When I was learning about music in the ’80s, Miles Davis was a presence, albeit an odd one. He seemed grumpy, Prince dug him, and Miles faced away from the audience. (Well, if that was good enough for the Jesus & Mary Chain….) I slowly realized what an important figure he was, and over time picked up a handful of Davis’s records: Best of the Capitol/Blue Note Years, Birth of the Cool, Kind of Blue, and Best of the Quintet 1965–68.
I had plenty more to discover, and this documentary was the perfect opportunity. That it was also an utter delight to watch was a great bonus.
I think the stereotypical jazz-legend timeline is: grow up poor, go to New York, make a few brilliant records, and die young of an overdose. Miles Davis danced around those parameters. His family was well-to-do. (How he ended up playing trumpet is a wonderful anecdote that I won’t spoil.) He did go to Manhattan — 52nd Street was the place to go! — did make a classic album, and did fall prey to drugs. But it didn’t kill him! Miles’ story was just beginning.
It took me a little while to adjust to the format of the film: Miles tells much of his own life, but it is read by another person, from Davis’s autobiography. Holes are filled in by narration and many superb interviews, with old friends, lovers, and bandmates — including Herbie Hancock, Wayne Shorter, Carlos Santana, and Quincy Jones.
I was surprised how often I laughed aloud. One of his several ex-wives, Frances Taylor, has an extremely positive self-image that is infectious. So many people’s recollections are hilarious. And Miles didn’t take any shit from anybody. Of course it’s not all light-hearted: Racism is a recurring theme and so are drugs. And Miles could be cruel.
Recently, I saw the Leonard Cohen documentary, and there are some definite parallels. Both men had comfortable upbringings, and had trouble sticking with any one woman. But there is a key difference: Miles was obsessed with music from the very start. It was his constant companion, often his only way to truly express himself. As he grew as a person, the music matured as well. He and the trumpet were one.
If you love music, I urge you to see this film. I was giddy upon exiting the theater, discussing it with strangers. For what it sets out to do, Miles Davis: Birth of the Cool is perfection.
The Who — “Happy Jack” [THEME] The Fresh & Onlys — “Fascinated” R.E.M. — “Fascinating” The Feelies — “Deep Fascination” Human League — “(Keep Feeling) Fascination” The Cure — “Fascination Street” The Pixies — “I’m Amazed” Kimberley Rew — “I’m Amazed” White Town — “Bewitched” Jeff Lynne — “Bewitched, Bothered, and Bewildered” Wilco — “Magnetized” Stag — “The Bedazzler” Daniel Johnston with Yo La Tengo — “Speeding Motorcycle” (live on WFMU) r.i.p. Daniel The Cars — “Since You’re Gone” r.i.p. Ric Ocasek
Jack’s Aquarium podcast is proudly recorded in Hoboken, NJ.
IT was my No. 4 top movie of 2017. Chapter Two, on the other hand, should file for Chapter 11. (Hmm, that doesn’t really make sense, but I’m sticking with it.) What happened? Director Andy Muschietti is back; so is Gary Dauberman, one of the original’s three screenwriters. Pennywise is terrifying as ever. Even Stephen King has a bit part. So what’s different here?
Grown-ups. They always ruin things.
It’s 27 years later in Derry, Maine, and we do get our talented young cast from Chapter One in frequent flashbacks. But mostly we get their This Is 40 counterparts. Don’t get me wrong, it’s a decent group of actors. Bill Hader and James Ransone get laughs as the older nerd and hypochondriac. James McAvoy does an OK job as the still-stuttering guy. I was impressed with the hair of the grownup Jewish kid. The black dude is totally fine. The chubby kid grows up fit and goatee’d and I did not buy it, or at least the actor didn’t convince me.
Jessica Chastain is a strong likeness for Sophia Lillis, and is certainly a very capable actor. But Chastain just doesn’t emanate that “IT Girl” quality which Lillis’s version has in spades. Granted, some people lose their spark as they age, but the actor needs to tell that story, however subtly, and Chastain doesn’t quite get it done.
