After 40 years as a band, the bold and brash punk quartet NOFX is calling it quits, but not in a dramatic, explosive way. Instead, they’re signing off this weekend after three final sets at Berth 46 in San Pedro that will wrap up a massive globetrotting tour in which they play 40 songs each night and never the same set twice. It’s the culmination of four decades together as one of the biggest punk bands on the planet, and roughly 10 years of the kind of slow-building resentment that’s usually reserved for close family members and old married couples.
“When you were in a punk band in ’83 all the way through ’88 or so, there was no hope of ever making a living, because no punk band had ever done it,” lead vocalist and bassist “Fat Mike” Burkett says in his backstage trailer at Chicago’s Riot Fest, surrounded by a documentary crew following the final tour and holding a quarter-consumed bottle of Tito’s vodka. “We just did it because we loved it. There was no future. I went to college and real estate school, but I always just wanted to play music with my best friends. It was about saying things you just want to say and not caring what other people think.”
But after spending the bulk of the 1980s fruitlessly bouncing around the SoCal punk rock scene, in the ’90s NOFX — Burkett, guitarists Eric Melvin and Aaron “El Hefe” Abeyta and drummer Erik “Smelly” Sandin — soared to unimagined career heights.
NOFX’s achievements and impact on punk rock at both a local and a global level can’t be overstated. Throughout the ‘90s and 2000s (including 1994’s seminal album “Punk in Drublic”), they became one of the most revered and influential bands in the genre due largely to their unique combination of inappropriate humor, unremorseful attitude, catchy tunes and surprisingly intelligent lyrics. Not only did they define the sound of West Coast punk rock alongside their SoCal contemporaries like Social Distortion, Bad Religion and Descendents but they also opened up opportunities for the next generation of (more radio-friendly) punk rock to reach massive mainstream appeal through bands like Green Day and the Offspring.
Following a decade of success after success as the face, primary songwriter and de facto leader of one of the most prominent bands and record labels in punk rock, Burkett turned his attention to a new cause: ruining the reelection campaign of President George W. Bush. Leading up to the election, Burkett used his platform with the band as well as his Bay Area-based record label, Fat Wreck Chords, to launch Rock Against Bush, a political movement aimed at getting punk fans to vote against the incumbent president. It featured a tour, compilation CDs, merchandise (including the iconic “Not My President” shirts) and tangentially NOFX’s 2003 album, “The War on Errorism.”
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Fat Mike Burkett of NOFX performs at Riot Fest 2024 in Chicago.
(Craig Cummins)
“I gave it a year and a half of my life, and I feel I did my civil service,” Burkett says. “I traveled around the country, did radio shows at 6 a.m., did a whole Warped Tour and probably signed up a couple hundred thousand kids. Me and half the staff at Fat Wreck Chords f—ing gave it our all and worked really hard. It was f—ing heartbreaking. That’s why I’m not gonna let it ruin my life if Trump wins. It would be horrible and democracy may be killed, but you can’t let it ruin your life. You still have to be happy and joyful. Help in your community, and do what you can to still make the world a better place even if we’re f—ed.”
People who know Burkett both inside and outside of the band believe the 2004 election was the first time he’d earnestly set out to do something and failed, and he took it extremely hard. To cope with that loss, Burkett — who says he’d never touched cocaine until 1998 — turned harder into drugs and alcohol at a time when some of his bandmates (all of whom were in their late 30s in 2004) were looking to move away from the partying lifestyle.
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Nevertheless, NOFX continued on relatively unimpeded for a decade or so, until the band says Burkett’s drug use began to slowly affect his decision-making, recording and live performances. Since then, the rift between the frontman and the others (particularly Melvin) has deepened to the point where the trio has held multiple interventions for Burkett — most recently in 2020, when he went to rehab for a month after vomiting and defecating blood at the vacation home of friend Matt Sanders, singer of Avenged Sevenfold.
