KISS isn't known to be the most giving band in the world. Sure, you get your money's worth, but don't expect anything more or something like a free autograph or a "hi, how are u doing" from the last remaining original members without taking out your wallet first. That seems particularly true these days, where the band still produces tours and albums on the sole premise that most fans are completists, who cannot suffer holes in their collections. So, "Detroit Rock City" was one of the last few cases where the fan had the feeling that this was produced by band & fans for fans and not only for cash.
Sure, I had rooted for this film when it came out and sure, as a kid I had my room plastered with KISS-posters, wore KISS-Make-Up during Halloween and religiously bought most things that bore the distinct logo (despite the design being altered in Germany, because it resembled the SS-Runes a little too close, suggesting that Mr. Chaim Wietz and Mr. Stanley Eisen were Nazis). Got my dad to smuggle me into "Runaway", despite being a few years short of admission (and I didn't want to go see this film because I'm fond of Tom Selleck). Thinking of it, my parents probably bought Gene Simmons a new Cadillac, despite nowadays I'd hope that this money went into the pockets of either Ace Frehley or Peter Criss.
By the time "Detroit Rock City" hit the cinema, it had pretty much been clear to even the hardened fan, that 90 percent apart from the music was hype and that the two founding members had begun to view their band more of a cash-milking-cow rather than a vehicle to transport good music. But why drop a lifelong habit? Like Richard Linklaters "Dazed and Confused", Adam Rifkin was able to capture the feel and air of the time "When KISS ruled the world", which is only one aspect that makes the film work. Though by the time I was old enough to get into the concerts KISS had already taken off their iconic make-up, one could really get a feel of what the great KISSteria must have been like. Then there is the humour: I'm not easily moved to laugh tears at slapstick, but I have to admit that a heartily laughed more than once. The priest and the mushroom-pizza, the clash between KISS-Fans and Disco-Guidos or the Hawk stripping for cash, it all made me crack up. As a bonus, there are plenty of KISS Insider-jokes, from the names of the protagonists to the dialogue; it should be abundantly clear: Adam Rifkin knows his KISS.
When talking to the fans, the issue of a sequel would invariably come up. Despite still being a fan-boy deep inside, rationality keeps saying that this just wouldn't work – as little as KISS worked after 1982. What would people like to see? Our four protagonists being in college and moaning the fact that KISS has degenerated into a run-of-the-mill Glam band during the 80's? Having settled down to a blue-collar-existence and taking their kids to see the KISS-reunion in the 90's or having to witness the gold-digging sham that KISS has degenerated to in recent years? No, it's good that "Detroit Rock City" is (and will likely remain) a one-time-thing – could be a lesson there for Simmons and Stanley.
7/10
Sure, I had rooted for this film when it came out and sure, as a kid I had my room plastered with KISS-posters, wore KISS-Make-Up during Halloween and religiously bought most things that bore the distinct logo (despite the design being altered in Germany, because it resembled the SS-Runes a little too close, suggesting that Mr. Chaim Wietz and Mr. Stanley Eisen were Nazis). Got my dad to smuggle me into "Runaway", despite being a few years short of admission (and I didn't want to go see this film because I'm fond of Tom Selleck). Thinking of it, my parents probably bought Gene Simmons a new Cadillac, despite nowadays I'd hope that this money went into the pockets of either Ace Frehley or Peter Criss.
By the time "Detroit Rock City" hit the cinema, it had pretty much been clear to even the hardened fan, that 90 percent apart from the music was hype and that the two founding members had begun to view their band more of a cash-milking-cow rather than a vehicle to transport good music. But why drop a lifelong habit? Like Richard Linklaters "Dazed and Confused", Adam Rifkin was able to capture the feel and air of the time "When KISS ruled the world", which is only one aspect that makes the film work. Though by the time I was old enough to get into the concerts KISS had already taken off their iconic make-up, one could really get a feel of what the great KISSteria must have been like. Then there is the humour: I'm not easily moved to laugh tears at slapstick, but I have to admit that a heartily laughed more than once. The priest and the mushroom-pizza, the clash between KISS-Fans and Disco-Guidos or the Hawk stripping for cash, it all made me crack up. As a bonus, there are plenty of KISS Insider-jokes, from the names of the protagonists to the dialogue; it should be abundantly clear: Adam Rifkin knows his KISS.
When talking to the fans, the issue of a sequel would invariably come up. Despite still being a fan-boy deep inside, rationality keeps saying that this just wouldn't work – as little as KISS worked after 1982. What would people like to see? Our four protagonists being in college and moaning the fact that KISS has degenerated into a run-of-the-mill Glam band during the 80's? Having settled down to a blue-collar-existence and taking their kids to see the KISS-reunion in the 90's or having to witness the gold-digging sham that KISS has degenerated to in recent years? No, it's good that "Detroit Rock City" is (and will likely remain) a one-time-thing – could be a lesson there for Simmons and Stanley.
7/10