Pitch Perfect 2

Posted on May 14, 2015 at 5:48 pm

B+

Lowest Recommended Age:	High School
MPAA Rating:	Rated PG-13 for innuendo and language
Profanity:	Some strong and crude language
Alcohol/ Drugs:	Drinking
Violence/ Scariness:	Comic peril and violence, no one hurt
Diversity Issues:	Diverse characters
Date Released to Theaters:	May 15, 2015
Date Released to DVD:	September 21, 2015
Amazon.com ASIN:	B00NYC3SG4

“Pitch Perfect 2” is — bear with me — the musical comedy variation on the “Furious 7” recipe for success. The sequel jettisons any pretense of seriousness of purpose, structural logic, or psychological authenticity, joyfully tosses off any pretense of taking itself, its heartwarmingly diverse characters, or its storyline seriously. And both, unexpectedly but utterly deservedly, will make you teary-eyed. Substitute exquisitely harmonized snippets of popular songs for cars flying out of planes, and it’s basically the same movie. And there’s nothing wrong with that. “Pitch Perfect 2” is even more fun than the first.

Beca (Anna Kendrick) was just starting college in the first film, about her reluctant agreement to join the all-girl acapella group called The Barden Bellas, led by Aubrey (Anna Camp) and her loyal lieutenant Chloe (Brittany Snow). Now Aubrey has graduated but Chloe is still there, deliberately flunking so she will not have to leave the now-three-time national champion Bellas. Beca is a senior, hoping she can take on a dream internship with a musical producer (Keegan-Michael Key, the “angry Obama”) without disrupting the group.

But the group has been disrupted. The Bellas performed at the President’s birthday celebration (footage of the Obamas is inserted to make it look like they were really there), with Fat Amy (Rebel Wilson) coming in like a wrecking ball on a trapeze. It was a triumph until it became a disaster when Fat Amy’s skin-tight jumpsuit split open and she wasn’t wearing underwear.

The Bellas are banned from collegiate competition, and are not even allowed to conduct auditions. Too bad for those hoping for a reprise of one of the first film’s most entertaining scenes, but there is simply no time. We hardly get a chance to hear Barden’s male acapella group, the Treblemakers, either. This is all about the Bellas fighting their way back with the only option left to them — an international competition, up against the world champions, Germany’s Das Sound Machine, a group so terrifyingly huge and technically perfect it is a kind of acapella Triumph of the Will.

But we’re not here for the plot; we’re here for the music, and there is a ton of it, all so good and so varied that it is frustrating to get it in such short snippets. Songs made popular by the Andrews Sisters, Hansen, Taylor Swift, En Vogue, Mika, Montell Jordan, and Carrie Underwood zip by, most hilariously in a sing-off that tops the original’s. Categories include “Songs About Butts” (one character points out that’s pretty much everything on the radio) and “I Dated John Mayer.” Hilariously, one of the competing acapella groups is the Green Bay Packers. And Snoop Dogg shows up to sing a Christmas song.

There is one new addition to the Bellas, though, “True Grit’s” Hailee Steinfeld as Emily, an eager but shy freshman whose mom (Katey Sagal) was a Bella, so she’s a legacy. She also writes songs.

Will the Bellas get their mojo back? Will Beca impress her boss? Will Aubrey show up for a pep talk? Will there be some delicious silliness along the way? Will Emily’s new songs be game-changers when the long-standing tradition is covers only? How about some romance (a bit) and some comedy (a lot)? But what’s the deal with the false eyelashes on everyone? Did Elizabeth Banks bring on her Effie Trinket makeup team? Fat Amy’s no/yes from Fat Amy when Bumper (Adam Devine of “Modern Family”) says he wants to have sex with her is ooky and just plain off.

But first time director Banks, who co-produced the first film and the sequel, and returns, this time as both commentator on acapella competitions and as head of the organization, manages a very large cast and an even larger set list. She keeps the tone light and breezy, balancing the outrageous (hate mail from Supreme Court Justice Sonia Sotomayor?) with the touching. A call-back to the first film’s breakout hit “Cups,” is simply lovely. If some elements of what we can barely dignify by terming a storyline are pat and predictable, the song choices are not. From the very first moment, with an a capella rendition of the Universal” logo music, we are in mash-up heaven. It is worth the price of admission to hear “MmmBop” acapella, and then, icing on the cake and cherry on the sundae, we get some Kris Kross “Jump” action as well. Acca-heaven.

Parents should know that this film includes some crude sexual and bodily function humor, some strong language, and comic violence (no one hurt). There is a joke that seems to imply that a woman’s “no” to an invitation to have sex is not to be taken seriously, but it later turns out that this is part of a consensual relationship.

Family discussion: What makes you special? What makes your friends and family special? How do you find your voice to express who you are?

If you like this, try: the first “Pitch Perfect” and the television show “The Sing-Off”

Pitch Perfect

Posted on September 27, 2012 at 6:00 pm

The sensationally talented Anna Kendrick finally gets to play the lead in a story about the cutthroat world of a capella competitions. It’s “Stomp the Yard” with singing, or “Glee Goes to College.” The songs are fabulously entertaining, the romance is sweet, Rebel Wilson’s understated zingers are hilarious, Kendrick is pure joy. John Michael Higgins (“Best in Show”) and co-producer Elizabeth Banks (“The Hunger Games”) are the acid-tongued commentators at the big competitions.

And the projectile vomiting is torrential.

I blame “Bridesmaids.” I am certain that as this movie was being prepared, some dimwit studio executive saw how well “Bridesmaids” was doing at the box office and ordered up three scenes of disgusting bodily function humor be (awkwardly) inserted. Minutes after the film begins a musical performance is interrupted by massive barfing. We are later treated to two additional and increasingly ludicrous throwing-up tsunamis, plus some cringeworthy jokes, many very crude, uncomfortably racial, or based on increasingly lame plays on the words “a capella.” Few are even remotely funny.

