Jersey Boys

Posted on June 19, 2014 at 6:00 pm

Winston Churchill famously said that history is written by the victors.  In movie terms, that means that when you see the names of just two of the original Four Seasons listed as the film’s producers, it is clear we are going to get their side of the story.jersey boys

This film, like the Tony Award-winning musical, is the “VH1 Behind the Music”-style story of four guys from the scrappy streets of New Jersey who grow up with only three possible career paths: the military, the mob, and somehow achieving fame.  The first two have a high risk of getting killed.  The last seems unobtainable.  But the four guys, brought together in part by a fifth guy who took the fame option, Oscar-winner Joe Pesci (played in the film by Joseph Russo), became one of the most successful pop acts of all time, with number one hits through the 60’s-70’s.

Clint Eastwood, a composer himself, who made a fine musical biopic about Charlie Parker (“Bird”), has taken on this story, beautifully performed, but too focused on the lives of the group’s members, with very little about what it was that made them stars, or even what the music meant to them aside from a way to get out of New Jersey and support their families.

Tony Award-winner John Lloyd Young plays the undisputed star of The Four Seasons, Frankie Valli, whose pure-toned, remarkably elastic three-octave range was the pure aural joy amidst the sweet harmonies of the Four Seasons sound.  It was that voice that persuaded 15-year-old Bob Gaudio (Erich Bergen), already the composer of a hit single (“Who Wears Short Shorts”), to join the group.  A handshake deal between Gaudio and Valli continues to this day.

Eastwood and cinematographer Tom Stern give the movie a bleached-out look that gives the skin tones of the cast the consistency of putty.  This is intended to express the grittiness of the New Jersey community, but it just looks drab.  And it undermines the points that Eastwood and the Jersey boys themselves try to make about their rough-and-tumble environment when the kindly cop knows everyone in the community so well he remembers Frankie’s curfew.  Even the mob boss (a deliciously droll performance by Christopher Walken) is so cute and cuddly that he cries openly when Frankie sings a sentimental number.  And he’s there to step in when another mob guy is less understanding.

The predictable temptations and stresses of life on the road are predictably laid before us.  Some day, I hope someone will make a movie about a famous guy that won’t have the screaming fight with the wife about how he’s never home.  This is not that film.  And there are the struggles for leadership, the poor judgment with money, also resolved the Jersey way.  We briefly see decisions that led to iconic details.  After several other names, the group picked “The Four Seasons” from a sign at a bowling alley that would not hire them to perform.  “Big Girls Don’t Cry” came from a Billy Wilder movie they saw on television.  But we never get a real sense of the era, of how they fit into the culture musically, how they interacted with the fans, how they were affected by experiencing the world outside of New Jersey.

It is absorbing, largely because of excellent performances by all four of the Jersey Boys, but uneven, largely because the script assumes that we will be as fascinated with the relationships of the four men as they are themselves.  At the end, Frankie says that for him the high point was finding their sound, just four guys harmonizing under a street light.  That’s a moment we never get to experience.  The only time we feel their pleasure in performing is in what has to be seen as the curtain call number, an odd piece of theatricality that, after two and a half hours of running time, finally shows us what made the Four Seasons so thrilling to experience.

Parents should know that this film has very strong language including crude sexual references, a non-explicit sexual situation, smoking, drinking, off-screen drug abuse, and references to mob activity.

Family discussion: Why does Frankie take responsibility for what Tony did? Why did he leave his daughter with her mother? What do you think was their high point and why did Frankie pick the one he did?

If you like this, try: other musician biopics like “Ray” and “Walk the Line” and the music of the Four Seasons.  And to get a glimpse of Frankie Valli today, look for him in a small role in Rob Reiner’s “And So It Goes” with Michael Douglas and Diane Keaton.

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Based on a play Based on a true story Biography Crime Drama Musical

Think Like a Man Too

Posted on June 19, 2014 at 6:00 pm

Think-Like-a-Man-Too-Poster-647x472A romantic comedy based on Steve Harvey’s book of advice for women about relationships has now led to a sequel based on finding the slightest possible premise for getting the gang back together to see if they can create some more box office magic.

