The great punk rocker Pete Shelley has died. This is how I remember him best.
The great punk rocker Pete Shelley has died. This is how I remember him best.
Being human is a condition that requires a little anaesthesia. In 1970 college student and Heathrow Airport baggage handler Farrokh (Freddie) Bulsara (Rami Malek) goes to a nightclub to watch a local band called Smile where he meets guitarist Brian May (Gwilym Lee) and drummer Roger Taylor (Ben Hardy) who’ve just lost their bassist/singer. He gives an impromptu display of his four octave range and offers to be the band’s new lead vocalist. The diva has arrived fully formed. With the addition of bassist John Deacon (Joseph Mazzello) the band – now known as Queen – plays at local gigs across Britain until they sell their van to produce their debut album which earns them a contract with EMI. At the same time, Farrokh legally changes his name to Freddie Mercury and becomes engaged to Biba store clerk Mary Austin (Lucy Boynton) with whom he lives. During the band’s U.S. tour, Freddie begins to question his sexuality. In 1975, Queen record their fourth album, A Night at the Opera but leave EMI when executive Ray Foster (an unrecognisable Mike Myers) refuses to have the six-minute song Bohemian Rhapsody released as the album’s first single. Freddie has Capital Radio DJ Kenny Everett (Dickie Beau) debut the song on the airwaves. Despite mixed reviews, it becomes a smash hit. Shortly after the band’s world tour, Freddie begins an affair with Paul Prenter (Allen Leech), his personal manager, and Mary breaks up with Freddie when he comes out to her as bisexual, although she assures him that he is gay. They reach unparalleled success, but in an unexpected turn Freddie shuns Queen in pursuit of his solo career after sacking manager John Reid (Aidan Gillen) in a sleight of hand engineered by Prenter who leads Freddie in an increasingly debauched way of life as he records his albums in Munich, drugged up and losing contact with the band and their new manager and former lawyer Jim ‘Miami’ Beach (Tom Hollander). Having suffered greatly without the collaboration of Queen, Freddie manages to reunite with them just in time for Live Aid, a concert which Prenter decided not to tell Freddie about. While facing a recent AIDS diagnosis which he discloses a week before the world’s biggest ever concert, Freddie leads the band in one of the greatest performances in the history of rock music. .. How many more Galileos do you want?! The dramatic peaks of this controversial and troubled production (is there any other kind?) are the composition of the legendary epic song that gives rise to the title; and the final twenty-minute set at Live Aid on 13th July 1985. The writing of the songs is what underpins the film’s dramatic core – from the first words or notes or flashes of inspiration to the band’s individual contributions in studios intercut with live performance this might be one of the best expositions of composition certainly in terms of rock band biopics, demonstrating how something gets written, produced and performed. But it’s really all about Freddie the showman and the other guys are just sketches of perfectly reasonable young musicians, not fully formed characters who might have had reason to knock Freddie sideways even if Roger tries (it was produced by them with Jim Beach, so it was never going to go full fetish). There might be complaints about the telescoping of certain incidents (the AIDS diagnosis) for dramatic purpose but it serves the wider ambition, which is to delineate just how extraordinary the connection with the audience was from their very first performance. Mercury’s own lifestyle and how he became ill is then suggested rather than graphically explored (whew) but the seedy Prenter is assigned the role of villain in chief and Leech does what he can in the character role where his costuming becomes the model for Freddie’s gay Village People look (prompting an apposite line from Brian). Boynton is rather good in another underwritten role as the toothsome Mary whose friendship was the hinge for Freddie’s sanity and a reality check when he went over the edge. The social and cultural backdrop of Zoroastrianism and being a Parsi immigrant in Britain is paid its due even if it’s a little perfunctory but works to explain Freddie’s exoticism and the originality which he gleefully exploits for presentation amid these middle class boys. It’s ironic that it’s Roger who wants to cross-dress for the I Want to Break Free video and Freddie who gets pilloried for it at a press conference. Roger, there’s only room in this band for one hysterical queen. It’s far from perfect but once you get accustomed to the wildly charismatic Malek (and his enormous teeth – extra incisors, folks!) it’s quite thrilling, taking us from the wet dull dank hinterland of England in the early 1970s when the apex of fame is an appearance on Top of the Pops, where the BBC man insists that they lip-sync; through the leather-clad descent into a druggy fug not giving a four x about what people thought until it was too late while the other guys got married and had families. Freddie’s efforts to find Jim Hutton (Aaron McCusker) years after their first encounter at his party are quite touching particularly because he’s the first man he takes home to meet the parents, on the morning of Live Aid, prompting a reconciliation that leads the folks to watch him on the telly. Anthony McCarten’s screenplay (from a story written with Peter Morgan) is flawed and rather kitsch but somehow the parts make up an entertainment that will have you stomping in the aisles. How these extraordinarily well-educated men heard music and put it through their own misfitted filter for a wider world is the whole show. Basically, this is Queen’s Greatest Hits. Oh, and Freddie’s cats are absolutely delightful. Directed for the most part by Bryan Singer who flung a hissy fit à la Freddie and had to be replaced by Dexter Fletcher. I pity your wife if you think six minutes is forever
