Straight Outta Compton (Film) Review

Straight Outta Compton

Director: F. Gary Gray

Writers: Jonathan Herman and Andrea Berloff (Story by S. Leigh Savidge, Alan Wenkus and Andrea Berloff)

147 Minutes - Rated R

Biopics can be one of the trickiest genres to pull off successfully.  Besides trying to make a life story fit a satisfying narrative, there is also the question of how much of a person’s life to cover and the balancing act of how much to emphasize their importance while not canonizing them.  F. Gary Gray’s Straight Outta Compton faces that challenge and adds the extra layer of difficulty of having to do that with three people, Eazy-E (played in the film by Jason Mitchell), Ice Cube (O’Shea Jackson Jr., Ice Cube’s son in real life) and Dr. Dre (Corey Hawkins), as we follow their rise through the influential and controversial rap group NWA.  As seen in the film’s impressive box office and critical praise, the film has been a shot of life into the biopic genre and rightfully so.  While it doesn’t quite overcome some of the problems with biopics, it succeeds more than enough elsewhere to make up for it.

Although some people will likely object to the language, nudity and violence, the film’s structure is classic for the genre, despite being split three ways.  The band goes from humble beginnings in Compton, whose gang activity, drugs and police hostility inspire their music.  It catches the ear of Jerry Heller (Paul Giamatti), a manager of acts from the 70s who couldn’t be further removed from NWA.  Their “reality rap” (which the media later dubs “gangsta rap”) strikes a chord and makes them famous, garnering headlines and protest for their explicit content.  Then we see the cost of fame, as Heller takes E under his wing and leads to the group fracturing.  Cube and Dre eventually go solo, only for Dre to find himself in a lion’s den with the notorious Suge Knight (R. Marcus Taylor).

Really, any of the three leads could’ve been the subject of their own movie, and maybe that’s where some of the film’s shortcomings step in.  Even with the 147 minute run time, there is a lot to cram in with three leads and two antagonists and while luckily the film doesn’t come off as overstuffed and bloated, sometimes things get lost.  I have to imagine there are a lot of deleted scenes and stuff that never made it out of the screenplay (needless to say, I’d be very interested in a director’s cut).  Also, certain elements of their story are addressed so quickly, like Dre’s brother and another member’s spiritual side, that their impacts are diminished.  However, the problem of wanting to see more is still a good problem for a film to have.

Of course the soundtrack, filled with 80s and 90s classic rap, is great to hear on a movie theater sound system.  While some of the sexist and homophobic content is a little uncomfortable to hear, the music has by and large aged very well.  The film also makes a point of showing craftsmanship to the music, a problem many music biopics have.  We see them often struggle to figure out the perfect beat or vocal delivery for their music and while they still come up with stuff quickly, it’s nice to see them treat the art as something that doesn’t just come out fully formed every time.  The casting also really works.  Giamatti is great as expected, showing Heller as a man who has a father/son type bond with E, but isn’t always the greatest father figure.  The guys playing NWA were also impressive.  Certainly Jackson looking like his dad, not to mention the similarities between the rest of the cast, helps, but they also have the chops to pull it off.

Like last year’s Selma, Compton also is relevant for its commentary on police in the African American community.  Throughout the film we see various NWA members get harassed by the cops, often to the point of excess, and Rodney King and the LA riots feature prominently in the second part of the film.  Compton is an effective viewing glass for those of us who never lived in a place like Compton to see why a song like “F*** tha Police” was created.  Like any piece of art, it represents the world it was created in and the artists molded by it.

Compton proves to be one of the better biopics in recent years for its ambitious, if slightly unwieldy, scope, great casting and still relevant social commentary, things that overcome the flaws that affect biopics.  Besides being endorsed by the surviving members of NWA (even though DJ Yella and MC Ren are sidelined for most of the film), Compton is made by people who are passionate for the material, and that vibrancy is clear throughout.

Grade: B+

Observations (Spoilers):

-Apparently there was a cut that was a full hour longer.  That is something I definitely hope becomes available somehow.