Not that there’s anything wrong with that.  After all, seeing pretty people do silly things so they can kiss and make up is always a good reason to go to a movie.  And these are some of Hollywood’s most appealing performers.

In the first film, a group of buddies with a regular basketball game find themselves flummoxed by a bevy of beauties who read Steve Harvey’s book for tips on dealing with players, mama’s boys, and perpetual adolescents.  The happily ever after ending has now led to a proposal and the whole group is going to Las Vegas for separate wild pre-nuptial parties followed by the wedding itself.  When the groom-to-be assures his bride that everything will be perfect and nothing can possibly go wrong, we know that nothing will be perfect and everything will go wrong in the most humiliating way possible until we find our way to another happy ending with a possible opening for #3, which I hereby predict will involve a baby or two.

Would-be chef Dom (Michael Ealy) and corporate powerhouse Lauren (Taraji P. Henson) are deeply in love but struggling with job opportunities in different cities that they are afraid to tell one another.  Mya (Meagan Good) is not happy to run into stories about the wild past of “Zeke the Freak” (Romany Malco). Kristen (Gabrielle Union) wants to get pregnant as quickly as possible and that puts a lot of pressure on Jeremy (Jerry Ferrara).

But the development that has the biggest impact on the film is the one that happened off-screen.  Since the first one was released, Kevin Hart has become a box office powerhouse with a concert film in 2013 and two enormously successful comedies already in 2014 (About Last Night and Ride Along).  This is most likely the reason that he takes up so much more of “Too” than he did in the first one.  And since is a very loud guy, he seems to take up even more than he does, too often with all the appeal of a buzzing mosquito.

The entire premise of the first film is jettisoned, along with any aspirations beyond silly fun.  It takes Cedric (Hart) far too long to figure out that he has mistakenly booked himself into a room that costs ten times what he thinks, because every time there is any possibility to mitigate the damages of whatever he has gotten himself into, he blusters like a bantam rooster to block any kind of reality check from the other characters.  And this is close to the movie’s most plausible plotline.  Even Lucy and Ethel could not make us believe that anyone cares whether the boys or the girls have a wilder pre-nuptial party.  Director Tim Story throws in every possible signifier of movie fun, from a makeover (“Bridesmaids'” Wendy McLendon-Covey) to a dance number (okay, the girls’ dancing to Bell Biv DeVoe’s irresistible “Poison” is a treat) and the ever-popular night in the pokey plus the completely superfluous addition of a couple of cute white guys (Adam Brody and “About a Boy’s” David Walton.

The cast is clearly just here to have a good time, and the audience will, too.

Parents should know that this film includes some strong language including crude sexual references and humor, sexual situations, strippers, drinking and drunkenness, and drug use, along with a lot of foolish Las Vegas behavior.

Family discussion:  What were the groups trying to accomplish in their pre-nuptial parties?  Which couple has the strongest relationship?

If you like this, try: the first film and “About Last Night” (rated R), also featuring Hart, Ealy, and Hall.

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Based on a book Comedy Date movie Romance Series/Sequel

Coherence

Posted on June 19, 2014 at 5:47 pm

A-
Lowest Recommended Age: High School
MPAA Rating: Not rated
Profanity: Strong language
Alcohol/ Drugs: Drinking, drugs
Violence/ Scariness: Pervasive psychological horror and some violence
Diversity Issues: None
Date Released to Theaters: June 20, 2014

coherenceSeriously, don’t read this review until after you’ve seen the movie. The less you know, the more you will enjoy this nifty thriller, which craftily makes the most of its micro-budget to maximize a deliciously mind-bending story. As in all great thrillers, the scary stuff is not what’s on the outside, but what the stuff on the outside does to the stuff in the inside, meaning not just the inside of the characters but the inside of the audience.