There are scares a-plenty, and if you enjoy that sort of thing you will be entertained by this movie. But part one had so much heart, and that is simply not on display here. I do think it’s difficult for adults to convey the same depth of friendship that kids can. Also hurting the film is the fact that as an audience, we weren’t catching up with them 27 years later. For us, it’s only been 2 years. Maybe Muschietti should’ve gone all Linklater or Apted and waited two and a half decades to make the follow-up with the original cast. As is, Chapter Two of IT isn’t sh*t, but it ain’t all that.
The Who — “Happy Jack” [THEME] Blur — “Girls & Boys” Juniper — “Boys! Boys! Boys! Boys! Boys!” Liz Phair — “Girls! Girls! Girls!” Human Switchboard — “Shake It, Boys” Marshall Crenshaw — “Girls…” U2 — “Stories for Boys” (Three EP version) The Smithereens — “Girls About Town” The Just Joans — “Some Boys Are Bigger Than Others” Guided by Voices — “Glad Girls” Living Colour — “Glamour Boys” Duran Duran — “Girls on Film” The Waitresses — “I Know What Boys Like” The B-52’s — “52 Girls” Dump — “Girls and Boys”
Jack’s Aquarium podcast is proudly recorded in Hoboken, NJ.
The Who — “Happy Jack” [THEME] Art Brut — “Formed a Band” (early version) Butterglory — “She Clicks the Sticks” They Might Be Giants featuring Laura Cantrell — “The Guitar (The Lion Sleeps Tonight)” Rob Wasserman featuring Willie Dixon and Al Duncan — “Dustin’ Off the Bass” Owls of Now — “Lead Singer” Peter Holsapple & Chris Stamey — “Ukulele” Cheap Trick — “Mandocello” Julie Doiron — “Le Piano” Yo La Tengo — “Sudden Organ” Talking Heads — “Sax and Violins” Teeth — “The Trumpets Blared” Strange New Places — “Trombone” The Rubinoos — “Two Guitars, Bass, and Drums”
Jack’s Aquarium podcast is proudly recorded in Hoboken, NJ.
The Who — “Happy Jack” [THEME] Young Fresh Fellows — “Lamp Industries” Suddenly, Tammy! — “Lamp” Blind Willie Johnson — “Keep Your Lamp Trimmed and Burning” The Clientele — “Lamplight” Joe Henry — “Coda: Light No Lamp When the Sun Comes Down” Harry James & his Orchestra featuring Frank Sinatra — “The Lamp Is Low” Frank Sinatra w/ Axel Stordahl & his Orchestra — “The Lamplighter’s Serenade” The Byrds — “Oil in My Lamp” Herman’s Hermits — “Leaning on a Lamp Post” Fastbacks — “Under the Old Lightbulb” Saturday Looks Good to Me — “Light Bulb Heart” Robyn Hitchcock & the Egyptians — “The Man With the Lightbulb Head” Laura Leif and Amber Phelps Bondaroff — “Love Song for Lamps” Grant McLennan — “Lamp by Lamp”
Jack’s Aquarium podcast is proudly recorded in Hoboken, NJ.
This movie is incredibly corny, somewhat cheesily made… and I really loved it. Based on a true story, we meet Javed, a 16-year-old Pakistani boy in working-class Luton, England. He dreams of being a writer but his traditional dad pushes Javed to pursue a “respectable” career — doctor, lawyer, etc. Meanwhile, local skinhead racism also makes his life miserable. Javed feels so stifled in his small town — until he makes a new friend at school who introduces him to the music of Bruce Springsteen. Suddenly Javed’s eyes are open to a land of hope of dreams.
Oh, also, it’s 1987, right in my teenage wheelhouse, so the music and styles grabbed me immediately. (Level 42, for god’s sakes!) And of course I’m a total sucker for Springsteen. But ultimately this tale is for anyone who has found inspiration in art — that special secret connection when the images, words, sounds, craft — whatever! — speak directly to you, taking you out of your own world and showing you a different path. As teens we’re particularly open to this influence.
Viveik Kalra is excellent and very likable as Javed. He captures the character’s awkwardness and inner passion, his frustration and discovery, and the sweet ache of teen love. But even better is Kulvinder Ghir as his father. Ghir becomes the proud but beaten-down factory worker who wants his children to do better than he did, which sadly comes across as forcing his ways on them. This would be ripe for caricature but Ghir keeps it real, and it’s a truly affecting performance. And fans of Brit comedy will appreciate the casting of Rob Brydon in a small role wearing a crazy wig.
