New Releases for the Week of March 16, 2018


TOMB RAIDER

(MGM/Warner Brothers) Alicia Vikander, Dominic West, Walton Goggins, Daniel Wu, Kristin Scott Thomas, Derek Jacobi, Hannah John-Kamen. Directed by Roar Uthaug

The headstrong daughter of a wealthy entrepreneur and adventurer mourns the disappearance of her father. Honing her skills, she receives a mysterious message that brings her to the very island where her father was last seen – and smack dab into a conspiracy and mystery that may find the same fate awaiting her. This is the reboot of the popular videogame movie franchise.

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

Release Formats: Standard, 3D, DBOX, DBOX 3D, Dolby Atmos, IMAX, IMAX 3D, RPX, RPX 3D, XD, XD-3D
Genre: Fantasy Adventure
Now Playing: Wide Release

Rating: PG-13 (for sequences of violence and action, and for some language)

7 Days in Entebbe

(Focus) Rosamund Pike, Daniel Brühl, Eddie Marsan, Nonso Anozie. In 1976, an Air France flight from Tel Aviv to Paris was hijacked by Palestinian terrorists to call attention to the plight of their people. The flight was made to land in Uganda whose dictator Idi Amin used the hijacking as a means to call international attention for himself as a world leader. When things looked bleak, the Israeli army staged a daring raid that still resonates today as one of the gutsiest rescue operations in history.

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

Release Formats: Standard
Genre: True Life Drama
Now Playing: Wide Release

Rating: PG-13 (for violence, some thematic material, drug use, smoking and brief strong language)

Concert for George

(Abramorama) Eric Clapton, Paul McCartney, Ringo Starr, Dhani Harrison. On the first anniversary of the untimely death of George Harrison, a group of his family and close friends put on a concert in the Royal Albert Hall in London to celebrate the life and music of the ex-Beatle. Although the line-up was stellar, the concert film went directly to video and has been hard to find ever since. On the occasion commemorating what would have been Harrison’s 75th birthday, a limited theatrical release has finally been arranged. It is playing at the Enzian as part of their Music Mondays series. You can read the Cinema365 review of the doc by clicking on the link in the Scheduled for Review section below.

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

Release Formats: Standard
Genre: Concert Film
Now Playing: Enzian Theater (Monday only)

Rating: NR

The Cured

(IFC) Ellen Page, Sam Keeley, Tom Vaughan-Lawlor, Stuart Graham. After a mysterious disease turns people into mindless zombies, a cure is eventually found but the world is badly shell-shocked. Those that have reverted back to humanity find themselves discriminated against by their neighbors and sometimes their own families. When the military tries to intervene, things take a turn for the worse.

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

Release Formats: Standard
Genre: Horror
Now Playing: Enzian Theater

Rating: R (for violence, bloody images, and language)

Dear Dictator

(Cinedigm) Michael Caine, Odeya Rush, Katie Holmes, Seth Green. A teenage girl doing a school project on personal heroes chooses a British-Caribbean dictator who surprisingly begins corresponding with her. When he is overthrown by freedom fighters, he hides out at her home and gives her advice on how to handle the mean girls at her school.

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

Release Formats: Standard
Genre: Comedy
Now Playing: AMC Universal Cineplex

Rating: NR

I Can Only Imagine

(Roadside Attractions) J. Michael Finley, Brody Rose, Dennis Quaid, Cloris Leachman. This is the true story behind the hit MercyMe song “I Can Only Imagine” and the forgiveness and healing between an abusive father and his musician son.

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

Release Formats: Standard
Genre: True Life Faith Drama
Now Playing: Wide Release

Rating: PG (for thematic elements including some violence)

In the Fade

(Magnolia) Diane Kruger, Denis Moschitto, Numan Acar, Ulrich Tukur. When a wife and mother’s family is killed in a terrorist bombing, she is distressed when those who perpetrated the attack are seemingly going to get away with it. This leads her to take her own revenge which in this case she equates with justice for her loved ones.

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

Release Formats: Standard
Genre: Drama
Now Playing: Enzian Theater

Rating: R (for some disturbing images, drug use and language including sexual references)

Josie

(Screen Media) Sophie Turner, Dylan McDermott, Daeg Faerch, Lombardo Boyar. A beautiful but mysterious young woman appears in a small Texas town and strikes up romantic friendships with a punk outcast and a lonely neighbor. As the gossip grapevine goes into overdrive, soon there are signs that she may have a sinister agenda of her own once certain facts about her past come to light.

