Big Star: Nothing Can Hurt Me is a feature-length documentary film about the dismal commercial failure, subsequent massive critical acclaim, and enduring legacy of pop music's greatest cult phenomenon, Big Star.
A documentary that celebrates Rick Hall, the founder of FAME Studios in Muscle Shoals, Alabama, and the signature sound he developed in songs such as "I'll Take You There", "Brown Sugar", and "When a Man Loves a Woman".
A documentary feature examining why over 3000 independent record stores have closed across the U.S. in the past decade. Many sources all pose threats on the very well being of our favorite ... See full summary »
Ginger Baker looks back on his musical career with Cream and Blind Faith; his introduction to Fela Kuti; his self-destructive patterns and losses of fortune; and his current life inside a fortified South African compound.
The incredible rise of 62-year-old aspiring soul singer Charles Bradley, whose debut album rocketed him from a hard life in the Brooklyn Housing Projects to Rolling Stone Magazine's top 50 albums of 2011.
BIG STAR: NOTHING CAN HURT ME is a feature-length documentary about legendary Memphis band Big Star. While mainstream success eluded them, Big Star's three albums have become critically lauded touchstones of the rock music canon. A seminal band in the history of alternative music, Big Star has been cited as an influence by artists including REM, The Replacements, Belle & Sebastian, Elliott Smith and Flaming Lips, to name just a few. With never-before-seen footage and photos of the band, in-depth interviews and a rousing musical tribute by the bands they inspired, BIG STAR: NOTHING CAN HURT ME is a story of artistic and musical salvation. Written by
When listing current artists that were influenced by Big Star, Elliott Smith is seen introducing a Big Star cover song on the Jon Brion Show with the date 1996. The show was not recored until 2000. See more »
As a voracious consumer of "Rock Docs," this one left me flat. The story is told in such a way that it is nearly impossible to follow (unless you are a Memphis super fan, I guess). It ambled along following every little thread until I just didn't care anymore.
As with "Mr. Blue Sky" (the Geoff Lynne doc), the superlatives flow like water. After a while, they just become meaningless.
And most important of all, I didn't leave this film and rush straight to ITUNES to download their work. If the music is as good as the interviewees bleated on about; they were not able to convey it within the film itself.
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