-For the epilogue, I liked them not doing the typical text describing what happened to the various people in the film afterward, although it focused almost entirely on Dre and Cube (not that I can blame them).

The Avengers: Age of Ultron Review

The Avengers: Age of Ultron

Director: Joss Whedon

Writer: Joss Whedon (Based on The Avengers created by Stan Lee and Jack Kirby)

141 Mins. - PG-13

There’s a really nice scene early on in The Avengers: Age of Ultron where, celebrating a job well done at a party, the movie pauses before the inciting incident to watch these characters hang out. There’s something about it that feels natural, like they just turned the cameras on and let them loose. It’s an important sign of how entertaining these movies are that these characters are as fun to watch shooting the breeze as they are shooting arrows, bullets and energy beams. In a way it could be Marvel doing a meta celebration of all of the success these films have had for almost a decade now. While we’re waiting for and dreading the inevitable clunker, it hasn’t happened yet. Age of Ultron continues that hot streak, even if it is a little clunkier than the 2012 megahit.

The convoluted plot this time around involves The Avengers reclaiming Loki’s scepter from HYDRA, who has used it to give totally non-mutated superpowers to twins Pietro and Wanda (Aaron Taylor-Johnson and Elizabeth Olsen respectively). Once it’s found Tony Stark (Robert Downey Jr) and Bruce Banner (Mark Ruffalo) use its power to complete Stark’s ambitious Ultron program, which seeks to create lasting peace. However, what they consider a peace keeping operation Ultron (played perfectly by James Spader) interprets as eliminating the human race. Ultron goes rogue, enlisting the twins (who blame Tony Stark for killing their parents, one of whom is totally not Magneto) to help tear the team apart. On top of that, there’s a love story between Banner and Natasha Romanoff (Scarlett Johansson) and Hawkeye (Jeremy Renner) actually gets some stuff to do!

The problem with this film, as it is a pivotal part of the Marvel mega franchise, is that it is overstuffed from having to serve so many other Marvel movies past and upcoming. Almost every major player from the first one is back, plus they have four new characters to add and several characters from the subfranchises make appearances. Joss Whedon had to cram a season of TV’s worth of plot into a 141 minute film. It’s no wonder they’re splitting the next one into two parts. As a result of the overstuffing, some of the plot progression is a little murky (nitpickers are going to have a feeding frenzy with this one). While comic fans will certainly get a kick of seeing this many characters on the big screen at the same time, it’s nearly impossible to service them all and have certain emotional moments resonate. This is the first Marvel film that shouldn’t be a potential starting point for new viewers.

That’s not say it sinks the film, though it serves as a warning for anyone attempting to replicate something like this (we’re looking at you, DC). Whedon’s script is brimming with clever dialogue and sharp characterization. Even if the road from point A to point B got a little fuzzy, point B was a blast. Spader’s Ultron is easily the best Marvel villain since Loki, portraying the AI as a supervillain who is still a little clueless how to operate. The set pieces continue to impress, from the Iron Man/Hulk fight to the final battle, and those who complained about the slow start of the original should be happy about the opening sequence.

Although the film is hindered by having to cram so many elements into the final product, Whedon and company made another fun piece of summer popcorn. That overstuffing could be problematic for the Russo brothers, who will take over for the Infinity War two-parter. Whedon’s wit and sense of fun buoyed the more problematic parts of this film, but eventually trying to fit in this much into a movie is going to lead to a big disappointment. Not that I’m rooting for that: even with my qualms, Age of Ultron is good fun and I want to see this party keep on going.

Grade: B

Notes:

· Another note to DC: see how Marvel handles dealing with civilians caught in the crossfire. Even in the chaotic battle scenes, they will still make sure to have the heroes save a couple of civilians.

· While I thought Aaron Taylor-Johnson was good, Evan Peters definitely wins the Quicksilver-off. Peters walked away with that film’s best scene.

· “Go to sleep. Go to sleep. Go to sleep.”

· “Language!”