Life sure comes easy for the beautiful. Famous twentysomething journalist Tamara Drewe (Gemma Arterton) returns to the small Dorset town she grew up in and causes a stir. Once an unattractive teenager known as Beaky due to her big nose, she’s had a rhinoplasty and transformed herself into a beautiful girl. She is the object of attention for three different men: Andy (Luke Evans) a local handyman and her former boyfriend who she hires to do up her late mother’s home which he believes was stolen from his family; Ben (Dominic Cooper), a drummer in a rock band she interviews whose girlfriend has left him for the singer; and Nicholas (Roger Allam), the lauded crime writer who along with his long-suffering wife Beth (Tamsin Greig) runs the local writers’ retreat hosting several wannabes and crime writing weekends. Bored teenagers Jody (Jessica Barden) and Casey (Charlotte Christie) decide to break into Tamara’s fixer-upper and start sending emails in an attempt to make Jody’s idol Ben fall in love with her instead and their interference triggers a disastrous series of events … At once satire, romcom and farce, this sly social comedy works on every level due to fantastic writing and performances. Posy Simmonds’ comic strip (turned graphic novel) reworks Thomas Hardy’s Far From the Madding Crowd in a contemporary setting and tilts its particular irony (and mockery) at several targets. Visiting writer Glen (Bill Camp) has spent a decade writing a book about Hardy and his findings are a commentary on the goings-on as well as providing inspiration for his romantic aspirations leading to a tragicomic conclusion his subject couldn’t have bettered. Well adapted by Moira Buffini, this is smart adult entertainment. Directed by Stephen Frears.
We’re not worthy! Sleazy advertising guy Benjamin Oliver (Rob Lowe) wants to take the public access show Wayne’s World to the world of commercial television. Slackers Wayne (Mike Myers) and Garth (Dana Carvey) battle to save the show and Wayne’s hot girlfriend, band singer Cassandra (Tia Carrere) from Oliver … That’s just the start. This spin-off from a Saturday Night Live skit was dumped on Valentine’s Day 1992 – to a very appreciative audience as it happens. It went from here to cult fasterthanthis. Mike Myers’ McJobber Wayne Campbell became a spokesman for disenfranchised yet optimistic youth – even if we didn’t all put on a cable access show in our parents’ basement. Dana Carvey’s disciple Garth became a doer and not just a dweeb with an unfortunate overbite. These metalhead guys are lovable and full of heart and this perfectly postmodern comedy is a screamingly funny outing that has a host of sayings that still pepper my conversation while ordering Chinese food, singing along to Bohemian Rhapsody in the mirthmobile and eating Grey Poupon. Not! Directed by Penelope Spheeris. Party on! A sphincter says what?! Excellent! And monkeys might fly out of my butt! As if!
Her spine meets the arch of her tailbone and I want to pitch a tent and live in there. Tech millionaire Laird Mayhew (James Franco) introduces himself to the print-business owner father Ned (Bryan Cranston) of his Stanford student girlfriend Stephanie (Zoey Deutch) by flashing him over Skype on the older man’s 55th birthday. Invited to celebrate Christmas in California Stephanie takes her family to her boyfriend’s modernist mansion where the tattooed ignoramous bro hugs everyone, says everything that is inappropriate (likes Mom Megan Mullally rather overtly, charms little brother Griffin Gluck) and introduces Ned to a newly constructed bowling alley decorated with his image. He is just too much. And as for his assistant Gustav (Keegan-Michael Key) who does a Cato/Clouseau act with Laird which neither recognises when Ned understands the obvious reference… But when Laird asks Ned for his blessing in marriage to Stephanie he oversteps horrifically and it doesn’t end there … From a story by Jonah Hill, this was co-written by Ian Helfer and director John Hamburg and works both as (actual) lavatory humour (a huge plot point) and Silicon Valley satire (listen to what the poor intern says) while overtly reworking the story of Father of the Bride as it negotiates the problems a dad might have with a boor screwing his daughter on a table while he’s hiding underneath. Get past the foul-mouthed quasi-autistic socially awkward techno savant fatherless antagonist and enjoy Cranston’s facial expressions which were made for just such a hellish but amusing meeting of bizarrely attuned minds in this generational bromance clash where it would appear both men are hiding problems with the state of their very different businesses. Mullally gets a chance to do what she does best too while you might recognise Zack Pearlman, Adam Devine and Andrew Rannells from The Intern which makes this rather meta. Definitely for fans of the band Kiss! (And Elon Musk…) A Christmas movie with a difference.