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

Release Formats: Standard
Genre: Suspense
Now Playing: AMC Universal Cineplex

Rating: NR

The Leisure Seeker

(Sony Classics) Helen Mirren, Donald Sutherland, Janel Moloney, Christian McKay. An elderly couple goes on a last hurrah road trip in their faithful but falling apart RV they call the Leisure Seeker.

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

Release Formats: Standard
Genre: Dramedy
Now Playing: Regal Winter Park Village

Rating: R (for some sexual material)

Love, Simon

(20th Century Fox) Nick Robinson, Jennifer Garner, Josh Duhamel, Katherine Langford. A high school boy has been hiding a secret from family and friends – he’s gay. When his secret is threatened, he must find a way to break the news to those he cares about and along the way discover who he truly is. This is the first major studio film to deal with a gay teen romance.

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
Genre: Teen Romance
Now Playing: Wide Release

Rating: PG-13 (for thematic elements, sexual references, language and teen partying)

Loveless

(Sony Classics) Maryana Spivak, Aleksey Rozin, Matvey Novikov, Marina Vasileva. A Russian couple undergoing a bitter divorce must put their differences aside when their young boy disappears. This was a finalist for the 2018 Academy Awards for Best Foreign Film.

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

Release Formats: Standard
Genre: Drama
Now Playing: Regal Winter Park Village

Rating: R (for strong sexuality, graphic nudity, language and a brief disturbing image)

ALSO OPENING IN ORLANDO/DAYTONA:

Kirrak Party
Please Stand By
Raid

ALSO OPENING IN MIAMI/FT. LAUDERDALE:

Cuba’s Forgotten Jewels: A Haven in Havana
Kirrak Party
Mind Game
Mufti
Raid

ALSO OPENING IN TAMPA/ST. PETERSBURG:

Demon House
Raid

ALSO OPENING IN JACKSONVILLE/ST. AUGUSTINE:

In Bed With Victoria
Kirrak Party

SCHEDULED FOR REVIEW:

7 Days in Entebbe
Concert for George
In the Fade
The Leisure Seeker
Love, Simon
Tomb Raider

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Concert for George


Eric Clapton doing what he does best.

(2003) Concert Film (Abramorama) Eric Clapton, Paul McCartney, Ringo Starr, Dhani Harrison, Jeff Lynne, Joe Brown, Tom Petty, Ravi Shankar, Tom Hanks, Michael Palin, Eric Idle, Terry Jones, Terry Gilliam, Gary Brooker, Billy Preston, Olivia Harrison, Jools Holland, Sam Brown, Ray Cooper, Neil Innes, Andy Fairweather-Low, Jim Capaldi, Carol Cleveland, Anoushka Shankar. Directed by David Leland

 

Most remember George Harrison as “the quiet Beatle” but the truth is that he was one of the great guitarists of his time as well as a sterling songwriter who wrote songs like “Something,” “My Sweet Lord,” “All Those Years Ago” and “Taxman.” He maintained a strong interest in Indian spiritualism and was a close friend to sitar virtuoso Ravi Shankar who taught him to play the instrument and who considered him to be a son.

Harrison died too young at age 58 on November 29, 2001 in the home of a friend after a long battle with lung cancer. His widow Olivia and close friend Eric Clapton (whom Harrison had known since childhood) organized a tribute concert which took place a year to the day of his passing at the Royal Albert Hall in London. A virtual who’s who of British rock royalty, the concert had the benefit that all of the performers were close to Harrison in some way or form either personally or as performers. The music that was performed therefore was straight from the heart and it shows.

A documentary was made of the event but was never released theatrically as far as I know; it has been available off and on over the years on home video. Now, on the occasion of Harrison’s 75th birthday (which would have been February 25, 2018) music documentary specialists Abramorama have undergone a brief limited theatrical release of the original documentary (for local Orlando residents, it will be playing at the Enzian Theater on March 19).

There are interviews with some of the participants which are very brief; mostly director David Leland is content to let the music speak for itself which it does eloquently. In the interview segments, Harrison’s death is still pretty close in mind and for some the emotion is still raw but the event was a celebration, not an elegy and the overwhelming feeling you get is joy. As for the concert segments, music director Clapton wisely kept pretty close to the original arrangements that Harrison had so the songs remained familiar. The songs themselves range from music that influenced Harrison (like Carl Perkins’ “Honey Don’t,” performed by Starr) to his tenure with the Beatles and then his lengthy solo career that followed as well as his work with the all-star band the Traveling Wilburys.