· Actor most underserved: Elizabeth Olsen. I keep waiting for her to get the mainstream breakout she deserves.

SPOILERS

· It’s a good thing Hawkeye wasn’t killed off because that would’ve been the most telegraphed death scene in recent memory. It also makes sense for Quicksilver to die to avoid too much confusion between the MCU and X-Men franchises. Hopefully there isn’t a resurrection. Nothing against Taylor-Johnson (Godzilla aside), Marvel needs some people to stay dead.

· The Vision (Paul Bettany), while cool, arrives way too late in the film. They could’ve split these up and have a movie about Ultron and one where The Vision gets his due.

· That mid-credits scene could’ve been a bit longer, maybe helped set up what was going to happen. They keep teasing Thanos; let’s see a little more of him.

Furious 7 Review

Furious 7

Director: James Wan

Writer: Chris Morgan (Based on Characters Created by Gary Scott Thompson)

137 Minutes - Rated PG - 13

There really shouldn’t be a franchise like The Fast and The Furious.  What should’ve been a series that slowly petered out on direct to video releases and quickly ignored by audiences is bigger than ever and continues to defy the odds.  Although cars remain a central part, the series has expanded into other high velocity genres like heist films and globe hopping spy dramas.  Seven movies in, the series is at a crossroads beyond its control.  Paul Walker’s death in November 2013 is a devastating blow to a crew as tight as the people behind these movies, but considering Walker died in a high speed car crash adds a sobering reality check.  How do you continue a franchise built on fast cars that often got spectacularly totaled?  Furious 7 is probably the best possible way they could’ve done it, still embracing its enthusiastic insanity while wearing its heart on its sleeve.

This time around Toretto’s crew is being targeted by Deckard Shaw (Jason Statham), whose brother was the villain in Fast and Furious 6.  Statham’s cameo in Furious 6’s post credits scene, swearing revenge for his brother, was one of the most enticing post credits scenes in recent memory and the payoff doesn’t disappoint.  From the opening credits, it’s established that Deckard is a force of nature, allowing Statham to do what he does best.  No doubt he did all that damage and is right behind the protagonists at all times, he’s Jason Statham!

To try to track him down, a covert ops team lead by Belgian beer lover known as “Mr. Nobody” (Kurt Russell) enlists Toretto’s crew to find a hacker named Ramsey, who created a powerful surveillance program that can tap into anything with a camera and/or microphone.  It would take a lot more time to unspool the convoluted plot, including the involvement of a dangerous mercenary (Djimon Hounsou) who also targets the crew, but you really can’t overthink these movies.  It’s part of the fun: the unrelenting stream of insane situations.  There’s no scenario off limits if it will make for a more entertaining ride.

No discussion of these movies is complete without discussing the action sequences.  Justin Lin didn’t direct after helming the last four (James Wan of Insidious and Saw fame took over), but the series doesn’t miss a beat with the new blood.  The action scenes are still a ton of fun to watch, even ones you think you may have already seen in the trailers (there’s a lot more to them).  There isn’t much down time between car chases, gun fights or brawls and when they happen, they are constantly exhilarating.

Of course, going in I wanted to see how they would handle Paul Walker’s death.  Without getting into the specifics, I think they did a great job writing him out of the series.  It would be tough however it was done, but the people behind this franchise clearly have a deep affection for each other and the audience, and it comes through in the heartfelt conclusion.  Even from a technical standpoint, their work arounds never took me out of the action (Walker’s brothers helped as body doubles).  His death even adds poignancy to the film with his character’s storyline, as Brian finds himself torn between the high adrenaline lifestyle of these movies and his new life as a family man.

What helps the Fast and Furious franchise rise to the top is the series’ unabashed earnestness.  There is no cynicism here: no matter how ridiculous the action is, how often they bring up the point of family or how much gratuitous eye candy they indulge in, you can tell they believe in what they’re doing.  It’s what separates the movies that are good dumb fun and the ones that are actively insulting the audience.  That sincerity is critical to how they dealt with Paul Walker.  While it is sad to see him go, the way they treated his exit was proof that the franchise and the people involved will weather this storm and carry on, just like family.

