
TRIVIAL PURSUIT: The movie originally played at the 2008 Florida Film Festival but took six years after that to get a distribution deal, finally getting a much-deserved theatrical release seven years after it was made.
CRITICAL MASS: As of 3/26/15: Rotten Tomatoes: 91% positive reviews. Metacritic: 65/100.
COMPARISON SHOPPING: 20 Feet From Stardom
FINAL RATING: 8/10
NEXT: Run All Night

New Releases for the Week of March 20, 2015


The Divergent Series InsurgentTHE DIVERGENT SERIES: INSURGENT

(Summit) Shailene Woodley, Kate Winslet, Theo James, Miles Teller, Ansel Elgort, Jai Courtney, Mekhi Phifer, Daniel Dae Kim, Octavia Spencer. Directed by Robert Schwentke

Tris and Four are on the run, outlaws being chased by the power-mad Erudite faction. Seeking to discover what Tris’ family died to protect, the future of Chicago and maybe the world beyond depends on them finding answers, answers that Jeanine will do anything to keep them from.

See the trailer, clips, interviews, a promo, a featurette and B-roll video here.
For more on the movie this is the website.
Release Formats: Standard (opens Thursday)
Genre: Science Fiction
Now Playing: Wide Release
Rating: PG-13 (for intense violence and action throughout, some sensuality, thematic elements and brief language)

Do You Believe?

(Pure Flix) Sean Astin, Mira Sorvino, Lee Majors, Alexa PenaVega. A suburban pastor is shaken to his core by the obvious faith of an old street corner preacher. Knowing that true faith demands action, he commits to a response that will touch the lives of complete strangers in ways that could only come from the divine. From the creators of God’s Not Dead and certain to be popular with the evangelical audience.

See the trailer, clips and interviews here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Faith-Based Drama
Now Playing: Selected Theaters
Rating: PG-13 (for thematic elements, an accident sequence and some violence)

The Gunman

(Open Road) Sean Penn, Javier Bardem, Idris Elba, Ray Winstone. An assassin with a particular set of skills is betrayed for the secret organization he works for. With the only woman he cares about in the hands of his enemies and no place left to turn, he embarks on a deadly game of cat and mouse across Europe, knowing only his skills can save the woman he loves – and himself.

See the trailer and clips here.
For more on the movie this is the website.
Release Formats: Standard (Opens Thursday)
Genre: Action Thriller
Now Playing: Wide Release
Rating: R (for strong violence, language and some sexuality)

Tracers

(Lionsgate) Taylor Lautner, Marie Avgeropoulos, Adam Rayner, Rafi Gavron. A bike messenger deeply in debt to a violent crime gang crashes his bike into a young woman one day and everything changes. Turns out she’s part of a gang herself, one that uses their parkour skills for heists. Knowing this might be his ticket out of debt, he joins the gang whose heists grow increasingly more daring and dangerous. He’ll need all of his skills, especially with gang enforcers right on his tail.

See the trailer here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Action
Now Playing: AMC Loew’s Universal Cineplex
Rating: PG-13 (for some intense violence, perilous action, sexual content and language)

The Wrecking Crew

(Magnolia) Cher, Brian Wilson, Mickey Dolenz, Nancy Sinatra. The most famous band you’ve never heard of is the Wrecking Crew. They were the studio band that created the music for some of the greatest bands in rock and pop music in the 1960s and 1970s. They backed such bands as Sonny and Cher, The Beach Boys, Nancy Sinatra, the Monkees, the Byrds, Nat “King” Cole, Dean Martin and the Association, winning six Grammys in a row for Record of the Year, a feat that no other group of musicians has accomplished in history.

See the trailer here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Music Documentary
Now Playing: Enzian Theater
Rating: PG (for language, thematic elements and smoking images)

Wyrmwood

(IFC Midnight) Jay Gallagher, Bianca Bradley, Leon Burchill, Luke McKenzie. When the zombie apocalypse hits New Zealand, an unassuming family man and brilliant auto mechanic soups up his car for a perilous journey to rescue his sister from a mad doctor with a penchant for disco. With clever homemade weapons on oodles of gory goodness, this is destined to become the next cult classic.

See the trailer and clips here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Horror Comedy
Now Playing: Enzian Theater
Rating: NR