This second documentary on the band set out years later to get their take on events and — although punks would balk at the word — contextualise their influence in a broken Britain. Luke Lewis 45 Monterey Pop The precursor to the more famous Woodstock film caught the essence of the festival — and the summer of love — and set the bar high for concert documentaries to come.
Tim Chester 44 Superstar: The Karen Carpenter Story Richard and Karen Carpenter were the ultimate clean-cut, brother and sister act responsible for buckets of pleasant MOR, but behind the scenes lay a dark story of depression and anorexia.
This film tells that story. Joaquin Phoenix captures a man wrestling his demons and knocking out a legendary career simultaneously while Reese Witherspoon won an Oscar for long-suffering wife June. The Dewey Cox Story. The spine-tingling sight of thousands of gurning clubbers bouncing in unison at giant warehouse raves. The band themselves were a little less enthusiastic, and that tension comes through in this illuminating backstage documentary. Featuring a dramatic moment in which the band confront drummer David Lovering over his rampant drug use, the film otherwise captures an often-overlooked truth about life on the road: Fortunately, this documentary, while never exactly easy viewing, tells his unhappy story in sensitive style, in the process winning director Jeff Feuerzeig a Sundance award in Luke Lewis 33 Blur: With behind-the-scenes tapes anchored by fresh accounts and witterings from the four band members, it sets the scene on one of the greatest reunions in recent times — and if any of it looks slightly fraught then fear not: So music fans should instead make do with this slice of Wes Anderson movie magic that features wonderful David Bowie covers from Brazilian musician Seu Jorge and a golden soundtrack.
Murray plays an off-the-wall, Jacques Cousteau-esque oceanographer for whom murderous pirates and a killer fish are only the start of his troubles. His career is in tragic decline and his personal life is in disarray. The adoptive-dad-to-be declares he once opened for Kurt Cobain-favourites the Melvins.
Together they dig through old mix tapes, share songs and delight in cult horror flicks. Alternative indie rock sits firmly at the heart of the film.
Featuring an endless parade of drunken, semi-coherent rock star idiots, the viewer is left with an inescapable impression of: Cameo appearances include Doug E.
Oh, and Ben Stiller rapping along with his missus. David Moynihan 28 Justice: A Cross The Universe Listening to their music is like being thrust into the thumping heart of a great, demonic robot.
Capturing Young at his creative peak, where shows would veer from electric to acoustic at the drop of a pick, this is one of the definitive concert films. From True Norwegian Black Metal through to the more recent Guide To Liberia, they know how to consistently produce some of the smartest, most balls-out filmmaking online.
A Tribal History, this is the definitive documentary on the fiercely politicized movement that threw up such incendiary bands as Bad Brains, Black Flag and Minor Threat in the early-mid 80s, and — mysteriously — ended up mutating so far, we ended up twenty years later with Owl City. The gig was a debauched affair, with Scorsese as well as the musicians indulging in heavy cocaine use backstage.
Abby Tayleure 19 Glastonbury From the opening mud squelches onwards this documentary does what all great docs do — makes you wish you were right there in the thick of it. Paul Dano Little Miss Sunshine portrays Wilson at his s creative peak, while John Cusack plays him as he endures a personal crisis in the s. One of the camera operators was an unknown rookie called George Lucas. The soundtrack was a hit in itself, reaching Number 21 in the US billboard charts.
With no score written for the film, Quentin Tarantino chose rock, soul and surf tracks to accompany the movie. The film also raises some awkward questions about creativity.
What happens when the songs dry up, and what used to come so easily, is suddenly agonizingly difficult? Much like The Wrestler, which came out the same year, the message is an unexpectedly nuanced one: