Getting 1964’s “The T.A.M.I. Show” finally on a Collector’s Edition DVD fully restored for the rock fans is a special occasion. If only because “The T.A.M.I. Show” has long been a concert film that has been seen mainly through bootlegs and was sabotaged for a long time. Even film buff Quentin Tarantino never had a complete bootleg, and finally the entirety of “The T.A.M.I. Show” is on DVD from Shout! with nary a single dull moment to be had. What’s so fun about “The T.A.M.I. Show” is that it’s just an unabashed celebration of diversity in rock and roll, and how various artists have shaped it in to something incredible.
Tag Archives: Musical
Hercules (1997)
Watching “Hercules,” feels almost like what Disney would have done to Superman if DC ever let them turn the character in to an animated feature film. It has all the hallmarks of the Superman mythos. Not to mention it embraces the classic hero’s journey, and is one of the few Disney features based around mythology rather than an age old story. Disney could very well have approached the tale of a young God in training with an animation style that could have rendered the film bland and forgettable. Instead, “Hercules” is one of their more unique and outside the box animated adaptations.
Tarzan (1999)
Edgar Rice Burroughs’ titular Tarzan has gone through a ton of botched adaptations over the last few decades. Speaking as a fan of the character and story arc, Disney’s “Tarzan” is probably my favorite adaptation of all time. Surely, it suffers from Disney tropes that make it very much a Disney movie, but damn it, it’s also a heart felt tale about a hero fighting for his unofficial family teeming with excellent performances and a haunting soundtrack. Plus, it garners the classic Disney themes of lost parents and a child being forced to grow up very quickly.
Viva Las Vegas (1964): 50th Anniversary [Digibook Blu-Ray]
George Sidney’s “Viva Las Vegas” is a nit little bit of sixties funk that really takes the decade head on with jazzy music numbers, and dance solos. Surely, it’s Elvis’ vehicle, but the movie really belongs to Ann-Margret. Playing off of Elvis, Ann-Margret is a red bomb shell who completely dominates the film with her keen sexuality, and ability to out dazzle Elvis, on many occasions. Director Sidney seems to also enjoy Margret’s stunning appearance, as her first real introduction to the film zeroes in on her behind as she leaves character Lucky’s car shop, and then pulls back on her lower region as she approaches her own hot rod.
Get on Up (2014)
Get on Up is the latest Hollywood biopic and this one follows the life and times of the godfather of soul, the hardest working man in show business, James Brown. He is played brilliantly with great energy, enthusiasm, and electricity by 42’s Chadwick Boseman, who also played Jackie Robinson. He IS James Brown and he is the lifeblood of the movie. Every moment he’s on screen, you are captivated by his performance and what he brings to the table. While he doesn’t sing the original songs himself, as he is lip synching, he does bring the dance moves and overall essence of James Brown to the big screen.
The Temptations (1998)
One of the highlights of growing up with parents that loved classic soul and R&B, was listening to some of the greatest bands of all time. My favorite of them all was The Temptations, a wonderful group of singers with one of the more compelling back stories of all time. Though I’m usually not a fan of biography films about bands or musicians in general, “The Temptations” garners an immense cast of strong actors, all of whom help fuel what is a tale about fame, greed, and clashing egos. It’s just a shame that the movie breezes through some crucial details.
A Million Ways to Die in the West (2014)
I bet Seth McFarlane would love to fancy himself this generation’s Bob Hope, or perhaps even Mel Brooks. With the hollow smile of a car salesman, and the appeal of a commercial pitch man, in reality, McFarlane comes off as just another really desperate fan boy whose love for music, dancing, and comedy doesn’t equate to entertainment. The end result is a movie that holds our hands through every joke, and then holds our hand through the expected reaction. I imagine if McFarlane directed a remake to “Blazing Saddles” eventually someone would point to Sheriff Bart, look at the audience breaking the fourth wall, and mutter “But he’s a black man! And this is the old west!”