“I went to rehab for a month, got out and was sober for pretty much 10 months — but not completely sober,” Burkett says.. “We had a couple rehearsals where I did some lines of coke and had some drinks beforehand, and toward the seventh or eighth month, I was partying again. They all were saying, ‘You’re so much better now. You’re such a nicer person. You’re so much happier.’ And I was thinking, ‘This is hysterical. I’m doing the exact thing I’ve always done.’ When they’d ask me, ‘How’s your sobriety going?’ I would say, ‘Great!’ because if you look up the word ‘sobriety’ in the dictionary, it’s not ‘not drinking,’ it’s that you’re under control of your life.”
Fat Mike and Eric Melvin of NOFX performing at Riot Fest 2024 in Chicago.
(Craig Cummins)
Burkett doesn’t see his drug use as a problem and believes that he’s as healthy as he’s ever been thanks to moderation and exercise (he’s particularly fond of riding his bicycle, which he says he does 20 to 30 miles per day). In fact, the NOFX ringleader says he “only uses drugs when [he’s] working” and believes that retiring from the band — and the preshow ritual of cocaine and vodka that he says he uses to balance his nerves and energize himself — will be good for his health.
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To Burkett, the primary issue causing the familial drama within NOFX after all these years is a perceived lack of gratitude and respect he receives from his bandmates even when he feels as though he’s the one steering the ship.
It’s a situation where who’s “wrong” and who’s “right” likely doesn’t matter, as a resolution is unlikely to be found while they’re all stuck in a band together. Burkett and Melvin will always have their own versions of what’s transpired in recent years, with the other two members and the complicated truth all likely somewhere in the middle. But even amid their ongoing differences, Burkett admits it’s not as simple as just wanting to be thanked for being the primary songwriter or booking new opportunities. Instead, it’s a sense of boredom with playing the same shows and same material since he was a teenager. It’s not that the 57-year-old thinks he’s done writing songs or performing; he just wants new avenues in which to do them.
“I liken it to being a playwright who wrote a great play 40 years ago,“ says Burkett, who actually did write a musical called “Home Sweet Home” back in 2014. “I’m the playwright and the actor, and although the play is good and I’m a good actor, I’ve been acting in this f—ing play for 40 years. It’s been an absolute joy playing in a band with my best friends for 40 years, because all the dudes in my band are friends. They’re swell. They’re good dudes, but we’re not close like we used to be. Everyone’s got families and the things they’re doing now, so when we get together, it’s very professional.”
“We were just treading water, and we were doing fine, but it was nothing like this,” Burkett said. “We called it off at the right time, and when people tell me, ‘You’ll be back in five years…’ they can go f— themselves.”
(Jesse Fisher)
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While some may look at the thousands of screaming fans showing up to each night of the farewell tour as proof that NOFX should continue — an idea that Melvin, Sandin and Abeyta are all open to — it also seems like the right time to call it quits before the members (again, particularly Melvin and Burkett, who haven’t spoken to each other in quite some time outside of band necessities) damage their relationship any further. Maybe they could’ve pushed on for another decade, but perhaps it’s better to go out with a bang and allow everyone to move on to the next stage of their lives before they melt down and fight each other onstage. After all, the reunion offers will most certainly be there if and when they’re ready.
As for the band returning in the near future, nothing is certain, but Burkett seems dedicated to keeping his word. Despite cracking jokes — at the expense of metal band Slayer — about a potential reunion at their penultimate tour stop at Riot Fest, he maintains that this is it for NOFX because “it’s so wonderful to have a beginning and an end.”
“I’ve never had my heart filled like it’s been on this tour — and our fan base is just incredible — but we had to stop,” Burkett says. “We were just treading water, and we were doing fine, but it was nothing like this. We called it off at the right time, and when people tell me, ‘You’ll be back in five years…’ they can go f— themselves. They don’t know me. People trust that I’m being honest in my life and in my lyrics, so how could I lie to our entire fan base and to everyone by telling them this is the last tour if it’s not? How could anyone do that? I can’t do it.”