I’m gonna tell everyone in prison that I travelled back in time to kill my own father! Three friends are stuck in a rut in full-blown mid-life crisis: underachiever (and kicked out by his girlfriend) Adam (John Cusack), henpecked husband Nick (Craig Robinson) and party animal Lou (Rob Cordrry). Accompanied by Adam’s nephew shut-in Jacob (Clark Duke) they travel to Winterfest and after getting into the tub on the balcony and consuming Chernobly – the Russian answer to Red Bull! – they turn out on the slopes and it’s … 1986. MTV is playing music videos (of all things), Michael Jackson is still black and Poison are playing tonight. But when they look at their youthful images in the mirror Jacob is flickering – he hasn’t been conceived yet. And weird repairman Chevy Chase hasn’t got the right equipment to whip them back to 2010. And it’s the night Adam split up with his girlfriend and she stuck a fork in his eye, Jacob’s mom got together with Lou and it’s imperative everything stay the same so that they get back to the present intact … It’s not The Terminator or Back to the Future but the parameters of the latter are called upon big time in the person of one-armed bellboy Crispin Glover and a seriously Freudian scene with the future zillionaire Lou. Director Steve Pink reminds us of another collaboration with star/producer John Cusack riffing on the fork joke from Grosse Pointe Blank. It’s a surprisingly warm film about male friendship and kind-hearted about relationships and what ifs: in Adam’s case it’s a chance meeting with music journalist April (Lizzy Caplan) who makes him realise he can change things. And Nick bawls out his nine year old future wife on the phone! Back to the future indeed! Written by Josh Heald, Sean Anders and John Morris.
Gabba gabba hey! The kind of film you want to be brilliant but falls far short – a hodge podge of high school tropes, teen rebellion and let’s put on a show, mixed in with The Ramones – performing some of their best and worst songs. PJ Soles is the big-haired cheerleader type who’s just wild for the pre-punk rockers and is at war with the new school principal (cult star Mary Woronov) at Vince Lombardi High. 70s heart-throb Vince Van Patten (now more often to be seen on the World Poker Tour) is the geek trying to win the heart of brainiac Dey Young (sister of Leigh Taylor Young) and talks about the weather. Soles has written a song for the band to sing but has to deal with their number one groupie (the gorgeous Lynn Farrell) when lining up for tickets to see them. There’s some OTT stuff featuring teacher Paul Bartel, a Nazi-style burning of the toxic vinyl, overgrown boy scouts working as a security detail for Woronov and some bad acting by those fake NYC bros. All the kids really want to do is dance! Truly a cult relic but worth catching for some of the songs and the explosive finale – when the kids do what every kid ever wanted to do to their own high school! A Roger Corman production based on a story by director Allan Arkush and Joe Dante with a screenplay by Richard Whitely, Russ Dvonch and Joseph McBride – the same Mr McBride is one of the better film historians with books on Orson Welles, Howard Hawks and Steven Spielberg, among others, to his impressive credit.
