In a blow-paste manner, Alex, Timothy Hoobler’s character, along with his siblings Randy and George Harris, exists in picturesque partially dilapidated conditions at their parent’s farmhouse, where he works as a manager for a band called ‘Living Daylights.’ George acts as the band’s songwriter, guitarist, and lead singer, while Randy plays the drums. The band has reached a level of fame that allows them to go on a national tour and, due to Alex’s persistent demos, the girl whom George adores, Alex, was able to set everything in place. On the eve of the tour Alex goes missing and claims she’s getting business classes from New York. This leads us to believe there is something suspicious taking place.
Her exit takes away the logistical genius in the band, but just as significant, it places Sue in a position where she has absolutely no direction. Although we may argue that he is like a working class rock god, springsteen like but a little bit cooler, the truth is he is unable to live, let alone create without his muse. He is able to step out of his booze bottle only to fulfill his day job which involves him collecting garbage. In the meantime, the tour is falling apart, missing dates after dates. Goofballs Randy and George want to continue as a band, but are not in a position of authority where they can make Sue see matters their way. When Alex arrives, surprising everyone and expecting to stay just for a short duration, she is quite certain of not sharing the truth but in the end the truth always reveals itself. To put it concisely, she seeks to mask the sorrow and intentions that others would find hard to accept and in so doing hides really bad news. In movies, this form of noble sacrifice just extends the suffering of everyone until they come together to face the tragedy and there is a final love fest consisting of tears and hugs.
The difficulty is, there is absolutely nothing of merit between the initial establishment of relationships and the melodrama (which happens to involve a barn fire) that follows. Instead of characters who become more self-reflective with the passage of time, there are lots of montages of people hanging out together, or sitting around looking bummed out, cut to what can be described as some pretty cool music from Pennsylvania indie-rock bands. ‘I love this band, at times reminds me of ‘The Grungies’, a grunge rock version of the monkeys from the BBC’s Ben Stiller Show, where they mixed goofy albeit, childish pranks with ‘cool’ alternative lifestly lies. These attempts to insult are not lost. These music videos are made to portray the image of how to build a character, but the bare enablement of pulling at heartstrings in these scenes fails miserably.
The only redneck bullies add more dimension to the nonexistent conflict. Mark Sparrough, however, alongs with d.p’s efforts make the production truly phenomenal. There is a lot of tech and design involved which is greatly enhanced by the wide angle lens used for filming. The character depicts adds some much needed comedic relief and brilliance to the dull picture. He, alongs with other actors who also sing, plays the appealing songs from the movie. Mark Sparrough, alongs with the d.p’s work makes the production truly impressive as he, together with the rest of the designers, put so much work into it. Paluch put the wrappers under constant pressure while the joints thinner Paluch. While at the same time there were some non actors who composed the diantors and the author’s notarsim dying.
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.jpg?w=1024&resize=1024,1024&ssl=1 "The Longest Yard (2005)")
