
10 minute read
filM
from July 3, 2019
Let it be boring
Man, I just wanted to punch this stupid movie in the face for nearly the entire time I was watching it—stupid-assed, stupid movie.
Advertisement
Yesterday takes an interesting premise—“What would the world be like if the music of the Beatles didn’t exist?”—and totally squanders it.
Danny Boyle (127 Hours, 28 Days Later) directs the straining saga of Jack Malik (Himesh Patel), a wannabe musician working part-time in a grocery store while also busking on street corners and playing small solo gigs with his trusty guitar. Jack’s burgeoning music career is managed by Ellie (Lily James), who is fostering a decades-old crush on Jack while getting him gigs at closing hotels and side tents at music festivals.
Riding his bike home from a gig, the world suffers a solar flare and a worldwide power loss, and Jack gets hit by a bus, knocking out a couple of his teeth and sending him to the hospital. Just before his accident, Jack swore to end his music career, probably a good idea because he totally sucks.
Post-accident, Ellie and some friends give Jack a new guitar and suggest he bust out song for them. He goes with “Yesterday” by the Beatles, and the group is moved, as if hearing the song for the first time. That’s because they are hearing it for the first time. A quick Google check by Jack confirms the impossible: Somehow, someway, Jack now lives in a parallel world where John, Paul, George and Ringo never came together to make music.
So what does Jack do? Why, he plagiarizes the entire Beatles catalogue, of course. He plasters Post-its for their songs all over his room and starts recreating their tracks. He struggles with the lyrics to “Eleanor Rigby,” but he gets enough right to catch the eyes and ears of agents and producers everywhere. Jack doesn’t really look like a rock star but, no matter, with the music of the Beatles propelling him, this kid is going places.
Now, this act, stealing the music of the best group in rock history, is a grievous action, is it not? Only a true prick would steal music and try to pass it off as his own, right? Well, this is where the movie goes terribly wrong. Rather than exploring the dark side of plagiarism in a comedic way, Boyle’s movie begs you to love Jack—and to sympathize with him while he tries to figure out his romantic interest in Ellie.
This results in a movie that is always uncomfortable to watch because Jack is nothing short of a total dick. Rather than crafting a film that seriously addresses a world without the Beatles, the movie becomes scared of itself and becomes nothing but a lame rom-com. An opportunity for some mind-bending dark comedy becomes nothing but an exercise in whether he will kiss her or not.
Actually, the movie does take a stab at something profound with a special appearance by an historical figure late in the film. Beatles fans will cry blasphemy because the movie simply doesn’t earn this moment. Furthermore, the moment is treated with a strange kind of casual bemusement that struck me as offensive. As for the appearance of Ed Sheeran, I was actually OK with a scene where the pop star got put in his place because, you know, fuck that guy.
Movies that feature Beatles music can be a great thing. Apart from the films the actual Fab Four participated in, Across the Universe stands as a fine exercise on how to use their music in the modern film era.
Yesterday is a vapid, unimaginative mess. It has no real reason to exist other than trying to find a way to roll out Beatles music for a new generation of moviegoers. The film actually had me wincing at the sound of their music given the mode in which it was presented. You have to really screw up to make the Beatles boring. Ω
“Why do Flat Earthers hate the Beatles? Because the Earth is round, it turns them off.”
Yesterday 12345
4John Wick: Chapter 3 - Parabellum The gun opera that is the John Wick franchise keeps on rolling and shooting with gory gusto, and some great dogs to boot. When we last saw Keanu Reeves as John Wick, he had himself a little time before getting excommunicated from the assassination club The High Table and all its perks. His killing a fellow assassin within the walls of the Continental Hotel means no more room service or dog sitting. He’s got a multimillion dollar bounty on his head and no place to kick his feet up. John Wick: Chapter 3 - Parabellum picks up right where the last one left off, with a battle-weary Wick running in the streets, putting distance between himself and the hotel and trying to figure out his next big move. Wick basically runs from one action set piece to another, with returning director and former stunt coordinator Chad Stahelski making each of those set pieces a thing to behold. A gun battle inside a weapons museum counts as a franchise highlight, as does Wick’s gunfight atop a motorcycle. And, yes, dogs play a major role in the shenanigans, which makes this dog person very happy.
2Men In Black: International The fourth film in the MIB franchise is the second-worst MIB film after Men in Black II. The original and Men in Black III were the only good ones. International amounts to a wasted opportunity, an admirable attempt to restart things with a mostly new cast that doesn’t quite hit all its marks. Replacing Will Smith and Tommy Lee Jones—along with Josh Brolin as the young Tommy Lee Jones—are Chris Hemsworth and Tessa Thompson, as agents H and M. H is the bold, brash, superhot dude of MIB, He and Agent High T (Liam Neeson) saved the world years ago from an evil alien force called the hive. M is the latest recruit, having found MIB’s secret headquarters after years of searching. As a child, M witnessed an alien encounter—and saw her parents getting their minds erased—starting a curiosity fire that doesn’t get put out until Agent O (Emma Thompson) gives her a chance to basically save the world as a probationary agent. Tessa Thompson is great in anything she does, and she is great here. She brings a fun energy to the role, with a slight edge of wiseass. Hemsworth is a performer who seems to like himself a little too much, but still manages to be likeable. The two make for a good pair, as they did in Thor: Ragnarok. While it’s fun to see them standing next to each other again onscreen, it’s a little baffling what the screenplay puts them through.
1Nightmare Cinema I’m a big fan of anthology horror movies and TV shows. Creepshow stands as one of my all-time favorite horror movies, so when I see another anthology horror film getting good buzz, I get excited. Word had it that this one was a blast but, as things turn out, it totally blows. Mickey Rourke plays the Projectionist, a purposeless dude screening horror films in an old, mystical theater. The premise for the multiple short films in this movie has something to do with the main characters walking into the theater, sitting down and seeing their stories. Each one of those stories, including a demon possession tale, a crazy mother, a cabin in the woods scenario, and a kid who sees dead people, is lame, lame, lame. There isn’t an original moment to be had in this thing. It should just be called Mickey Rourke Actually Gets a Job because that’s the only shocking thing about it. Standard gore effects, terrible writing, and lousy direction abound. Even Joe Dante, the man who made Gremlins, accomplishes next to nothing with his stupid short about an evil plastic surgeon. It’s as if a bunch of studios took a group of throwaway horror scripts, repurposed them as an anthology and tried to pass them off as having some sort of binding theme. It’s a disjointed, sloppy mess. (Available for rent and download during a limited theatrical release.) 3 Rocketman Dexter Fletcher, the very same director who helped take a shit on Freddie Mercury’s legacy with the dumpster fire that was last year’s Bohemian Rhapsody—he finished the job after Bryan Singer was fired— fares much better with this celebration of Elton John. The movie tells John’s story through musical numbers and fantasy sequences and, as it turns out, it’s a good approach to the life of Elton John. John is played by Taron Egerton (who starred alongside John in the wonderfully weird Kingsman: The Golden Circle), and there will be no lip-synching here, thank you very much. Egerton confidently sings John’s tunes, including “Tiny Dancer,” the title track and, unfortunately, “I’m Still Standing.” Jamie Bell plays John’s writing partner, Bernie Taupin, and the movie works as a nice testament to their contributions to rock’s legacy. The results are a lot of fun, even with some slight miscasting (Bryce Dallas Howard as John’s mom!). It’s not a perfect movie, but it’s a bold and interesting approach to a rock biopic that has more in common with Across the Universe than Bohemian Rhapsody.
4Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese For my money, Bob Dylan peaked during that strange time during the mid ’70s when he hit the road with a traveling circus of his musical and poetry friends, covered his face with white makeup and delivered some of the rawest, most straightforward rocking performances of his career. Martin Scorsese, for the second time, goes the documentary route with the musical icon, combining archival concert footage and interviews (most notably, a new one with Dylan himself) to tell the story of the most interesting tour of the man’s career. Dylan had just finished touring stadiums with The Band and wanted to play more intimate venues. So he did, and he brought the likes of Joni Mitchell, Allen Ginsburg and Joan Baez along with him. The concert footage shows Dylan in focused, driving and sometime very funny form as he delivers some new music along with his already classic songbook. New songs like “Isis” and “Hurricane” destroy alongside transformed versions of “Blowin’ in the Wind” and “Mr. Tambourine Man.” Watching these concert moments, it’s immediately clear that anybody who was present for the shows was witnessing vital music history. The interviews flesh out the “story” in what amounts to another triumph for Scorsese, who has given himself a nice side gig doing rock documentaries. (Streaming on Netflix.)
4Toy Story 4 No one would blame you for thinking Toy Story 3 was a definitive end to the story of Woody the Cowboy (Tom Hanks), Buzz Lightyear the Space Ranger (Tim Allen) and company. That movie was, in a word, perfect in the way it tied up the story of Andy and his lifelong toy companions. I count myself among those who thought Toy Story 3 should’ve been the final chapter in the franchise. I now count myself among those who are fine with one more chapter in the totally satisfying Toy Story 4, a movie I never thought I would see and wasn’t wishing for. Pixar and director Josh Cooley—making his directorial debut with their most precious franchise—have chosen to mess with perfection and extend the story of Woody and friends. The results are less than perfect, but still very worthy of Toy Story lore and a welcomed breath of fresh air in a summer movie season that has been laying a series of big franchise stink bombs (Godzilla: King of the Monsters, Men in Black: International, Dark Phoenix). It’s not surprising that Toy Story 4 is the most visually impressive of the lot. The ending of Toy Story 4 will, once again, have fans and critics alike proclaiming that this must be the end for the franchise. It certainly feels like a closing chapter, but we all said that about the last movie.