Grade: A-

Extra thoughts

• The subplot with Letty (Michelle Rodriguez) still recovering from her memory loss didn’t quite land, though I wonder if this may have been edited to accommodate Walker’s farewell.
• I should mention Dwayne Johnson, who isn’t in a lot of this film, but boy does he make the most of his time on screen.  From the fight with Statham (during which all of the glass in the room breaks) to the “Daddy’s gotta go to work” moment, Johnson continues to shine in these movies.
• Does Toretto just have a sledgehammer in his car at all times?
• When is Nicolas Cage going to be one of these?

SPOILERS

• So Brian’s exit, where his racing family decides to cut him out of their high stakes adventures so he can be with his wife and kids, was probably the best way to handle it.  Jordana Brewster’s Mia hasn’t been used much in the past two films anyway, so it makes for them to go be a happy family.  It is bittersweet, but well earned.
• Although I could’ve seen him doing a noble sacrifice that would’ve ensured the team succeeded in the climactic set piece.  But I can’t blame them for going for a happier outcome for the character.
• Another problem with the Michelle Rodriguez story: weren’t you expecting her to go back to her grave in the end and destroy it?
• The Rock versus a helicopter.  Awesome
• While they hang a lampshade on the hot hacker we see in TV and movies, was anyone expecting hacker Ramsey to be played by anyone except a knockout like Nathalie Emmanuel (Game of Thrones)?
• When Kurt Russell put on the sunglasses, I was so on board (granted, I was expecting him to betray them).  While I had many issues with Death Proof, he wasn’t one of them, and I’m sure he’d love to cash in on the trend of 50/60 something actors getting to be action leads.  Can’t wait to see what he’ll do in the next one.
• I’m guessing Owen Shaw is only alive so they could justify Deckard destroying a hospital to go visit him?
• My friend suggested this: someone with VFX prowess needs to take the wrench fight between Diesel and Statham and turn the metal into light sabers.  Get on it internet!

It Follows Review

For films that often feature deranged killers and plentiful gore, horror films have often found themselves with a weird moral code.  A lot has been written about how horror films from the 70s and 80s relied heavily on the machete fodder engaging in premarital sex (among other things) before finding themselves as the killer’s latest victim.  As a result, it can be argued these films view the kills as punishment for their behavior, especially considering the final girl was frequently either virginal or completely non-sexual.  This notion has been deconstructed over the years like in Scream.  It Follows, the latest from The Myth of the American Sleepover writer/director David Robert Mitchell, continues that trend of looking closer at these clichés and upending them and is a great sign of what can be.

It Follows focuses on Jay (Maika Monroe, a discovery to me), a college aged girl who is ambushed by a guy she is dating shortly after having sex.  The guy informs her that he has passed something on to her: a mysterious, shape shifting entity only those affected by it can see.  No matter how hard its victims try, they can never get out from this being’s reach.  The entity will catch up eventually.  The only way to get out of it is to have sex with another person, and even then if that person dies, the entity goes back to its previous prey.  Where it came from and why it does this isn’t relevant.

The entity can be seen as an analogy for sexually transmitted disease, especially since that how Jay literally gets it.  However, the connection that resonated more is the one of trauma, and the difficulties of being a woman in modern society.  Jay’s reaction is that of a trauma survivor, and not being able to escape it works for mental afflictions as much as physical.  The fact that the entity can assume any form and is always following Jay ties directly to the fear women have of being stalked.  Despite it being made before any of these happened, it’s hard not to think about this film without being reminded of feminist issues from the past year with the YesAllWomen & HeforShe hashtags, the catcalling video and the scumbags who stole the private pictures of celebrities last summer.