There was also a comedy interlude in which former Monty Python members Eric Idle, Terry Jones, Michael Palin and Terry Gilliam performed “Sit on My Face” from The Meaning of Life and one of their signatures “The Lumberjack Song” in which they were joined by longtime Python associate Carol Cleveland, Bonzo Dog songwriter Neil Innes, actor Tom Hanks and the Fred Tomlinson Singers. Harrison was a huge Python fan and produced their final two movies through his HandMade Films banner which also produced several other memorable films as well. The levity is a welcome moment and makes a nice break during the concert.

There were some exceptions. Harrison had a great deal of affection for the humble ukulele so McCartney performed “Something” on it, a tribute he’d been doing on his own solo tour that year. The song then opens up into a full rock number with Clapton joining McCartney on vocals. Shankar wrote an original song for the occasion which was performed with his daughter Anoushka. Finally Joe Brown, a pioneering English rocker for whom the Beatles opened for back in the early days and for whom Harrison was best man at his wedding, played “I’ll See You in My Dreams,” one of the few songs not written by Harrison in the concert, on the ukulele. He was joined by nearly every musician that played in the show onstage for a touching finale.

Leland for some odd reason chose not to use onscreen graphics to identify the performers. That’s fine for widely recognized icons like McCartney, Starr and Clapton but not everyone knows who Gary Brooker is or what he looks for and the parade of rockers whose heyday was in the 60s (and in Joe Brown’s case, the 50s) are not always easy to recognize. Some are introduced verbally but mainly we never know who’s speaking in the interviews or performing onstage which is a bit irritating.

One thing that was a little-remarked grace note to the whole thing was the presence of Harrison’s son Dhani who played acoustic guitar on nearly every song. Dhani who was 24 at the time of the show is a dead ringer for his late father. Seeing him playing behind McCartney was oddly comforting, like a glimpse of the past. It is also good to see Petty, Shankar and Billy Preston playing again, all of whom have left us since this show took place as well as Sam Brown, a striking performer (and daughter of Joe Brown) whose career was sadly cut short when vocal issues forced her to retire.

In many ways this isn’t the most polished of concert films as the participants had little time to rehearse. Still, the fact that stars of this caliber made room on their schedules to be at this show is not only a testament to the respect they had for Harrison as a musician but for the love they had for Harrison as a person. That love shows up very plainly in the music they played that night and it certainly makes this worth seeing on the big screen if it plays anywhere near you; you can see where it is going to be playing here. If you can’t make it to a theater or it’s not coming to one convenient to where you live, take heart; the movie will be back on VOD and on various streaming services in the not-too-distant future.

REASONS TO GO: Clapton’s star power is very much on display. The Monty Python interlude is nicely done.
REASONS TO STAY: The film could have used some identification for the various aging rockers.
FAMILY VALUES: This is suitable for all family members.
TRIVIAL PURSUIT: This was the first time Paul and Ringo had performed together on the same stage since the break-up of the Beatles.
BEYOND THE THEATERS: iTunes
CRITICAL MASS: As of 2/26/18: Rotten Tomatoes: No score yet. Metacritic: 82/100
COMPARISON SHOPPING: The Concert for Bangladesh
FINAL RATING: 7/10
NEXT:
The Commuter

Pirates of the Caribbean: Dead Men Tell No Tales (Pirates of the Caribbean: Salazar’s Revenge)


Jack Sparrow in his usual befuddled state.

(2017) Adventure (Disney) Johnny Depp, Javier Bardem, Geoffrey Rush, Brenton Thwaites, Kaya Scodelario, Kevin McNally, Golshifteh Farahani, David Wenham, Orlando Bloom, Keira Knightley, Stephen Graham, Paul McCartney, Angus Barnett, Martin Klebba, Delroy Atkinson, Bruce Spence, Adam Brown, Giles New, Danny Kirrane, Juan Carlos Vellido, Rodney Afif, Hannah Walters. Directed by Joachim Ronning and Espen Sandberg

 

Yo ho, yo ho, a pirate’s life for me! As a young lad venturing to Disneyland, the Pirates of the Caribbean was always one of my favorite rides. Gore Verbinski adapted the ride’s backstory into a rollicking supernatural adventure that became yet another lucrative license to print money for Disney. In many ways, the film franchise that developed from the theme park attraction has outstripped the ride of its place in pop culture.