Park Chan-wook’s “mordantly hilarious” new comedy “skewers capitalism with much of the same wit, sadness, and slapstick buffoonery that made Parasite so resonant,” said David Ehrlich in IndieWire. Squid Game villain Lee Byung-hun stars as a laid-off paper company veteran who’s so desperate to preserve his family’s upper-middle-class existence that he schemes to murder the other contenders for his potential bounce-back job. “Plotted with ornate precision but unfolding with the panic of a desperate man,” the latest Korean-language feature from the director of Oldboy and The Handmaiden is “a slaphappy movie with a surprisingly powerful sting.” Because Lee’s character is such an incompetent killer, No Other Choice “plays like a vicious episode of Looney Tunes,” said Brian Tallerico in RogerEbert.com.
At the same time, “Lee is at his career-best here, deftly walking a tightrope of likability, relatability, and morbid humor” as this brilliantly shot film gradually transforms from “almost silly” to something far darker. Still, despite its fierce anti-capitalist message, the movie remains “an amusing caper, not a stern lecture,” said Kyle Smith in The Wall Street Journal. Though it’s “easily half an hour too long,” fattened by “irrelevant asides and digressions,” it “isn’t particularly heavy-handed in its disdain for corporations.” Instead, it’s “a sly slay-fest, with an appropriately mordant ending,” one that will unnerve anyone who’s fearful of what AI and automation will do to the jobs that provide so many of us with our sense of worth and identity.
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‘Dead Man’s Wire’
Directed by Gus Van Sant (R)
★★★
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Gus Van Sant’s first feature in seven years has “the breezily watchable feel” of a movie you might catch on Sunday-afternoon cable TV, said Marshall Shaffer in The Playlist. “A well-oiled machine,” Dead Man’s Wire dramatizes a real-life 1977 incident in which an Indianapolis mortgage broker was held hostage by a man named Tony Kiritsis who believed the company had sabotaged his attempt to finally make a few bucks. Portrayed here as “both bumbling and brilliant,” Kiritsis won his bid to air his grievances on national TV, all while keeping a shotgun wired to his captive’s neck in a way that ensured instant death if anyone intervened.
A “crackling” lead performance by Bill Skarsgard carries this small-scale thriller, said David Rooney in The Hollywood Reporter. But Colman Domingo also shines as a “magnetically cool” DJ whose effort to defuse the crisis helps turn the standoff into a three-day national story. Van Sant, whose commercial breakthrough came with 1995’s To Die For, is “in his element conducting the media circus and the brainstorming of local cops and FBI,” turning Dead Man’s Wire into “a timely, entertaining reflection on the way the offer of the American dream often tends to be snatched back.” It’s troubling, though, that the movie fudges some facts about the case to fit the director’s populist vision, said Owen Gleiberman in Variety. Dead Man’s Wire is clearly “Van Sant’s most vital piece of work for the big screen in some time,” but there’s no evidence that the mortgage company snookered Kiritsis, and pretending it did unfairly alters the drama we’re shown.
‘Father Mother Sister Brother’
Directed by Jim Jarmusch (R)
★★★
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“Jim Jarmusch’s Father Mother Sister Brother finds the director in a minor key, which is sometimes his best key,” said Bilge Ebiri in NYMag.com. Like such Jarmusch “masterpieces” as 1984’s Stranger Than Paradise and 2016’s Paterson, this Venice film festival award winner mines the mundane for humor and emotional effect. Even so, “it’s much more stripped down and oblique,” a quiet triptych in which each of the parts is a snapshot of a “disarmingly spare” family get-together. The movie is “funniest at the start,” said Nick Schager in The Daily Beast, as Adam Driver, Mayim Bialik, and Tom Waits co-star in a chapter about two adult siblings who during a rare visit with their semi-reclusive and untrustworthy father engage in “the sort of small talk that strains to fill a vacuum.”
The second part then dials up the despondent mood, as sisters portrayed by Cate Blanchett and Vicky Krieps visit the Dublin home of their prim novelist mom, played by Charlotte Rampling. Unfortunately, Jarmusch “leans heavily into wistfulness” in the third segment, in which Indya Moore and Luka Sabbat play adult twins visiting the Paris apartment of their recently deceased parents. Here, “the overtly melancholy tone is more than the wispy action can shoulder.” For me, that third segment and the first are “the most convincing as portraits of real life,” said Peter Bradshaw in The Guardian. Still, throughout this “deeply pleasing” film, you wait in vain for a crisis or confrontation to arrive and instead experience only “contentment and calm,” a Zen-like acceptance of life’s chance relationships that serves as “a cleansing of the moviegoing palate.”