With all the sexist elements being deconstructed, there is still affection towards old fashioned scary movies (even one of the promotional posters looks like its straight out of the early 80s.)  It helps that like Mitchell’s previous film, there isn’t a clear distinction when the film is supposed to take place, aside that it’s likely the not too distant past.  The score by Disasterpeace, like another great recent horror film You’re Next, is a definite throwback to vintage John Carpenter.  Also, the cinematography by Mike Gioulakis makes great use of long takes and depth of field, a rare feat even in contemporary non-horror movies.  Any extra in the background could be the entity, building the dread and making it genuinely scary without relying on things jumping out at the audience.

There’s always been a strong bond between sexuality and horror.  Like any part of the human experience, there is a dark side that taps into many of our fears, but maybe certain fields have been mined for as much as they’re worth.  It Follows is a welcome, long overdue deviation from the usual formula.  The more sexist tropes are replaced with progressive ones.  Jay is the target of the horror, but it never feels like she is being punished for being sexual.  That this is part of a horror movie shows a major shift in horror, and films like this one can only help the genre.

Grade: A-

Stray Observations:

·         His previous film, The Myth of the American Sleepover, is a vastly different film.  It’s a charming coming of age sleeper.  If you need to cool down after this one, I recommend checking it out.

·         Judging by the horror movie trailers that showed before this film, it looks like Hollywood is still cranking out the same trailer for horror movies as it has been for the last 10 years.

SPOILERS!

·         As for the ambiguous ending, I prefer to believe the entity was killed in the finale at the pool and the extra in the way background in the end was no one in particular.  I prefer to be an optimist and going with the idea of the film about trauma, I see it as a way for Jay to move on from the experience.

·       Still, it probably wouldn’t have hurt to throw the other plugged in devices into the pool.  In horror, you always double tap (which could support the interpretation that the entity was following them at the end).

·        For this kind of movie, it has a surprisingly small body count: 2 (3 if you count the entity)

What I've Been Reading: January-March 2015

The Disaster Artist by Greg Sestero and Tom Bissell

This bizarre, hilarious behind the scenes look of the making of The Room, a film that is arguably the 21^st century’s answer to Ed Wood’s filmography, is one that needs to be read to be believed.  The book switches between two stories: the friendship formed between aspiring actor Sestero and Tommy Wiseau, a man with all the ambition of a great artist but none of the talent, and the troubled production of The Room, a film Wiseau believed was a masterpiece but has since become a cult favorite among “so bad it’s good” movie fans.  Perhaps seeing the film first would be the best way to enjoy this book, as Wiseau’s eccentricities (refusing to say what country he’s from, confirm his age or divulge the source of his bottomless income) may be too hard to believe without additional context.  While there are a lot of laughs at Wiseau’s odd behavior and cluelessness about how art works, Sestero and Bissell do as good a job as they can at making this guy sympathetic.  The one thing I would’ve liked to have seen is anything that happened after the film’s initial release and the rise of its cult status.

The Lies of Locke Lamora by Scott Lynch

Another in the series of books I’m reading while waiting for Game of Thrones season five, this one filled the time rather well.  It certainly gives Martin’s Westeros a run for its money in brutality.  In the city of Camorr (based on medieval Venice, a refreshing change of pace from all the ones based on medieval England), a team of orphans are brought up by a deceptive “priest” who raised them to be master thieves.  The second story involves the title character, an adult now running the group known as The Gentlemen Bastards, as they set up elaborate cons and amass a small fortune.  Things get messy when a mysterious player known as the Gray King makes his move on the underground controlling Barsavi family and eventually on the Bastards themselves.  I was impressed by Scott Lynch’s short story in the Rogues anthology, and this one was another fun read.  Using the heist genre in a fantasy world helps the world building immensely (since to paraphrase Christopher Nolan, in heist films exposition counts as entertainment), but at the heart Lamora and his Bastards were a compelling crew to read about, and I look forward to checking out the rest in the series.