Kendrick plays Beca, who arrives at college by herself as everyone else is being dropped off by their parents. She is a loner and she does not want to be there. She just wants to get a job creating music. But her professor father makes her promise to give it a year. If she can complete the year successfully, and that includes an activity, he will let her drop out and pursue her dream. So she joins the girls’ a capella (no musical instruments, just voices) group, led by micro-managing control freak Aubrey (Anna Camp), who is determined to come back from the unpleasant nausea incident at the finals of the previous year that has made them the objects of derision, especially from the champion male group. She insists on keeping everything safe and bland, with uniforms that make them look like 1970’s flight attendants and a set-list of safe but bland middle-of-the-road pop.

And there’s a guy. Jesse (Skylar Astin) likes Beca, but Aubrey has made consorting with the members of the male singing group a firing offense. And Beca, very hurt by her parents’ divorce, really does not want to like anyone. But her natural gifts and passion for music inspire her to remix some fresh and edgy songs. The relationships play out through and amid various musical encounters, with the best an informal riff-off competition in an empty swimming pool (good acoustics).

Kendrick proves she is a real movie star but the mash-up with low comedy keeps tripping up the movie’s momentum. The musical harmonies are sublime but Beca’s pointlessly hostile Asian roommate, who only speaks to other Asians and a member of the singing group who is unable to make an audible sound are way off-key.

Parents should know that this movie has some racial and sexual humor with crude references (though the lead couple do nothing more than kiss), some strong language, drug references, and torrential projectile vomiting

Family discussion: Should Beca’s father have pushed her to go to school and try activities? What was the most important thing she learned from being part of the group?

If you like this try: “Glee 3D: The Concert Movie” and the television show “The Sing-Off” and the non-fiction book that inspired this film, Pitch Perfect: The Quest for Collegiate A Cappella Glory by Mickey Rapkin

The Return of ‘The Sing-Off’

Posted on September 22, 2011 at 3:59 pm

“The Sing-Off” is back and it is bigger! One of my favorite reality shows is Nick Lachey’s a capella competition. This year, Sara Bareilles joins Shawn Stockman and Ben Folds as judges. The contestants this year are:

AFRO-BLUE – Washington, D.C. – This fun-loving ensemble from Howard University started as a class in the music department. They have plenty of soul, and all nine members meld together with beautiful harmonies, soaring solos, and a fresh look.

THE CAT’S PAJAMAS – Branson, Mo. – The Cat’s Pajamas, the all-male vocal band that formed in 2005, pride themselves on their ability to engage each audience member during their dynamic, energetic and interactive performances, bringing a blend of classic songs with a modern a cappella twist.

THE COLLECTIVE – Nashville, Tenn. — Formed by Street Corner Symphony’s Jeremy Lister (“The Sing-Off,” season two), this Nashville based first-time a cappella group is made up of individual singer-songwriters who came together to demonstrate that there is strength in numbers.

DARTMOUTH AIRES – Hanover, N.H. — Dartmouth College’s oldest a cappella group, is currently made up of 15 fun loving, high-energy guys with eclectic tastes and no shortage of quirky antics.

DELILAH – Los Angeles, Ca. – This all-female a cappella group, which includes members from the first two seasons of the series, has been singing across the country, but still carry an unfulfilled desire to conquer “The Sing-Off” stage.

THE DELTONES – Newark, D.E. – Founded in 1991, The University of Delaware Deltones, pride themselves on their smooth tunes and their motto – friends first, singers second. They focus their energy towards singing on campus and in the Delaware community, as it is important for them to give back to those who support them.

FANNIN FAMILY – Hortonville, Wis. – The Fannin Family’s mother was almost a nun and their father was a rock musician. The outcome was 11 extremely well-behaved musicians and eight of them will be taking the stage to show the nation their Midwestern swag.

KINFOLK 9 – Los Angeles, Ca. — A nine-piece professional vocal group from Los Angeles in which everyone can sing lead, with all members coming from very strong musical backgrounds.

MESSIAH’S MEN – Minneapolis, Minn. – Originally from Africa, these unofficial brothers survived the war in Liberia through the power of song and are on a mission to sing their hearts out while serving the Lord.

NORTH SHORE – Boston, Mass. — For the last 30 years, this refined street corner group has entertained thousands of listeners throughout the Boston area with an experienced blend of harmony, rhythm, and tempo in songs from the 1940s to today.

PENTATONIX – Arlington, Texas – The five-member group has a modern style and draws influences from several eclectic electro genres, including dub step and garage house.

SONOS – Los Angeles, Ca. — Formed in 2006 as a recording project that grew into a vocal band, the group blends their voices together in perfect harmony through years of experience. The live electronic effects they are also known for will not be part of the competition.

SOUL’D OUT – Wilsonville, Ore. – This award-winning mixed a cappella group from Wilsonville High School is comprised of students from all grade levels, musical backgrounds and vocal types.

URBAN METHOD – Denver, Colo. — The group, which includes a rapper, was formed by eight musicians whose individual sounds gravitate toward urban music. Each has extensive studio session work but has never previously performed together.

VOCAL POINT – Provo, Utah – The all-male group is Brigham Young University’s premiere contemporary a cappella ensemble. Their nine-man vocal firepower continually invigorates audiences and entertains fans with inventive arrangements, humor and remarkable vocal percussion.

THE YELLOWJACKETS – Rochester, N.Y. – Formed in 1956, the University of Rochester YellowJackets are anything but old-fashioned and half the members are enrolled in The Eastman School of Music at the university. This fun loving group’s mark of distinction is their bright yellow blazers and distinctive sound.

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