Captain Jack Sparrow (Depp) has fallen on hard times. With his beloved Black Pearl reduced to a ship in a bottle, he only commands a land-bound disaster of a boat, the Dying Gull. An attempt to rob a bank – by dragging it through the streets of Saint Martin by a team of horses, certainly a novel approach – ends up disastrously with most of his crew quitting in disgust.

In the meantime young Henry Turner (Thwaites), son of Will Turner (Bloom) and Elizabeth Swann (Knightley) has encountered the undead Captain Salazar (Bardem) who was lured into the Devil’s Triangle by a young Sparrow and cursed to remain there. Salazar spares Henry to pass on a message to Jack – “death is coming straight for you.”

Jack’s spectacular bank robbery failure has put him in touch with astronomer/horologist Carina Smyth (Scodelario) who has been studying the legendary Neptune’s Trident which supposedly gives the wielder control over all the seas. She believes she has discovered the location of the fabled relic; Jack needs it to protect himself from Salazar, Salazar needs it to restore his life and Henry needs it to restore his father to life so that he and his mother might be reunited permanently.

In the meantime Captain Barbossa (Rush), the former antagonist turned ally, also seeks the Trident for reasons of his own. All of these competing factions will collide on a desolate island; at stake is control of the oceans and of course their very lives.

With Verbinski out of the picture (although he remains in the capacity of a producer), Norwegian directors Ronning and Sandberg who previously teamed up on the epic Kon-Tiki take over the franchise and deliver a movie while not the best in the franchise history is not the worst either. The special effects are right up there with the first film in the series and while the plots are as convoluted as they tend to be in this series there is a little more personal background being revealed here. One of the main characters also has a major revelation that will affect the franchise should it continue on to a sixth film, which Disney seems to have every intention of doing.

I kinda hope that they don’t however. A lot of loose ends are tied up here and this would certainly make a fitting end for the franchise. It might also be a jumping off point for a new series although Thwaites and Scodelario don’t hold a candle to Bloom and Knightley in the parts that they play; the late-film cameo of the two veterans of the first three films only serve to highlight how much better the two were. It’s not that Thwaites and Scodelario are inferior actors, mind you – it’s just that the roles of Henry and Carina are way too similar to Will and Elizabeth that the differences are pretty much too minute to mention. The writer, Jeff Nathanson, definitely could have made the characters a little bit more distinct.

Depp has for better or worse made the role a signature and all the elements are there, but the charm is wearing off. I don’t get the sense that Depp is overly enthusiastic about continuing to play the role of Captain Jack; there’s only so much you can do with the role. He’s colorful, yes, but the part has become a parody of itself. In the first film, Jack was not just befuddled and lurching about like Dean Martin on a Saturday night, but also clever and occasionally vicious as well. You got the sense that his demeanor is something of a means to get others to underestimate him.

Sadly, there’s none of that in Depp’s performance now. Depp has resorted to mugging over acting; it could be that he literally has nothing more to add to the role. I’m certain that the paycheck is enough to entice him to do it and given the box office cold streak Depp has been done I’m sure the salary for these movies is welcome. Jack Sparrow has become a WYSIWYG role, a lovable drunk with all the charm that lovable drunks possess. Sad to say, that charm overstays its welcome when it comes to lovable drunks and I feel like the franchise has reached that point too where the antics become less endearing and more exasperating.

Bardem however was inspired casting. He is without a doubt one of the best in Hollywood at playing villainous characters, maybe one of the best of all time. Salazar would be a worthy adversary in any film but in some ways, his evil is wasted because none of the heroes hold a candle to him. Every franchise needs great villains but they also require the heroes to be the equal of those villains and Captain Jack has become more parody than pirate.

There are some nice action set pieces, particularly one involving a guillotine and another involving zombie sharks (which is teased in the trailer). Often a film franchise feels the need to one-up themselves when it comes to action sequences; wisely, Ronning and Sandberg resist the urge and instead use action sequences that fit the story more than dazzle the eye.

The series feels worn out and without ideas. If the franchise is to continue, I really think that it needs an infusion of fresh blood, no pun intended. Some shaking up needs to be done and the post-credits scene which strongly hints that there will be another film in the franchise, it also teases the return of one of the iconic villains of the series which seems almost a step back. I hope they go in a different direction if they do intend to make another film in the series.