Fire and Rain by David Browne

Basically four mini rock bios in one, Fire and Rain focuses on the year 1970 through what happened to four acts, all of whom put out a major album that year: The Beatles (Let It Be), Simon & Garfunkel (Bridge Over Troubled Water), Crosby, Stills, Nash & Young (Déjà vu) and James Taylor (Sweet Baby James).  Within the year two of these acts broke up, one went on hiatus and the final one signaled a new era in popular music.  Their classic albums serve as the launching pad for Browne to talk about what else was happening in 1970 and how that era that defined the ‘60s was coming to an end.  Fans of any of these acts—and I have to imagine anyone reading this likes at least one of them—will find a lot of insight and maybe will be able to enjoy their work in a new, richer context.

Star Wars by Jason Aaron & John Cassaday

For certain readers, 2015 may be boiled down killing time until The Force Awakens’ release.  Obviously we still have a long way to go, so those antsy to return to the galaxy far, far away would serve themselves right to check out this new comic series, the first under Marvel’s banner since Dark Horse lost the rights.  The main title is basically episode 4.5, with the Rebels on a mission that as you can expect, goes awry.  Written by Jason Aaron (Southern Bastards), the Star Wars relaunch is off to a very entertaining start and John Cassaday’s art represents the characters and the world well.  Although Cassaday will be leaving the series after issue six, it seems like Marvel’s going to do what it takes to make sure this series doesn’t miss a step.  They certainly would want to keep this going strong.

The Martian by Andy Weir

If Gravity starred a non-evil version of Walter White, it might look a little something like this exciting debut novel.  Following a massive storm that causes his crewmates to evacuate, astronaut Mark Watley is left alone on Mars.  How he tries to survive the seemingly endless obstacles in his way and figure a way off that rock drive this story.  There is a lot of math and science to take in, but Weir ties it to the high stakes help make it relatable to non-hard sci-fi devotees.  I wonder how this problem solving will look when the film, due later this year, comes out.  If it’s anything like the book, they certainly will have a great popcorn movie on their hands.

What I've Been Reading: November-December 2014

The Wise Man’s Fear and The Slow Regard of Silent Things by Patrick Rothfuss

As I wrote the first time I did one of these reading roundups, I was a big fan of Patrick Rothfuss’ The Name of the Wind.  In his follow up, The Wise Man’s Fear, he expands upon the world of legendary wizard Kvothe.  Told through more flashbacks, Kvothe recalls a series of adventures that take him from The University through the four corners of the world, sowing the seeds of his own legend.  The quality from the first one is maintained, although the one complaint I have is that like the first book, they stand better as parts of a whole rather than as individual books, which a little disappointing with the third book still in the pipeline.

While waiting for the next book I checked out the additional material set in this world.  The Slow Regard of Silent Things, his most recent work, didn’t really satisfy my need for more.  It focuses on Auri, the girl living in the ruins below The University Kvothe attends.  This book features no dialogue, minimal of anything that could be described as plot and only one character: either you’re on board with it or you aren’t.  Even Rothfuss acknowledges it may not be the story fans are looking to occupy the time until the third book’s release.  Unfortunately it didn’t work for me, but I wouldn’t be opposed to giving it another try later.  If you’re curious, I say give it between 20-30 pages.  If it hasn’t gripped you by then, it may not be for you.

Rogues by Various

This anthology edited by Gardner Dozois & George R.R. Martin (the latter of whom contributes a story set in the A Song of Ice and Fire world) offers a great variety of tales about people who follow their own codes.  Dozois and Martin offer tales from some of the best writers working these days, from Neil Gaiman to Patrick Rothfuss (Rothfuss’ offering, about Kvothe’s fae right hand Bast, goes down easier that The Slow Regard of Silent Things).  Like a lot of anthologies, the quality can vary from story to story, but as a whole it is solid, and a good sampler of writers.  The high point is “A Year and a Day in Old Theradane” by Scott Lynch, about a group of retired thieves who are hired by a witch for one last job.  Based on that story, I started Lynch’s Gentlemen Bastards series.