Are you telling me you made a time machine out of a DeLorean?! Simply great storytelling here in a knotty, brilliantly constructed time travel-adventure-comedy that has a great big throbbing heart bursting with love at its centre. When you consider it came from the wickedly funny minds of Roberts Gale and Zemeckis – remember the amazing Used Cars?! – it seems an even bigger achievement. Marty McFly (Michael J. Fox) is an average teenager in Twin Pines, a small town with a nice square boasting a clock that hasn’t worked since 1955, a cinema running soft porn, and screwed up parents with an alkie mom (Lea Thompson), a meek dad (Crispin Glover), loser sister and a thirty year old brother in a MacJob. He has a cute girlfriend, a skateboard and an eccentric friend called Doc (Christopher Lloyd) a scientist who has wasted his family’s fortune making a ‘flux capacitor’ fuelled by plutonium. Just when the nutty professor manages to prove he can travel back in time with an Eighties sports car (to die for!) the Libyans come calling and when Doc is mown down in a hail of gunfire Marty guns the engines of the DeLorean and at 88mph is catapulted back to the week the town clock stopped working in a lightning storm. He’s initially mistaken for a spaceman and finds that his housing estate is only just being constructed. He needs to ensure that his parents get together in high school or the future will look very different as he and his siblings’ images begin to disappear from the family photo back in 1985 and Marty’s mom begins to fall for him in one of the more brilliant takes on incest in film history! Plus he has to get back to 1985 to save Doc’s life in what is literally a race against time! … Fast, sharp-witted and brilliantly inventive, this has the kind of gleaming detail (skateboards, digital watches, Diet Pepsi, puffa jackets for 1985; Davy Crockett, sci-fi comics, a classic diner, a Barbara Stanwyck oater at the movie theatre for 1955) that makes it almost documentary-like in resonance and relatability. The organisation of the narrative is mind-boggling when you consider the complexity of the story elements. Add in hugely likeable stars, great one-liners, and a genuine sense of fun, this is proof that you can rewrite history and even get some very subtle revenge on the school bully! One of the cinema’s evergreen classics, this is tonally perfect: it just sings with joy. Brilliant.
Bob Dolman’s story of two former groupies hooking up again twenty years after their heyday is long over is a mild affair sparked by the wonderful pairing of Goldie Hawn and Susan Sarandon. Suzette (Hawn) is fired from her job tending bar at the Whisky in LA and she needs money so decides to look up her old partner in crime Vinnie (Sarandon) who’s now a respectable Mom in Phoenix. On the way there she runs out of gas and picks up a phobic writer (Geoffrey Rush) who’s headed to the same destination to confront his bullying father. A prom night at their hotel sees Suzette bailing out Vinnie’s elder daughter (Erika Christensen) after a bad acid trip and the women’s reunion over the younger daughter’s (Eva Amurri, Sarandon’s own offspring) failed driving test starts the tightly wound Vinnie unwinding faster than you can say Cock Rock Photos (we don’t see what they look at in that drunken basement Polaroid fest). There are some funny scenes that are underwritten – when Suzette sees the typewriter in the pool wasn’t there a smart line in that about rock star behaviour? More could have been made of the music backdrop and the family’s bizarre concept of their mother doesn’t ring true given the elder daughter’s penchant for sex in the pool. (I’m still trying to figure out how Christensen got this gig.) Nobody really lets rip here, as one would have expected given the backstory … But the ladies are a terrific match and if it’s not Thelma and Louise it makes for a very good companion piece with Almost Famous, starring Hawn’s daughter Kate Hudson a couple of years earlier. I’ve waited a long time for Hawn to act again: please release her next movie, like, now, already!
This is a strange one – a coming of age story set against a few songs and performances by The Clash and a couple of run-ins with the iconic singer/guitarist Joe Strummer, a man who inhabited several different musical incarnations but whose major persona was forged in the late Seventies against a maelstrom of sociocultural chaos. Shay (Daniel Huttlestone) is from a broken family with dad Dougray Scott running a music shop and driving a taxi by night to support him and his little sister. Mum Natascha McElhone has run off to live in a squat with Tom Hughes and some other handsome alternatives to find herself on the punk scene. Shay meets Vivienne (Nell Williams) a cool punkette scenester who introduces him to The Clash but when his dad has an accident moving a piano which hospitalises him, Shay has to man up, run the house and the gauntlet of debt collectors. With Vivienne’s help he drags up to take over his dad’s taxi runs and takes Joe Strummer (Jonathan Rhys Meyers) home one night. Strummer serves as a kind of Jiminy Cricket or even Humphrey Bogart a la Play it Again, Sam but there is no real reason for him to be in this story and the conclusion is unbelievably low-key considering the potential in a narrative which sees real-life footage of an Anti-Nazi concert, with Rhys Meyers doing his trademark immersive performance (he’s already portrayed Bowie and Elvis with some success). Directed by Derrick Borte from a screenplay by Matt Brown. London was definitely not calling this one with neither story strand properly developed. The only real attraction is to hear The Clash originals and some of their songs reworked (even anachronistically). How odd.