Long Live Rock: Celebrate the Chaos


Surf’s up.

(2021) Documentary (Abramorama) Lars Ulrich, Ice-T, Robert DeLeo, Jerry Cantrell, Dexter Holland, Duff McKagan, John Kasich, Drew Pinsky, Tom Morello, Taylor Momsen, Rob Zombie, Dorothy Martin, Gavin Rossdale, Ed Kowalcyk, Kevin “Noodles” Wasserman, Matt Pinfield, Machine Gun Kelly, Lzzy Hale, Jason Flom, Seyth Boardman, Allison Hagendorf. Directed by Jonathan McHugh

 

Heavy metal has always gotten, if you’ll excuse the expression, a bad rap among musical genres. Often the music is dismissed as self-indulgent guitar noodling with satanic lyrics, its fans as Beavis and Butthead clones. That’s neither accurate nor fair.

Metal fans have always been amongst music’s most passionate. There is a kind of tribalism that goes on with metal fans, from the tattoos of lyrics and logos to the tour t-shirts and festival followers. While there might be rivalries with different bands (Metallica and Megadeth come to mind right away), there is a camaraderie between metal fans regardless of their favorite band; they’re all in it together and even if your favorite band is Halestorm, you can still rock out to Guns ‘n’ Roses, Korn or Body Count.

This is a documentary that suffers from the desire to do too much. McHugh starts as a way for fans to discuss what about the music appeals to them, why they love the bands they do and some of this is the most interesting material in the film, like the midwestern Mom whose kids can’t stand the music she listens to (it’s too loud) and takes one weekend off a year to attend a music festival to blow off steam and re-connect with friends and fellow metalheads.

But McHugh goes off in several other directions without any sort of plan or organization, going from the communal nature of the fans to the fine art of crowd surfing, to the casualties of the rock and roll lifestyle, to the lack of mainstream appeal of the music. The film leads off with Gene Simmons’ quote that Rock and Roll is Dead and rap has taken its place. That may well be statistically accurate, but it fails to take into account the cyclical nature of music which Simmons himself should have an understanding of since he and his band (KISS) have seen metal fall out of favor, come back in the late 80s/early 90s, and then fade away again. Sure, rap and hip hop may well be in the driver’s seat now but so was disco in the 70s; at some point kids will find something else to listen to. They always do.

There’s enough material here for McHugh to have done a miniseries on the subject, but instead he tried to cram it all into an hour and a half. That was probably not a good idea; most of the individual topics he takes off could easily use a movie of their own – the growing acceptance of women and African-Americans in the genre, the soul-grinding nature of touring and the toll it takes on family life, the healing nature of music, the relationship between fans and bands and those I mentioned previously, to name a few.

Much of the footage takes place at large-scale festival shows with tens of thousands in attendance (and often more) which might be painful for those who miss those gatherings which are probably at least another year or two away from happening again as of this writing. The effect of the pandemic on the fans and the musicians is never explored, but something tells me that this was filmed long before that. Some follow-up footage might have been nice. There also seems to be an emphasis on bands of the 80s and afterwards with curiously little mention to the hard rock pioneers of the 60s and 70s like KISS, Van Halen, Iron Butterfly, The Who, the Stones, and only a brief mention of Heart as pioneers for women in rock during that sequence. Context might have been a nice addition as well.

This is a worthy subject for a documentary and there is a definitely uplifting feeling to the film, despite a section on the passing of Chris Cornell and Chester Binnington of Soundgarden and Linkin Park, respectively. I think with a little better editing an maybe a little less scattershot approach, this could have been a lot more kickass than it was.

As a rock critic back in the day, I covered a number of the bands that are portrayed here. I have to say that the metal fans were some of the most inclusive of any I’ve ever dealt with as a rock critic. Although I tended to be more drawn to alternative music personally, I looked forward to metal shows not just because I liked the fans, but also because the women tended to be the sexiest – I was a single guy at the time, after all.

REASONS TO SEE: Gets an “A” for enthusiasm.
REASONS TO AVOID: Doesn’t really organize its subjects well.
FAMILY VALUES: There are drug references and profanity herein.
TRIVIAL PURSUIT: Halestorm, who is profiled in the film, recorded a cover of The Who’s “Long Live Rock” to promote the film.
BEYOND THE THEATERS: MUBI, Virtual Cinema
CRITICAL MASS: As of 3/18/21: Rotten Tomatoes: 20% positive reviews; Metacritic: No score yet.
COMPARISON SHOPPING: The Decline and Fall of Western Civilization II: The Metal Years
FINAL RATING: 6/10
NEXT:
Lava

How the Grinch Stole Christmas


How the Grinch Stole Christmas
Jim Carrey makes a point about Taylor Momsen’s hairstyle; it’s a bit too drab.

