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michaelmmcguire
Reviews
Stadium Anthems (2018)
A raunchy, dark comedy send-up of the music industry
A darkly comedic, raunchy send up of record label culture, Stadium Anthems presents as a mockumentary but plays more as a traditional narrative feature, which may create more ease of viewing than the genre's typical conventions (shaky handheld camera, bumbling improvisation) might provide. This smoother approach, with its strong framing and robust lighting, peppered with stylized "interview sequences," draws in the viewer to follow a debauched collective of record label brass, aspiring musicians, rock stars, and groupies as they stumble through the uncertainties of the contemporary music world.
Stadium Anthems features cynical, hard drinking executives; a hot, mistreated female assistant who gets her comeuppance and achieves her dream; a bronze, buff, well-hung, insatiable rock god, "Warren Paradise"; and Heroine, an edgy yet down to earth food-fetish window performer who joins the motley studio crew as these miscreants attempt to navigate their battles of egos and a disaster leading up to a major album release.
The well-cast ensemble of actors (most notably Toddy Walters, a Trey Parker/Matt Stone regular, star Kayden Cross, and Jude Moran, who gives an impressively three dimensional portrayal of the film's rock icon) lends credibility to the roles and genre. While sexual humor pervades, the film does dig down, giving glimpses at the purity of spirit that once attracted this wild bunch to the business of making music before they were corrupted by the realities of the industry. The film doesn't pull punches and highlights the greed, incompetence, unbridled sexual appetite, and misogyny that this dysfunctional family showcase as they strive to satisfy their own agendas while staying afloat in the business. And just when these characters find themselves in their darkest moment, there will most certainly be a raunchy, hilarious joke to bring us back to the light.
You Are Alone (2005)
wicked indie
Good show, really good acting, and the director takes us swimming through his storyline in an interesting, unpredictable way, especially since, essentially, it's two people in a room. It doesn't race through like many modern films, but doesn't drag, either. Bohl is flippant enough to believe her in the "now" of her character, which is still involved and not going back on her 'career' choices - so it is believable without the need for her to show us a deep, self-examination of her soul...Brundage has the delicate balance of weight, innocence, meekness, and class to pull off 'Buddy' very well. A bit grainy on the film quality, but it fits the tone of the story. Could use a little polishing on the hair and makeup end of things, but definitely worth watching.