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The film takes place in 1987, when Sherrie Christian (Footloose and Dancing with the Stars’ Julianne Hough) leaves her home in Oklahoma to make it as a singer in Los Angeles. On the other hand, casting Paul Giamatti as a manipulative music agent was a genius move, and while he doesn’t sing anything himself, he still proves himself one of the most talented performers working today. The film’s best moments however are those that deign to include Baldwin and Brand; their natural ability to create mirth allows their scenes to rise far above the rest, even those that are melody-free. Of course, that’s no easy feat with two bad leads, and Rock of Ages fails to overcome this obvious weakness in focusing far too much of its plot on the love troubles of the attractive-but-incredibly-boring Sherrie and Drew. Rock of Ages has its hilarious moments (I’ll never be able to listen to REO Speedwagon’s “Can’t Fight This Feeling” the same way again), and it’s vaguely reassuring that rock band Journey has the power to make things right in the end, but the film lacks a voice or message worth listening to.
Related:Guest Movie Review: Jack Reacher It's Tom Cruise starring as Lee Child's super-tall, super-gritty action hero!On Vacation – Back Soon! Although it was obvious that there would be a lot of Rock songs in the movie it was a little unexpected to see a rock musical kind of flick.
It’s always a good sign when a pianist is named as the editorial force behind a lieder recital, giving the enterprise both objective distance and intellectual rigour, as it does in these Schubert leider.
Similarly, the blood is now drying on the corpse of camp, and the man standing in the dock accused of its murder is Tom Cruise.
Now, in Rock of Ages, he's taken one more massive leap, sticking a pin through every single one of his meaningful, hard-stared, jaw-clenched portrayals in a 30-year career. And the gods have smiled, with a role he possibly wouldn't have had the confidence to play pre-Tropic Thunder.
By the time he motorbikes into the final set piece, it's hard to tell where Jaxx finishes and Cruise begins. In other news, "leads" Julianne Hough and Diego Bonata (Mexico's Justin Bieber, apparently) are cute enough as a lovestruck couple brought together, then apart in the nightclub of their dreams.
Russell Brand and Alec Baldwin must be one of the screen's unlikelier pairings, but their collective appeal means neither of them has to bother acting that much. Catherine Zeta Jones is on fantastic form, showing off the same singing, dancing roots that won her an Oscar first time round in Chicago.
The story, simplified from the stage version, doesn't take too many twists or turns to bring us back where we belonged - happily boogying along to - guess what - Don't Stop Believing. Meanwhile, the producers have somehow transformed what was a horrible, grasping, capitalistic decade into a sweet, colourful, nostalgic piece, where the homely Oklahoma values sneak out and triumph over the bedlam and debauchery of the Strip, even while it is the Strip's very debauchery that is at risk in the high stakes part of the film, and whose survival is call for euphoric celebration.
This is not a film that's meant to be judged, or if it is, judged extremely harshly - Russell Brand really isn't acting AT ALL - and then enjoyed anyway.
The movie from director Adam Shankman (whose “epic works” include The Pacifier and Bedtime Stories) is a whole two hours of covers.
She soon gets a job at The Bourbon Room, a bar and rock venue on the Sunset Strip, and meets and falls in love with another aspiring rock singer, Drew (Diego Boneta).
Of the almost two dozen musical numbers that we see on the big screen, most feature either instantly recognizable tunes from yesteryear or inspired blends of the same.

