1987. Naive Sherrie Christian has just arrived in Hollywood from Tulsa looking to become a rock star. She is just likel Drew Boley was when he first arrived in Hollywood, he, now the Hollywood veteran, who works as ia bar back at the Bourbon Club, known as the center of the rock scene in town and the place where many of the biggest acts in rociiiiki got their big break. The two meet as Drew helps Sherrie with a situation when she first arrives in town. IDespite Dennis Dupree, the Bourbon's owner/manager, not liiking to hire people like Drew or Sherrie - someone who has musical aspirations - as service staff, Drew is able to convince Dennis and his assistant Lonny to hire Sherrie as a server, Drew and Sherrie who have a blossoming mutual attraction. Dennis and Lonny, who are having financial difficulties, are able to convince rock star Stacee Jaxx, the perpetually stoned front man for the band Arsenal who got his first break performing at the Bourbon, to perform for free at a benefit ...Written by
The story is set in 1987 but the characters sing songs written after that year, including Warrant's 'Heaven' (1988), Extreme's 'More Than Words' (1990), Poison's 'Every Rose Has Its Thorn' (1988), and Skid Row's 'I Remember You' (1989). Within the movie's "musical" illusion of reality, these songs are meant to be representative of the mid-1980s-through-early-1990s era as a whole, since this film is a nostalgic fantasy representation of the era rather than a historically accurate recreation of a specific year. Keep in mind also that an important plot element is the notion that the song "Don't Stop Believin'" is written in 1987 by the fictitious Drew Boley, but in real life was written by Journey in 1981, and was already a well known song by 1987. See more »
Greetings again from the darkness. A few upfront disclosures are in order: I spent quite a few evenings on the Sunset Strip during the era of this story; I had no idea who Diego Boneta was and only vague name recognition of Julianne Hough when I walked in; and I never saw the hit Broadway production. These points may help explain my reaction to the movie.
The opening sequence immediately informs us that we are in for something different. Aspiring singer Sherrie Christian (Ms. Hough) is running from her backwoods Oklahoma life to the bright lights of fame offered by Hollywood. While on the bus, we get the first of an endless stream of staged karaoke routines ... "Sister Christian" (get it??). Once on Sunset Boulevard, she is quickly mugged and then comforted by Drew (Mr. Boneta), an aspiring singer and current barhop at The Bourbon, an obvious nod to such hallowed rock ground as Whisky A Go Go and Roxy.
No need to spend much time discussing plot. There is a muddled love story filled with teenager dreams and miscommunication, and a financial crisis at The Bourbon, thanks to back taxes owed by manager Dennis Dupree (Alec Baldwin), and a political backlash against the club thanks to the Mayor's wife (Catherine Zeta-Jones), who has a not so secret need for revenge. The only way to save the club is for rock idol Stacee Jaxx (Tom Cruise) to play a gig. The only way to save the love story is to write it out of the film all together. The political agenda is simply an excuse to add two more excruciating karaoke numbers.
What little fun there is in the movie is thanks to Cruise, Baldwin and Russell Brand, who plays Baldin's sidekick and confidant. Cruise jumps into the Jaxx role with both feet and seems to understand that a parody should be fun. Being a rock idol isn't far removed from being the biggest movie star on the planet, so Cruise blends Axl Rose and Bret Michaels to create Jaxx ... throw in a pet baboon, two He-men bodyguards, an endless train of groupies, and a dragon codpiece ... and you get Stacee Jaxx, legendary rock star.
If one is going to make a rock 'n roll movie, it either needs to be played straight (Almost Famous) or as a head-on parody (This is Spinal Tap). What it can't do is celebrate the dead zone of lameness: lame music covered by lame singers playing lame characters. No amount of star power actors can overcome material that doesn't capture the power and passion of the music. And we aren't even talking real rock n roll here ... this is glam rock, stadium rock, big hair bands. Yet, the movie still falls incredibly short of making a statement or providing insight or even entertainment.
Cruise's performance generates some laughs, as do Baldwin and Brand. However, Hough and Boneta aren't even cringe-worthy. They have no screen presence and neither belong in a rock movie. Maybe the real problem is that most of the songs in the movie have survived these 25 years because of their mediocrity ... they can easily be sung while intoxicated. Evidently that's not enough for a decent movie.
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