What if the music of the Beatles never existed? That intriguing suggestion is the foundation for the latest offering from Danny Boyle, the visionary director behind Trainspotting, 28 Days Later, Slumdog Millionaire and a lot of other excellent films. Unfortunately, this isn’t one of them. The high concept idea is set in motion when singer/songwriter Jack Malik (Himesh Patel) is hit by a bus. At that very same moment, an electrical storm causes a blackout across the entire world. After he awakes in his hospital bed, minus a few teeth, he gradually comes to realize that while he still remembers the Beatles and their songs, nobody else does.
It’s an interesting premise and there are so many ways in which this proposition could have been manipulated for laughs, drama, and enjoyment. The problem is the narrative doesn’t investigate any of them. Danny Boyle’s films are so different from one another. That’s where this really has the stamp of Richard Curtis. The rom-com legend wrote Four Weddings and a Funeral, Notting Hill and Love Actually. Working from a story by Jack Barth, the script explores its hypothesis, but without depth or interest. After passing off the compositions as his own, Jack quickly becomes a huge success with hardly any trouble at all. The account never contemplates the considerable charisma that John, Paul, George, and Ringo had together. It also doesn’t acknowledge their performing ability, superior arrangements or production methods. It simply assumes the tunes are inherently great and anyone with the ability to sing and play guitar could become just as big a star as the Beatles. A more trenchant observation would have been if Jack didn’t become popular at all. Perhaps it could have examined the fickle nature of fame or even the importance of being at the right place at the right time.
Jack sings “In My Life” on TV and catches the attention of eternally scruffy looking singer Ed Sheeran who shows up in an extended cameo that is woeful at best. When Ed’s phone rings, “Shape of You” is his ringtone. He grew rather tiresome. I presume the feeling was intentional for comedic effect. Ed is very impressed by Jacks talent. “You’re Mozart, man,” Sheeran compliments him “and I’m definitely Salieri.” Methinks someone is still overestimating their influence. The line did make me laugh but probably not for the right reasons. Crossing over the boundary of irritation and then obliterating it, is Saturday Night Live comedian Kate McKinnon who plays Sheeran’s manager. She also takes on Jack as her client. Her caustic personality is mined for laughs. She brazenly asserts the belief that she’s only in it for the money with every declaration that spews from her hateful mouth. Any musician with even a modicum of self-respect would fire this abrasive leech within 30 minutes. Yet she endures. McKinnon wears out her welcome real fast.
This fable explores its concept with all the wisdom of a 20 minute short — not a 2-hour feature. I found myself fantasizing about more compelling developments in my head. There is precious little depth. In time Jack learns that other random bits of information have been erased from the history books as well. Coca-Cola and cigarettes don’t exist either. Cigarettes have had a profound effect on human life or rather the lack of it. You’d think such a realization would generate more than a shrug but that’s the only reaction the screenplay allows. I was literally squirming in my seat for this half baked story to finish. This rom-com has absolutely nothing to offer but rote plot developments. Jack has been best friends forever with Ellie (Lily James). They’re extremely close, so it’s not clear why they aren’t a couple other than for the inevitable to happen later in the climax. By the time one formally proclaims their love for the other, it occurs more than 90 minutes after you predicted it would happen. At least the movie begins well. Then it stumbles toward a generic conclusion. The nicest thing I can say about Yesterday is that it’s an inoffensive romantic comedy with some great music. The lead Himesh Patel (BBC soap opera EastEnders) is an appealing presence and he ably plays the guitar while singing the songs of the Beatles. “Now I need a place to hide away. Oh, I (don’t) believe in yesterday…”
06-27-19
Alita: Battle Angel is an immersive sci-fi fantasy that plunges the viewer into an imaginary world. I really enjoyed this production, but no amount of complicated exposition can disguise the fact that it’s essentially a cyberpunk update of 1975’s Rollerball. It certainly doesn’t start out that way. It’s the future (naturally) – 2563 to be exact and a cyberphysician (Christoph Waltz) who repairs people with android parts discovers the discarded remains of a female robot in a junkyard. He takes the head, which houses a still active brain, back to his laboratory and rebuilds her. He names her Alita, after his deceased daughter. She is of youthful age and this only cements the fatherly attachment he forms to her well being.
Writer James Baldwin’s 1974 novel is lovingly adapted into a beautifully filmed love story about a Harlem couple in the 1970s. The last feature director Barry Jenkins made won the Oscar for Best Picture so expectations are understandably high. If Beale Street Could Talk is about Tish Rivers (KiKi Layne), newly engaged to her boyfriend Alonzo Hunt (Stephan James), better known as Fonny. We are presented with scenes that show they grew up together. They have known each other since childhood. This is fashioned as a romance for the ages. However, conflict has entered the sanctity of their lives which threatens to upend everything they hold dear. Fonny has been falsely identified for a crime he didn’t commit. We see Tish visit Fonny in jail to deliver some major news. She is pregnant. Cinematographer James Laxton lingers on faces like they’re masterpieces carved in marble. These images cast a spell that gently invites the viewer to reflect on the disparity between the beauty of their relationship and the ugliness of what has befallen them. Barry Jenkins screenplay is a somber contemplation of a love fret with hardship. There are many elegantly composed scenes that convey a feeling in the absence of dialogue. Indeed the deliberate pace comes at the expense of action.
It’s been 42 years since the last adaptation of A Star is Born. I suppose we were about due. The original script by William A. Wellman, Robert Carson, Dorothy Parker, and Alan Campbell has proven to have a quality that transcends time as the narrative evolves to suit the tastes of the current generation. The core remains the same. It’s rags-to-riches! It’s got romance! It’s got tragedy! Yes, it’s full of showbiz clichés. That’s because good stories never go out of style, especially one with a charismatic female lead as its central focus. The 30s had Janet Gaynor as an aspiring actress who surpassed a fading movie actor depicted by Fredric March. The 50s transomed the property into a musical as Judy Garland was the ingenue taken under the wing of a former matinée idol played by James Mason. The 70s version had Barbra Streisand as a nightclub singer plucked out of obscurity by a rock star played Kris Kristofferson. Bradley Cooper’s adaptation adheres most closely to this one. The actor directs, writes, produces and acts. Anyone tabulating the years will notice the 90s should have gotten their own rendition. Flash forward to the present and we have Lady Gaga as Ally, a woman who waits tables by day and croons “La Vie en Rose” by night in a drag bar. Bradley Cooper portrays the established artist, Jackson Maine, a country music superstar that performs to sold-out arenas. Jackson stumbles upon Ally’s show while searching for a bar to drink booze.