Wagner Moura won the Golden Globe for lead actor in a motion picture drama on Sunday night for the political thriller “The Secret Agent,” becoming the second Brazilian to take home a Globes acting prize, after Fernanda Torres’ win last year for “I’m Still Here.”
“ ‘The Secret Agent’ is a film about memory — or the lack of memory — and generational trauma,” Moura said in his acceptance speech. “I think if trauma can be passed along generations, values can too. So this is to the ones that are sticking with their values in difficult moments.”
The win marks a major milestone in a banner awards season for the 49-year-old Moura. In “The Secret Agent,” directed by Kleber Mendonça Filho, he plays Armando, a former professor forced into hiding while trying to protect his young son during Brazil’s military dictatorship of the 1970s. The role earned Moura the actor prize at last year’s Cannes Film Festival, making him the first Brazilian performer to win that honor.
For many American viewers, Moura is best known for his star-making turn as Colombian drug lord Pablo Escobar in Netflix’s “Narcos,” which ran from 2015 to 2017 and earned him a Golden Globe nomination in 2016. He has since been involved in a range of high-profile English-language projects, including the 2020 biographical drama “Sergio,” the 2022 animated sequel “Puss in Boots: The Last Wish,” in which he voiced the villainous Wolf, and Alex Garland’s 2024 dystopian thriller “Civil War,” playing a Reuters war correspondent.
“The Secret Agent,” which earlier in the evening earned the Globes award for non-English language film, marked a homecoming for Moura after more than a decade of not starring in a Brazilian production, following years spent working abroad and navigating political turmoil in his home country as well as pandemic disruptions.
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Though he failed to score a nomination from the Screen Actors Guild earlier this month, Moura now heads strongly into Oscar nominations, which will be announced Jan. 22. “The Secret Agent” is Brazil’s official submission for international feature and has been one of the most honored films of the season, keeping Moura firmly in the awards conversation. Last month, he became the first Latino performer to win best actor from the New York Film Critics Circle.
Even as his career has been shaped by politically charged projects, Moura has been careful not to let that define him. “I don’t want to be the Che Guevara of film,” he told The Times last month. “I gravitate towards things that are political, but I like being an actor more than anything else.”
It’s an easy, fun festive watch with a better first half that presents Chiru in a free-flowing, at-ease with subtle humor. On the flip side, much-anticipated Chiru-Venky track is okay, which could have elevated the second half.
#AnilRavipudi gets the credit for presenting Chiru in his best, most likable form, something that was missing from his comeback.
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With a simple story, fun moments and songs, this has enough to become a commercial success this #Sankranthi
Rating: 2.5/5
First Half Report:
#MSG Decent Fun 1st Half!
Chiru’s restrained body language and acting working well, paired with consistent subtle humor along with the songs and the father’s emotion which works to an extent, though the kids’ track feels a bit melodramatic – all come together to make the first half a decent fun, easy watch.
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– Mana Shankara Vara Prasad Garu show starts with Anil Ravipudi-style comedy, with his signature backdrop, a gang, and silly gags, followed by a Megastar fight and a song. Stay tuned for the report.
U.S. Premiere begins at 10.30 AM EST (9 PM IST). Stay tuned Mana Shankara Vara Prasad Garu review, report.
Writer & Director – Anil Ravipudi Producers – Sahu Garapati and Sushmita Konidela Presents – Smt.Archana Banners – Shine Screens and Gold Box Entertainments Music Director – Bheems Ceciroleo Cinematographer – Sameer Reddy Production Designer – A S Prakash Editor – Tammiraju Co-Writers – S Krishna, G AdiNarayana Line Producer – Naveen Garapati U.S. Distributor: Sarigama Cinemas