James Ward Byrkit, who wrote “Rango” and created the visual design for the “Pirates of the Caribbean” movies (all with Gore Verbinski), wanted to take some time away from seven-figure-budget blockbusters and create something small and intimate. He literally shot it in his living room, with a cast of vaguely familiar looking but under the radar actors. As the movie begins, eight friends are getting together for a dinner party. We get some sense of the relationships and some tensions as they gather. They engage in routine dinner party chat, mentioning in passing some news about a comet due to pass overhead along with the usual updates and gossip.  And then the phones stop working.  And then the lights stop working.  And then someone says he’d better go outside to find out what is happening.  And we’ve all seen enough movies to know that this is probably not a great idea.

What happens next is not a plot twist but a plot Rubik’s Cube, an ingeniously plotted infinite regression of meta-realities. To say any more would be to spoil the movie’s best surprises.

Parents should know that this is a psychological thriller with a pervasive sense of dread and some violence.  Characters drink and use drugs and there is strong language.

Family discussion: What decision do you wish you could go back and do over?

If you like this, try: “Identity”

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Interview: Carl Deal and Tia Lessin of the Documentary “Citizen Koch”

Posted on June 19, 2014 at 8:00 am

“Citizens United has unleashed money that our disclosure laws are not equipped to reveal.” Tia Lessin and Carl Deal wanted to make a documentary about the toxic effect of corporate money on politics following the Supreme Court’s decision in Citizens United that invalidated just about every law controlling campaign contributions. But it ended up focusing on private money — mostly from the Koch brothers, who have spent hundreds of millions of dollars, much of it undisclosed before voting day. I spoke to Deal and Lessin about making the film.

How did this project get started?

Tia: We were really curious. David Koch ran for Vice President in 1980, on a Libertarian ticket. This was a fringe, fringe party. Not at all part of either major national party at the time.

Carl: They made Ronald Reagan look like a flaming liberal.

Tia:  His platform was abolished Social Security Medicare and Medicaid, the Postal Service, taxes, of course; corporate and personal taxes. Now a lot of those tenets have become mainstream within the Republican party. He’s no longer part of the Libertarian party, he’s part of the Republican party and so we were curious to understand how that happened. A big part of the way that happened was his seed funding, the Tea Party. And hijacking what might have been actually legitimate populous concern over Wall Street and the power of the banks and the economic implosion after the mortgage crisis.

People on both sides of the aisle were concerned about that and concerned about the lack of accountability. And the Kochs and their brethren I think hijacked that and saw the value in boots on the ground because that’s the one thing that they lacked. All this time they had the money, they had the strategy, they had their dupes and their political players in Washington but they didn’t have boots on the ground; they didn’t have any popular support. They always fabricated that, they pretended to have that. They had Astroturf but the Tea Party gave them the people and then they began to fund it. So we were curious on how that happened. We learned that that happened and how it was that true believers on the ground were allowing these, the two richest men in the country, if you put their wealth together; they are the two richest men in the country, in the world actually, to tell them what to do.

What percentage of what the Koch brothers are doing do you believe is pure policy and what percentage is just an way for them to make more money?

Carl: That’s a billion-dollar question right there!

Tia:  If it’s ideology, then it can also very conveniently makes you a richer. All the better right? I mean what’s the difference in ideology and greed? I feel like every one of their ideological positions also has a profit and benefit of making them and other companies richer.

What are their core positions?

Tia: The regulation of the financial sector, the regulation of the economy, of their industries. They want to do away with the EPA and the very government functions that provide oversight for their businesses. Those are primary and then they don’t believe in government; they believe in privatizing the conscience of government. And whether it be our schools, our healthcare, whatever else they believe in, they are very anti-union, they are anti-collectivists; In their dad’s day, that was anti-communist but now they have adopted this term “collectivist”. Well what does that mean? They don’t believe in people banding together to negotiate over their wages. And I don’t think it’s ideological either. I think that there is an element of cynical political maneuvering. I mean, that’s what we see in our film. It’s not about pensions, it’s not about wages, they want to kneecap the labor unions so that they don’t contribute to liberal politicians.

Is there a difference between the Koch brothers and contributors to Democrats like George Soros and labor unions?

Carl: They have more money and the way they spend their money is different. George Soros has a political agenda and he spends money on certain types of candidates; there is no doubt about it. But the kind of philanthropy that he gave, that he engages in is a little bit different than the kind of quote unquote philanthropy that the Kochs engage in.

