It seems that barely two weeks ever go by without some ambitious neophyte filmmaker doing something kind of amazing when it comes to recreating or outdoing something we see in the movies. Via Keith Phipps and the Onion A.V. Club, below is a super-sweding of the opening musical number from Disney’s 1995’s “A Goofy Movie,” which not only have I never seen, I’ve forgotten even existed. It kind of takes the term “live action cartoon” to a new level.
Ted Sowards of Arizona, you’ve accomplished something. And for those who ask “why,” I say, “why does a man recreate a mountain?”
And, speaking of live-action recreations of scenes from nineties cartoon musicals, well, let’ s just say you never know what you’re going to come up with on YouTube and, courtesy of some talented folks from the Berklee College of Music, we have a very different recreation from a very different cartoon musical comedy.
You’d think that a story about one of the most infamous drug smugglers of the 1970s would make for a pretty good film. After all, this is a movie that opens with the lead character comically declaring, “My success went right to my head, and I’ve been living off it ever since.” But Bernard Rose’s “Mr. Nice” is so painfully tedious in the presentation of its subject matter that you eventually lose interest. Based on the life and times of Howard Marks (Rhys Ifans), a promising Oxford scholar who gave up a future in academics to pursue a career dealing drugs, the movie follows his rise to infamy as one of the world’s foremost hashish distributors.
Unfortunately, none of it is particularly engaging, as Rose races through each major event like it’s a bullet point on a crib sheet. Ifans may have campaigned hard for the role (he’s good friends with the real-life Marks), but he’s delivered much better work in smaller roles, while Chloë Sevigny (as his wife, Judy) is essentially a glorified extra. Only David Thewlis escapes unscathed as an IRA soldier who joins Marks’ risky business venture, but even his performance doesn’t always click. The bulk of the blame, however, belongs to Rose, as he just doesn’t know how to make the story interesting. He definitely has some great ideas (the decision to hold back any color until Marks smokes his first joint works well in depicting the importance of drugs in his life), but more often than not, he only makes the movie worse. “Mr. Nice” certainly has its moments, but you’d be better off just catching Ted Demme’s “Blow” on cable instead.
Last year, critics went crazy for “Anvil! The Story of Anvil,” a documentary about a duo of failed musicians from Canada so obsessed with success that their friendship eventually suffered because of it. So basically, it was a movie about a couple of self-entitled losers who weren’t really that talented to begin with. It was an interesting study of a man so desperate to become famous that he would do just about anything to get it, but if you’re looking for a music doc about a real rock and roll legend who couldn’t care less about fame, then “Lemmy” is probably a little more up your alley.
That’s not to say that Lemmy Kilmister, the magnetic frontman of heavy metal band Motörhead, is a saint. In fact, he’s far from it. Not only does he chain smoke and drink like a fish, but he’s also pretty open about his recreational use of amphetamines. And at the ripe age of 64, he doesn’t show any signs of slowing down. What’s most interesting about Lemmy, though, isn’t that he’s still alive and kicking, but rather that despite his heavy drinking and drug use, none of his colleagues can remember a single time it’s caused him to act unprofessionally. The idea of a rock god who’s also a responsible businessman may sound a bit oxymoronic, but that’s exactly what’s at the heart of Greg Olliver and Wes Orshoski’s crowd-pleasing rockumentary.
Through interviews with close friends and fellow musicians, “Lemmy” tracks the career of the godfather of heavy metal, from his time with the space rock band Hawkwind to a special guest appearance at a recent Metallica concert. Along the way, Olliver and Orshoski take a closer look at the man behind the legend, including segments about his unique fashion sense, his love of WWII memorabilia, and his musical influences. Believe it or not, Lemmy lists The Beatles, Elvis Presley and Little Richard among his personal favorites, and even considers the latter to be the true originator of rock and roll.
Just as Lemmy has an incredible respect for the musicians that preceded him, so do those that follow in his footsteps. There’s not a negative thing to be said about the guy (except, perhaps, from his former Hawkwind bandmates), and it shows not only in the anecdotes that each one tells (Dave Grohl and Scott Ian have some of the funniest), but in the numerous compliments about him, both as a man and a musician. The film’s best moments, however, are also some of the most intimate – a behind-the-scenes look at a man who leads a fairly quiet life when he’s not up on stage, whether its sitting at the Rainbow Room playing a bar-top trivia game or perusing Amoeba Records for a copy of the new Beatles box set in mono. (He doesn’t find one on the shelves, but the store’s owner gladly gives up her personal copy because, well, it’s Lemmy.)
Though it’s necessary to show all these different versions of Lemmy to best explain his legend, the film does begin to run a little long towards the end, as if Olliver and Orshoski had so much great footage that they couldn’t decide on a natural ending. The film has also been thrown together in a very strange fashion, with absolutely no rhyme or reason as to why certain segments appear before others, particularly in regards to some of the more biographical material. Even with its flaws, however, “Lemmy” is pure entertainment. Most rock stars probably wouldn’t appreciate a documentary that exploits their personality for laughs, but the great thing about Lemmy is that he’s in on the joke.
I’m going to be taking a day off from the blogging grind, but there’s plenty going on this late evening in the world’s cinema capital. Starting with…
* Team Coco, the movie! Okay, it’s a documentary about Conan O’Brien’s upcoming live tour and it’s still only in the “early talks” stage according to Mike Fleming’s exclusive. It’s apparently in compliance with his severance deal, even though most people will probably end up watching it on television sets anyhow.
* Speaking of documentaries and comedy, A.J. Schnack rounds up some of the SXSW reaction to James Franco’s SNL documentary.
* At the risk certainty of being repetitious, speaking of comedies connected to SNL, Pete Sciretta rounds up the SXSW reaction to”MacGruber.” We also have reaction direct from Jason Zingale at the big Austin fest just a few posts below.
* In the wake of the sale of Miramax, go-to producer Scott Rudin is negotiating to leave Disney, writes Claudia Eller.
* Okay, even if I might not be a fan of all the movies, I confess to enjoying the idea of having the stars of past Marvel films recreate their roles in the long-discussed “Avengers” film and Edward Nortonappears possibly willing to play along by returning as the Hulk, maybe. Whatever else may be true, Norton is a very interesting guy.
* Does a serious version of the Black Knight sequence from “Monty Python and the Holy Grail” sound like your kind of film? If so, Anne Thompson thinks you might like “Centurion.”
* I think all the entertainment reporters should just take the month off and let Mike Fleming do all the reporting of stories like the one that Jeremy Renner may be joining Paul Thomas Anderson’s not-about-Scientology movie which will star Philip Seymour Hoffman as not-L. Ron Hubbard. Though it’s relatively modest $35 million budget may be a bit high for the finance folks at Universal, other backers may have been found.
And one two more from Mr. Fleming…If you think Spike Lee has been working as much as he should after the success of “Inside Man” and his acclaimed Katrina documentary, you’re apparently not alone. He’s switched agencies.
* Jeffrey Welles is nutso for “Hot Tub Time Machine,” for what it’s worth.
* I often say that the best movies these days are long-form television. So why shouldn’t Martin Scorsese be getting involved? However, does everything crime and Scorsese oriented have to have Rolling Stones music in the background? Unless I’m misidentifying that anachronistic music in the “Boardwalk Empire,” trailer, I guess it really does. Still, yeah, it is Steve Buscemi’s time to play a big bad boss.
* If it’s not news that Jason Segal will be costarring with muppets, why are we talking about it? Still, based on his obvious love for puppetry as portrayed in the rather brilliant “Forgetting Sarah Marshall,” I think it may turn out okay.