REASONS TO GO: Bardem is one of the finest villains in Hollywood today. The loose ends of the franchise are tied up nicely.
REASONS TO STAY: Thwaites and Scodelario are inadequate replacements for Bloom and Knightley. At times the plot seems to be spinning its wheels in a single place.
FAMILY VALUES: There is some action and violence as well as some mild sexually suggestive material.
TRIVIAL PURSUIT: The six year gap between films is the longest of the series; the running time of two hours and nine minutes is also the shortest run time of the franchise.
CRITICAL MASS: As of 9/1/17: Rotten Tomatoes: 30% positive reviews. Metacritic: 39/100.
COMPARISON SHOPPING: Treasure Planet
FINAL RATING: 6/10
NEXT: 68 Kills

Bang! The Bert Berns Story


This is what producing a classic rock track looks like.

(2016) Documentary (Abramorama) Steven van Zandt (narrator), Paul McCartney, Doug Morris, Keith Richards, Ben E. King, Wilson Pickett, Carmen de Noia, Richard Gottehrer, Jerry Goldstein, Mike Stoller, Ellie Greenwich, Joel Selvin, Robin Levine, Ilene Berns, Andrew Loog Oldham, Van Morrison, Jerry Leiber, Ahmet Ertegun, Solomon Burke, Brenda Reid, Cissy Houston. Directed by Brett Berns and Bob Sarles

 

We know who the great performers of the rock and roll/R&B era are. We know their faces, we know their music. The people who are behind the scenes may not necessarily be as well known other than a few like Phil Spector and George Martin.

Chances are that very few of you reading this have ever heard of Bert Berns, but you certainly know his music as both a songwriter and producer. He’s responsible for such classic songs as “Twist and Shout,” “Under the Boardwalk,” “I Want Candy” and “Piece of My Heart.” His career spanned a mere eight years but in that time he completely remade music in his image.

Berns was a Jewish kid from the Bronx and the last guy you’d think of as a one of the movers and shakers of soul music in the 60s, but truth is a strange motha. He was stricken with rheumatic fever as a boy and his heart was severely damaged. He spent most of his convalescence learning to play guitar and piano. His doctors warned his parents that it was unlikely he would survive past his teens; they were proven wrong but not by much.

In the 50s he fell in love with Cuban music, particularly the mambo. He brought that love of Latin rhythms into his music. He sort of slid into the music business sideways, working as a $50 a week songwriter for a tiny New York publishing firm. He wrote a couple of songs that got mild airplay, including the novelty hit “A Little Bit of Soap.” He eventually was brought to the attention of Atlantic Records, then the giant of R&B music. One of the first songs he wrote while employed by them was “Twist and Shout.” It was brought to Phil Spector who did a version that ended up somewhat lame. Horrified, Berns determined to produce the records made of his songs. He took the Isley Brothers into the studio and did the song up right. A legend was born.

The documentary is definitely a labor of love, co-directed by his son Brett. The film is largely a parade of talking heads interspersed with archival stills but that’s largely a necessity. There wasn’t a lot of behind the scenes footage taken back then and performance video wouldn’t become a regular thing until the MTV era.

We get to hear from those who worked with Berns, from performers to engineers. We also hear from his siblings and most importantly, from his wife Ilene – a former go-go dancer. She pulls no punches and gets emotional talking about certain aspects of his life. She has a take-no-crap attitude that isn’t uncommon among true New Yorkers and compared to some of the others interviewed who are more circumspect, her testimony is rather refreshing.

The music business is full of sharks and Berns rapidly learned to swim with them. His friendship with Carmen de Noia was helpful to his career; while de Noia wasn’t a made man he was the sort of guy who knew a guy, if you get my meaning. Ilene had danced in a club owned by Morris Levy, not just the chief of Roulette Records but the front of the mob in the music business. Bert wasn’t uncomfortable rubbing elbows with these sorts. De Noia also is interviewed for the film and other than Ilene is the most interesting tale-teller of the lot.

Berns died way too young, his heart finally giving out on December 30, 1967 at the age of 38. It’s always the brightest flames that burn out the soonest. Moreover, he knew that his life would end prematurely – he beat the odds in surviving as long as he did. In fact, “Piece of My Heart” is actually about his heart condition, but there’s no need to feel sorry for him. In his time, he nurtured and developed the careers of Neil Diamond and Van Morrison; he also was one of the most prolific and successful producers in the history of Atlantic Records; he remains one of the few people who ever partnered with the main trio of Ahmet Ertegun, Jerry Wexler and Nesuhi Ertegun in founding Bang Records, a subsidiary of Atlantic and the namesake of the documentary.