Oh, I’m sorry… “Exotic Dancers.” During one set, these young women show impressive “core strength” (Todd’s description, and an apt one at that), and they by far set the high water mark for physical performance in a motion picture this year, especially when you consider not a single frame of CGI was used. On top of this is the fact that too many of the film’s songs seem to have been picked completely at random, coming as close to what was needed for the story as possible instead of mixing tunes to exactly what was needed. This is a show that tries to appeal to the Glee generation while hearkening back to the era of middle-aged rock fans, without really succeeding in drawing either.
There were quite a few funny parts throughout the show creating a genuine laughter and scenes designed to be alluring to a healthy mix of a diverse audience. He's dived off buildings on various Missions, he's shown his soft side in Jerry Maguire, he's climbed into a wheelchair for Born on 4th July, he's even deconstructed his own alpha-male image for Magnolia. The director Adam Shankman (Hairspray) thought it would be a wheeze to have the world's biggest film star play the world's biggest rock star, Stacee Jaxx, and so it proves.
After his first highly-anticipated rendition of Bon Jovi's Dead or Alive - note-perfect, of course - would you expect anything less of Hollywood's last samurai? Or perhaps Jaxx is Cruise's picture in the attic - the one he's had tucked away, saved up for the day he finally gives up trying to prove he's so much more than symmetrical beauty, and loses himself in something he understands viscerally - the weight of public clamour and expectation. As in something like Rocky Horror, they're not too charismatic to distract from the real stars of the show. She's given less to do here, but never mind that - when did CZJ become one of those beautiful, ball-crushing, campy-vampy women like Sharon Stone?
Either engineers have got better at accommodating what the director calls, happily, "unrefined" voices - somewhere along the spectrum between untrained and unlistenable - or rock is lots more forgiving.
Rock of Ages has been going forever on stage, so it's a shame that their show-stopper has been hijacked by TV Sensation Glee, and Journey's song has now become the definitive sound of the 80s. None of this, of course, adds up, but hey, it means antagonist Catherine Zeta Jones ends up sneaking in, dressed up like one of those female "musicians" in a Robert Palmer video. It's like listening to all your guilty pleasures in one secret iPod session on a rainy afternoon.
80’s rock & roll covers, to be exact, from legendary groups like Def Leppard, Poison and Twisted Sister.
Breaking out as a musician of course proves more difficult than expected, with big breaks rare and often not quite what than they appear.
I’m sure Blige would have been a stand-out had it not seemed like her character had been pared down to the bare-bones necessities (and had she arrived sooner than the film’s unfortunately dull second half).
These two jokesters – in the best traditions of Stephano and Trinculo – manage to almost make up for Rock of Ages’ many flaws. For instance, the meaning behind “Any Way You Want It” is so warped for the film that it’s a wonder they didn’t blend it with another melody to make it more relevant to the particular plot point. If you really think that nostalgia and good rock & roll is enough, then by all means this musical montage might be good enough for you.
He is a butt-clenching, cod-pieced and tattooed, wounded warrior, puffed up like a butterball turkey and strutting like a man on the run.

His accent is a game Brummie - as an homage to Ozzy Osbourne, he has revealed - but he literally forgets to keep it up for a whole sentence.
By the time you've come to your senses that any one track really is objectively unlistenable - Zoom! For some people, that’s all you will need to fully enjoy this Broadway send-up, which combines the tawdriness of rock with the class of the stage. The Bourbon Room is also in trouble, with owner Dennis Dupree (Baldwin) and bar manager Lonny (Russell Brand) in dire financial straits, praying that the upcoming final show of Arsenal and legendary frontman Stacee Jaxx (Tom Cruise) will revive their troubled bar. Blige lending her vocal talents to Quarterflash’s “Harden My Heart.” The cast impressively does their own singing, making each number feel more like an original experience than a second-rate American Idol audition.
It doesn’t help that the film’s leads are about as interesting as dry paint; the doe-eyed Hough is at least tolerable, not so Boneta. Cruise also feels shoehorned in, and while his temperamental, often intentionally-vacant performance as Stacee Jaxx reminds us that he actually has some talent (though it’s not as much of a stretch from his public persona as he and his agent might have imagined), his sporadic appearances do little to expand the role beyond that of a glorified guest star. Even cameos from rockers old (Debbie Gibson, Kevin Cronin, and others) and new (Constantine Maroulis, Porcelain Black) can’t hide the fact that this film is an imperfectly balanced, making some of the greater errors in transferring a stage musical to the big screen. But for those looking for that new hit show, Rock is not for the ages, but just a passing fancy. In some shots, he looks like the long-haired teenage hockey player he was once, in others, he looks as rough as sticks, but he gives it everything.
At first I thought it must be deliberate - not so much collapsing the fourth wall as throwing an axe through it - but, on reflection, I'm not so sure. I decided this was the best of the limited options this past weekend, and the question is: can the awesomeness of rock & roll, plus nostalgia for the eighties, carry not only a light-hearted premise, but an entire film?
Shankman obviously drew upon his musical experience (he’s directed both the film adaptation of Hairspray and episodes of Glee), and the result is a better-than-solid musical presence that does a good job of keeping the pace of the movie going strong. Musically they’re fine, but the movie focuses a good deal of attention on these two, so the fact that they can’t be counted on is just about the worst mistake Rock of Ages makes. Zeta-Jones can act up a storm, but here something seems to blunt physical performance skills that were a huge reason she won an Academy Award for Chicago. About half of a decent movie, Rock can at least claim to be better than the bottom-feeding adaptation of Sweeny Todd. Cranston and Watchmen’s Malin Akerman do little in bit roles, though both provide welcome asides that veer the story away from the romantic leads (honestly, I’ll watch the excellent Cranston in just about anything).
But it never comes close to the pantheon of Chicago, West Side Story, The Rocky Horror Picture Show or even Little Shop of Horrors.

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