Tia: The bottom line is, there is a difference in spending between billionaires and unions. I think the media equates those two. They are not equal. The Unions do not spend as much as the Kochs. They spend on a different scale but they also represent real working people. The Kochs, they are two guys, they are two men. The other difference in between spending of Labor and spending of the Kochs — Labor has to disclose every penny it spends.

Carl: They don’t even have a responsibility to the shareholders. They are part of a private corporation.citizenKoch-pin2-192x128

Tia:  They have the right to speak. The unions have the right to speak. They have the right to speak as human beings. But why should the speech of those two men trump the speech of millions of working people? I think yes, Soros, whoever it is; the Hollywood folks who spent a lot of their monies, Tom Steyer and Jeffrey Katzenberg. Why is it that any rich person has more of a voice or gets to speak louder because they have this money to amplify their voice? Why is that fair to everybody else? And in the end I think the big problem is that the politicians owe them something at the end of the day.

Carl: I think you also look at how a lot of the billionaires on the left are spending their money versus the way the billionaires on the right are. Tom Steyer and George Soros are building infrastructure, they want more government. They are interested in creating a bigger safety net and working for the betterment of everyone. The Kochs and their kind are about themselves; it’s a shell game they have created. Look, I think it’s straight up a cheating in a way. They took a look at the playing field and they saw where they were losing and then they figured out how they can strategically over time rig it in their favor. And that’s one of the reason why we looked at Citizens United so closely in this film. It was a marker; it was a signpost where there was democracy before Citizen United and there is less democracy after.

The surprise hero of the film is a politician who has held office as both a Democrat and a Republican, Buddy Roemer.

Carl: And he was a “right to work” governor. He is no friend of organized labor.

Why aren’t people more up in arms over this?

Tia:   I think people are. It makes you sick and tired and kind of don’t want to vote. You feel sick of it.  One guy in our movie votes for the first time and then he finds out all this money got poured into the election and he is like, “Never again. This is the first and the last time I am going to vote.” Two things; people don’t want to vote and when they see what’s happened in the state houses and in the Congress, this divisiveness and this extreme conflict and disinterest in negotiating on the part of these Two Party radicals, they feel that government has broken down. And I think that’s exactly what the Tea Party and the Kochs want people to believe, government has broken down. So it serves their agenda.

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Directors Interview

Jersey Boys: The Real Story of Frankie Valli and the Four Seasons

Posted on June 18, 2014 at 3:59 pm

This week, Clint Eastwood’s film of the wildly successful, Tony Award-winning musical “Jersey Boys” opens in theaters. It is based on the real-life story of one of the most successful pop groups of the 1960’s, The Four Seasons, who produced a string of Top 40 hits like “Sherry,” “Walk Like a Man,” “Rag Doll,” “Let’s Hang On,” and “Working My Way Back to You.” But the show is more than the usual jukebox musical. Actors playing the members of the group, Bob Gaudio, Frankie Valli, Nick Massi, and Tommy DeVito, each give their versions of the group’s scrappy origins, their run-ins with the mob, and their conflicts with each other, with their record label, and with their families.

https://www.youtube.com/watch?v=qMgPVKEKrSg

The actor Joe Pesci was a friend of the group. He is portrayed in the film by actor Joseph Russo. Here is the real Pesci with three of the group’s original members, from the Tony Awards broadcast. You can also see Tony Award-winner John Lloyd Young, who appears in the film as well.

As with any story of events involving several people, it reflects the varying memories and perspectives of the participants.  Some of the facts and chronologies have been changed.  The movie shows the group being arrested in Ohio, but this article has the real story.  The movie shows two of the members leaving at the same time, but in reality, Nick Massi stayed for five more years after Tommy DeVito left.

There’s even a teacher’s guide to Jersey Boys to explore the themes of biography and culture and even the economics of the vig! And take a look at Parade Magazine’s story about Frankie Valli’s return to his roots with the cast of the film.

If you want to see the real Frankie Valli, be sure to watch Rob Reiner’s new film, where he appears briefly as a nightclub owner.

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