His legacy is mainly in the music and the soundtrack is packed with it. It’s music that made the music of today what it is. You may not know the name of Bert Berns but you know his music and chances are, you love it. One viewing of this film and you won’t forget his name anytime soon. I guarantee you won’t want to.

REASONS TO GO: A soundtrack that is absolutely stellar. One of the forgotten geniuses of rock and roll finally gets his due.
REASONS TO STAY: The movie is basically a parade of talking heads.
FAMILY VALUES: Some mild profanity and lots and lots of smoking.
TRIVIAL PURSUIT: The Berns-written hit “I Want Candy” got its title from a risqué book by Terry Southern.
CRITICAL MASS: As of 4/26/17: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: The Wrecking Crew
FINAL RATING: 7/10
NEXT: Circus Kid

The Beatles: Eight Days a Week – The Touring Years


The Fab Four in their glory years.

The Fab Four in their glory years.

(2016) Musical Documentary (Abramorama) Paul McCartney, Ringo Starr, George Harrison, John Lennon, Whoopi Goldberg, Richard Lester, George Martin, Elvis Costello, Larry Kane, Eddie Izzard, Sigourney Weaver, Neil Aspinall, Richard Curtis, Brian Epstein, Kitty Oliver, Howard Goodall, Jon Savage, Debbie Gendler. Directed by Ron Howard

 

It is safe to say that the Beatles are one of the pop culture touchstones of the 20th century. Their influence on music and the world in general is incalculable. It has been half a century since the Fab Four played a live show and generations have been born since, some not even knowing who they are but regardless feeling the effects of their contribution on popular music.

Beatlemania is something we’re not likely to see again; the emotional effect that the Beatles had on their female fans was something that the world hadn’t seen prior to that (except maybe for Elvis) and not really since; girls would scream nearly non-stop in their presence and faint from the emotional outpouring. It was a phenomenon that had to be experienced to be believed and even just having seen it as I did on this documentary it still doesn’t carry the impact it must have to be in that presence.

Their popularity can’t be underestimated either. They are the only band to hold the top five position on the Billboard singles chart in the same week and given how the music industry is today that is extremely unlikely to ever happen again. They ushered in the British invasion and paved the way for bands like the Rolling Stones and the Who, among others.

The Beatles had a very limited shelf life; essentially they were only making a global impact for seven years before going their separate ways. They only toured for four of those years, and after giving up touring only played together publicly just once – on the rooftop of their Apple Records office in London, which the film appropriately closes with.

Still their touring years were some of their most productive and it was a grueling schedule. They made two movies during those years on top of the grueling tour schedules that would take them to 25 cities in 30 days. It was certainly a different era; their concerts generally lasted about 30 minutes long, including encores. They were the first band to play in stadium-sized venues and often their amplifiers went through the stadium sound system. The screaming of their female fans would be so loud that the band couldn’t hear themselves play; drummer Ringo Starr kept the beat by watching his bandmates sway at the microphone so that he’d know where they were in the song.

Director Ron Howard, an Oscar winner in his own right, has compiled archival interviews as well as contemporary ones with the surviving Beatles (Starr and McCartney) and with celebrities like Whoopi Goldberg and Sigourney Weaver, both of whom were at the historic 1966 Shea Stadium concert in New York City – Goldberg recalls not thinking of the band in terms of black or white but just as “guys” who gave her a feeling of empowerment that helped her determine her course in life. New Wave legend Elvis Costello remembers not liking the Rubber Soul album because it didn’t sound anything like their previous music, only appreciating what it represented years after the fact. Some of the best insights though come from Larry Kane, a Miami-based reporter who accompanied the band on two of their tours and filed regular reports from the front lines of Beatlemania. His take on the phenomenon is fascinating to say the least.

There is also home movies that the Beatles themselves took, backstage and rehearsal studio audio that shows us how some of their classic songs evolved. And of course plenty of concert footage; we never get a sense at how accomplished musicians they were (and Starr and Harrison were both much underrated in that regard) but we get more of a sense of the power they had over their audience. That power was considerable, too; the band was literally under siege from the press, their fans and their record label for that entire period. Starr remembers not getting a moment to relax for three years and the toll it took, but nearly everyone who was there comments on how unified the band was and how they looked after each other like brothers. That was a far cry from how they ended up, acrimonious and sniping at one another through the press.