(2000) Holiday Fantasy (Universal) Jim Carrey, Taylor Momsen, Jeffrey Tambor, Christine Baranski, Bill Irwin, Molly Shannon, Clint Howard, Mindy Sterling, Anthony Hopkins (voice). Directed by Ron Howard

Family movies, particularly those concerning the holidays, have become increasingly marketing-oriented, substituting toys and corporate tie-ins for good storytelling and meaningful lessons. It’s ironic that this live-action remake of a beloved animated classic that espouses the feeling behind Christmas over the commercialism that Christmas has become should be marketed so aggressively – with toys and corporate tie-ins.

Irony aside, most of us who aren’t named Ebeneezer Scrooge know the story of “How the Grinch Stole Christmas.” A mean-spirited, cold-hearted (that heart being two sizes too small) creature known as the Grinch (Carrey) sits in his mountain lair, dreading the coming of Christmas, a holiday loathed by the green-furred curmudgeon. Taking solace by playing mean-spirited pranks on his Christmas-obsessed neighbors down in Whoville (known as Whos, creatures with off-the-wall haircuts and upwardly mobile noses), the Grinch is eventually goaded into a dastardly scheme. He means to eradicate every vestige of Christmas from Whoville while the unsuspecting Whos slumber amid the splendors of pine and light.

With the reluctant help of his adorable mutt Max, the Grinch devises a Santa suit and a rather unlikely-looking sleigh to carry out his nefarious deed. Of course, we all know how it ends – so there’s no need to discuss that here.

Director Ron Howard goes deeper into the background story of the Grinch, exploring the reasons behind his hate affair with the Yuletide, and adds numerous subplots, turning tiny Cindy Lou Who (Momsen) into a central character, whose non-judgmental belief in the goodness of the Grinch proves to be the linchpin the story revolves around. Writer Jeffrey Price adds a love interest (Baranski), a pompous mayor (Tambor) and Cindy Lou’s simple but eventually steadfast dad (Irwin).

The onscreen Whoville appears just as the late Theodore Geisel drew it, only in greater detail. Methinks the film’s designers spent a lot of time examining Seuss Landing at Universal’s Islands of Adventure; the set bears a striking resemblance to the theme park. Much like Never-Never Land in “Hook,” Whoville and the Mount Crumpit Grinch Cave become pivotal to the movie’s success, becoming places that are real and that we want to visit. Whoville may not be the star of the show, but it’s certainly an important cast member.

In one of his most physically demanding roles, Carrey brings the Grinch to life and though he can’t resist the over-the-top mugging that keeps me from being a big fan of his work, I am nonetheless impressed with his commitment to the character. Young Momsen makes a charming Cindy Lou Who, and though it probably wasn’t a wise idea to let her sing, she at least is off-key with heart. Boris Karloff is no longer with us to narrate, but Hopkins is the best person for filling those shoes that we have today, Christopher Lee notwithstanding.

This is a family movie that is actually for the whole family. Young ‘uns will appreciate the simple story, the physical comedy and the wonderful eye candy. Adults (most of us who grew up with Dr. Seuss or reading it to someone who did) will find comfort in the nostalgia that is evoked, and delight in seeing Whoville brought to life.

Add “How the Grinch Stole Christmas” to the list of timeless holiday classics that we’ll want to revisit again and again through the years. It’s a marvelous treat for the entire family or share with a date, or even just experience by yourself. Da Queen gave this one sentimental hankie, and for once, I think she underrated it.

WHY RENT THIS: The dazzling Whoville set brings Dr. Seuss to life. Certainly there are moments in the movie when the Christmas spirit really shows through.

WHY RENT SOMETHING ELSE: Carrey has a tendency to overdo it at times.

FAMILY VALUES: Some of the humor is a little crude but otherwise this is a holiday classic fit for the entire family.

TRIVIAL PURSUIT: The Whoville set was built behind the Psycho house on the Universal lot in California. Sometimes during breaks in filming, Carrey would run out of the house while wearing a dress and brandishing a knife, startling the tourists taking the Backlot Tram Tour but nobody ever recognized him.

NOTABLE DVD EXTRAS: There’s a music video of Faith Hill’s performance of “Where Are You Christmas” (the song Momsen sings, sorta, in the film) and some interesting featurettes on translating Dr. Seuss’ world to the screen as well as the instructions that went to the extras on how to be Whos.

BOX OFFICE PERFORMANCE: $345.1M on a $123M production budget; the movie was a hit.

FINAL RATING: 8/10

TOMORROW: The Holly and The Quill concludes with the review of a Holiday Classic and a special Christmas story.