The Good Nurse: a True Story of Medicine, Madness and Murder by Charles Graeber

Full disclosure: I listened to the audiobook for this one.  This meticulously researched true crime story about serial killer Charles Cullen is one compelling read/listen.  Cullen is suspected of being the most prolific serial killer in American history, with upwards of 400 victims—patients he deliberated overdosed—potentially tied to him.  The book jumps from various points of view, from Cullen’s supervisors, the investigators, Cullen himself and one of his work friends who helped bring him to justice.  The story is so crazy and filled with many interesting twists and turns that it will keep the reader on edge throughout.  Darren Aronofsky has been named director of the upcoming film adaptation, and if the film is half as crazy as the book, it should be one compelling film.

Euphoria by Lily King

This novel, loosely based on the life of Margaret Mead, has been getting a lot of acclaim and even has been included on some best of 2014 mentions.  The story is about a suicidal anthropologist named Andrew Bankson who comes between Mead stand in Nell Stone and her sometimes abusive husband Fen as all three study the natives of New Guinea in 1933.  At only 261 pages, King’s melodrama is a quick, but memorable read.  It seems like material Hemmingway would’ve covered.  While the story lacks many surprises, it is still hits those notes in a satisfying way.

Southern Bastards, Volume 1: Here Was a Man by Jason Aaron and Jason Latour

To paraphrase my friend, Jason Aaron and Jason Latour’s Southern Bastards is like the offspring of Justified and Friday Night Lights.  The southern fried noir deals with Earl Tubb, a Clint Eastwood-esque man returning to his hometown to clean out his childhood home.  While there he encounters various small time crooks who now control it, headed by the town’s high school football coach.  The comic quickly establishes a sense of place with its vivid characters and striking color palate.  By the end of the first issue I was hooked, and can’t wait to see what happens next.

We Are the Best! Review

Like a lot of people in the age of the internet, I am fascinated by art that is classified as “so bad it’s good”: the type of art made by people who have the ambition of the greats, but none of their talent.  If a person thinks they’re making a masterpiece, there is something in there even if it isn’t a quality product.  This applies to the music made by the trio of girls in Lukas Moodysson’s latest film We Are the Best!  As the girls start to explore music, two of them are genuinely terrible at it at first, but what they lack in chops they make up for in enthusiasm.  It’s the kind of enthusiasm that is intrinsically tied with youth, and it permeates throughout the film.  Because ultimately youth is a time when people should be making mistakes and pursuing whims since those journeys can yield interesting and unexpected results.

We Are the Best! is set in 1982 Stockholm as Klara and Bobo (Mira Grosin and Mira Barkhammar respectively), two misfit 7^th graders with a passion for punk rock but no musical experience befriend a shy Christian classical guitarist Hedvig (Liv LeMoyne).  They form a punk band and the film tracks their ups and downs.  There is no plot here; most of the film is spending time with the characters as they learn musicianship from Hedvig and Hedvig learns lessons in rebellion from the other girls.  Normally watching kids goof around would get annoying fast but Moodysson, whose Show Me Love also dealt with kids around this age, shows a great aptitude of working with child actors.  The three young leads all turn in great performances as three different types of teen girls trying to find their place in the world.

Thinking about the film, the term “winning” comes up a lot and for good reason.  This is an easy film to like.  We are on these girls’ side the entire time: from when they are a genuinely terrible band to an almost OK band.  When they are almost OK, we’ll still side with the eponymous sentiment because they’re so enthusiastic about it.  These aren’t girls out to be rich and famous rock stars; they’re kids looking to create their own identities and find independence.

Punk at its core is about rebellion and letting the outcasts have their say.  Throughout the film the people in power, their parents and their peers often marginalize the core trio, but through the power of music they persevere and ultimately become stronger.  It’s an idea that’s strong for any outsider who has found comfort and strength in any kind of art, and it’s an idea that’s sincerely delivered in We Are the Best!

Grade: B+

Note:

-I really enjoyed the soundtrack.  I’ve obviously not listened to a lot of punk made outside of the US and UK, but this stuff was pretty good, and “We Hate Sports” turned into a pretty catchy song as they got better playing it.