The prominent presence of xenophobia and racism adds an unfortunate level of modern relevance to the film. (Maybe Chris Christie can convince Trump to watch this movie? Maybe Morrissey will catch it on a plane? He and the Smiths are mentioned twice in positive terms, well before Moz’s anti-immigrant stance went public.) Blinded by the Light also shows the wonder of the immigrant experience: striving for a brighter future, staying proud of one’s culture while also assimilating into the new environment, occasionally creating a magical blend that benefits everyone. (Worth noting: Rather than having some white-imperialist dude strong-arming musical tastes on innocent Javed, it’s his Sikh pal Roops — as it was in real life — who lends him the Bruce tapes.)
Yes, there are flaws. It’s September 1987 and a sign in school says “Welcome to the Class of 1987.” (If that’s some crazy UK-only bookkeeping, do let me know.) Welcome signs again prove problematic later at Newark Airport — which looks like it was filmed in my apartment — where a banner proclaims, “Welcome to New York.” Uhhhh…. But there’s a genuine sense of joy here that is absolutely contagious. In that regard, it reminded me a bit of (500) Days of Summer except that one was all phony-baloney and slick. This is rough around the edges and left me with a huge smile on my face. And the soundtrack is pretty good too.
The Who — “Happy Jack” [THEME] The Rolling Stones — “Stray Cat Blues” Brower — “My Father’s Name Was Cat” I Am the Polish Army — “Dead Cat” New York Dolls — “Courageous Cat Theme” Roky Erickson — “Leave My Kitten Alone” The Bee Gees — “Kitty Can” Bruce Springsteen — “Kitty’s Back” The Waitresses — “Pussy Strut” The Rubinoos — “Cats and Dogs” The Lovin’ Spoonful — “Nashville Cats” Roy Orbison — “Cat Called Domino” Muddy Waters — “Crosseyed Cat” Spiral Jetty — “My Cat Geoffrey”
Jack’s Aquarium podcast is proudly recorded in Hoboken, NJ.
I honestly thought I’d bought a ticket to a documentary; that’s how quickly I had read the description of this movie. Was caught off-guard when “Based on a true story” popped up on the screen. But hey, I can adjust.
I did correctly read that the story involved the real-life California Innocence Project (CIP), which — like the Loyola Project for the Innocent whose director is my old friend Adam Grant — works to free the wrongly imprisoned. These are just two of the innocence organizations worldwide that provide no-cost service for their clients, while striving to improve justice systems.
The case of football prospect Brian Banks was a little different — he was already out of jail and on parole. However, as a registered sex offender with an ankle monitor, Banks couldn’t go near a school or park — which ruined his legit shot at a pro football career, and he also found it incredibly difficult to find employment. Banks insisted he’d been falsely accused of rape, and that at age 16 he’d received bad legal counsel (including never submitting DNA evidence which would’ve exonerated him) and accepted a no-contest plea deal. With nowhere else to go, he turned to the CIP.
Aldis Hodge (City on a Hill) does a solid job as Banks, displaying mental anguish and despair, tempered by hope. He is less believable — wearing a wig — as the 16-year-old Banks. I think a bigger production would’ve cast a different actor to portray the young Brian.
Greg Kinnear, easily exuding good-guy-ness, is head of the CIP. Morgan Freeman, uncredited, lends the film gravitas as a prison counselor. Sherri Shepherd is OK as Banks’ mom; she gets her big speech in.
The director is Tom Shadyac, who previously gave us such classics as Ace Ventura, Eddie Murphy’s Nutty Professor, and Bruce Almighty. Kudos to him for stretching here on a drama, but unfortunately Shadyac is a little out of his depth. The film looks and feels like an old-school TV movie, albeit a pretty good one. The true story is certainly compelling, and thankfully there is acknowledgment of what can happen when a victim isn’t believed. If you’re unaware of innocence organizations and the crucial work they do, this isn’t a bad introduction.
Jack Silbert, curator