I will admit that this is a bit of a puff piece. There isn’t a lot here that is negative and maybe it wasn’t Howard’s intention to look at the band objectively. We do get a sense of their impish sense of humor as well as their resolve; when they found out that the venue in Jacksonville they were going to play at was segregated, they refused to play unless it was full integrated. Manager Brian Epstein had that written into all of their performing contracts from that point forward. They were one of the first performers in history to make that a standard clause in their contract.

Their last concert other than the one-off Apple rooftop concert was at Candlestick Park in San Francisco. The band was tired and frustrated; Harrison had been expressing dissatisfaction with the live shows and now all of them were picking up on it. They were taken out of their last concert in an armored car with no seats in the back. As the car drove recklessly out of the park the band were jostled about in the back and that was the final straw; they chose as a group to stop touring, even though that was their primary source of income. Canny Brian Epstein, their manager, formed a corporation with him and his four charges as co-chairs; it was the first of its kind and would set the stage for other artist-owned production companies in the performing arts. They would get more control over their career than any entertainer before them.

I will admit to having been a fan of the Beatles since childhood; my parents listened to their music and they were my favorite group from day one. This is a film tailor-made for fans like me and if you love the Beatles, this is pretty much required viewing. It gives you a bit of an insight as to the pressures they were under, their lives on the road and how it drew them closer together. It’s no coincidence that the band began to fracture only after they stopped touring. Still, this is a reminder of a much simpler era, when something like this could happen. We will never see the like of the Beatles again.

REASONS TO GO: Definitely will send you on a trip down memory lane. Amazing footage and amazing music throughout the film. There are some insights into Beatlemania that you may not have had otherwise.
REASONS TO STAY: It is something of a puff piece.
FAMILY VALUES: There are a few drug references.
TRIVIAL PURSUIT: The digital remastering of the songs for the soundtrack was engineered by Giles Martin, son of the legendary George Martin who produced the Beatles.
BEYOND THE THEATER: Hulu
CRITICAL MASS: As of 9/19/16: Rotten Tomatoes: 96% positive reviews. Metacritic: 72/100.
COMPARISON SHOPPING: The Last Waltz
FINAL RATING: 8/10
NEXT: Meat

New Releases for the Week of September 9, 2016


SullySULLY

(Warner Brothers) Tom Hanks, Aaron Eckhart, Laura Linney, Anna Gunn, Jamey Sheridan, Holt McCallany, Valerie Mahaffey, Ann Cusack, Sam Huntington. Directed by Clint Eastwood

Chesley Sullenberger was a commercial airline pilot but on a routine flight in January, 2009, he became a national hero when his engines were crippled when a flock of geese passed through his flight path. He brought the plane down safely without a single loss of life, but the end of the passengers’ ordeal was only the beginning of his own.

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

Release Formats: Standard
Genre: Biographical Drama
Now Playing: Wide Release

Rating: PG-13 (for some peril and brief strong language)

The Beatles: Eight Days a Week – The Touring Years

(Abramorama) Paul McCartney, John Lennon, George Harrison, Ringo Starr. This documentary directed by Oscar winner Ron Howard chronicles the live shows and tours of the Fab Four starting from their days in Liverpool at the legendary Cavern Club to their final show at Candlestick Park in San Francisco in 1966. While this documentary is scheduled to be released on Hulu the same day, the theatrical version will include their legendary 1965 Shea Stadium concert in New York City in its entirety.

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

Release Formats: Standard (Two nights only; Thursday (sold out) and Friday September 16)
Genre: Music Documentary
Now Playing: Enzian Theater

Rating: NR

The Disappointments Room

(Relativity) Kate Beckinsale, Lucas Till, Michaela Conlin, Gerald McRaney. A young family moves into a fixer-upper in a quaint Eastern seaboard town. While renovating the home, they come upon a small door in the attic that is locked and for which no key appears to work. The room behind the door doesn’t appear on the home’s blueprints and so their curiosity is piqued. Some doors, however, are better left locked.

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

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

Rating: R (for violent content, bloody images, some sexuality and language)

When the Bough Breaks

(Screen Gems) Morris Chestnut, Regina Hall, Romany Malco, Jaz Sinclair. A young professional couple, desperate to have a baby, finally goes the surrogate route when every other option fails. At first, the woman they choose as their surrogate seems to be a dream come true and after a harrowing event, they invite her to come live in their home with them. However, she becomes obsessed with the husband and proves to be far more dangerous than they thought possible.

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

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

Rating: PG-13 (for violence, sexuality/partial nudity, thematic elements, some disturbing images and language)

The Wild Life

(Summit) Starring the voices of Yuri Lowenthal, Jay Jones, Lindsay Torrance, Dennis O’Connor. The tale of Robinson Crusoe is retold (not so faithfully to the original I would imagine) in this animated adventure but in quite the twist, not from the point of view of Crusoe but through the eyes of the animals who inhabit the tropical island which isn’t so deserted after all.

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

Release Formats: Standard
Genre: Animated Feature
Now Playing: Wide Release

Rating: PG (for mild action/peril and some rude humor)

Good Ol’ Freda


Best. Job. Ever.

Best. Job. Ever.

(2013) Documentary (Magnet) Freda Kelly, Ringo Starr, Paul McCartney, George Harrison, John Lennon, Tony Barrow, Billy Kinsley, Billy Hatton, Elsie Starkey, Louise Harrison, Harold Hargreaves “Harry” Harrison, Maureen Tigrett, Brian Epstein. Directed by Ryan White

Most of us have a sense of the Beatles largely through the many biographies – most of which are written by outsiders – or through media accounts of the group. Few in their inner circle have stepped forward to give their accounts of Beatlemania.

Freda Kelly was a 17 year old devotee of the band who worked in a secretarial pool in Liverpool and would see the band play at the Cavern Club during their lunch hours. She got to know the boys in the band who would often give her lifts home when she would go to see them in the evening hours. When Brian Epstein took over the management of the band, he knew that they would need help in the office and asked Freda if she was up to the task. She would work this job until the band broke up, as well as running their fan club which was how many of the band’s fans got to know her name.

She rarely spoke of her time managing the fan club or the secretarial needs of the Fab Four even to her own children. Although she has scrapbooks and old fan club magazines, much of the memorabilia that she collected over the years she gave to the fans. Kelly, who began as a fan herself and continued to be after the demise of the band, empathized with them and felt a responsibility to the fans as well as to the band.

In this documentary, she talks about her time with the band but true to form she’s reticent to dish any dirt. Fiercely loyal, she feels bound to keep private those things that are personal about the band even though forty years have passed and half the members have passed on. There’s something to be said for that.

Freda has a certain charming guilelessness about her. She never sought the spotlight nor is she really seeking it out now. She felt that she wanted to get her story out so that her grandchildren would know what she did, motivated by the untimely death of her eldest son. In fact, her surviving daughter says on camera that she never really spoke about her time with the band when they were growing up and even today her friends are shocked to discover that she once worked with the Beatles.

She certainly hasn’t profited by her time with the band, although she might have with a tell-all book as some have done in the past. She’s a working class girl from a working class town who has just gone on about things. She isn’t particularly charismatic which might be the secret to her anonymity and may have saved her from the savage side of that spotlight.

Some critics have groused about the lack of focus on the Beatles but this isn’t about them. It is about living with them, just out of the limelight but certainly affected by it. The documentary has a lot of Freda’s personal photos of her with the band, or her at the office. We get a bit of a view as to what it took to run the empire but mostly through the days of Beatlemania – the later days when the band got into drugs, Eastern religion and psychedelia and began to implode are pretty much glossed over. Some may well find that disingenuous.

Still, you can’t help get a warm glow of nostalgia in your bones leaving the theater, particularly if you lived through the era or were simply a Beatles fan. Me, I’m both so I have to say that Good Ol’ Freda might get a bit more of a pass from my sort than it might from younger critics. After all, I’m a fan just like Freda Kelly was – perhaps not to the extent that I would have asked for a lock of Paul’s hair or a bit of John’s shirt, or asked Ringo to sleep on a pillowcase and have it returned to me. There’s a fine line between fandom and obsession after all. Still, I loved the band and their music made up the soundtrack of my life to a large extent, and one has to recognize the band’s importance in pop culture and music in general even if one is a snot-nosed young critic. Or a starry-eyed old one.

REASONS TO GO: A good way for people of a certain age to get the warm fuzzies. Some priceless behind-the-scenes pics and anecdotes.

REASONS TO STAY: Occasionally repetitive.

FAMILY VALUES:  There’s a whole lot of smoking and a few sexual and drug references.

TRIVIAL PURSUIT: The film title comes from the band’s 1963 Christmas message in which they namecheck their secretary and fan club president (the message is played at the beginning of the film).

CRITICAL MASS: As of 12/2/13: Rotten Tomatoes: 82% positive reviews. Metacritic: 60/100.

COMPARISON SHOPPING: Imagine: John Lennon

FINAL RATING: 8/10

NEXT: Philomena