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Review: 'The Beach Boys' is a sentimental documentary that downplays the band's squabbles

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Review: 'The Beach Boys' is a sentimental documentary that downplays the band's squabbles

I will (almost) always watch a film about the Beach Boys — the latest, titled simply “The Beach Boys,” premieres Friday on Disney+ — not just for the part they played in American musical and cultural history but for the part they played in my own. From 1966 to 1969 my father worked for the band, in the capacity of a tour promoter; that these were their years of lesser popularity, as rock got heavy and dour and jammy, meant that this relationship gave me no cachet among my peers. But it was interesting to me.

I saw them play, in striped shirts, white suits, colorful velours and out of costume, at the Hollywood Bowl, when the kids still screamed during their shows; at the Melodyland theater-in-the-round across from Disneyland, when they seemingly couldn’t get booked any closer to L.A.; and at the Whisky A Go Go, when “Sunflower” was released. I saw Dennis Wilson drag race; his Shelby Cobra rolled over my toe as it was being pushed to the starting line, but as much of the weight had been stripped out of the car, no damage was done. Bruce Johnston introduced me to Eric Clapton backstage at a Blind Faith concert. (“This is Eric,” he said. “Hello,” I said.) I rode for a minute in a car with Carl Wilson and his parents.

I knew them as much as any child knows a parent’s business associates, which is to say, not at all really, but they were familiar characters, as were the support staff in the office, the studio and the road. They came together in stray bits of news and gossip, coalescing into a pantheon that floated about my life. The Maharishi, with whom the band briefly toured, gave my dad his mantra. And there was Charles Manson, of course, the ineradicable dark blot in any telling of this tale, who attached himself to Dennis looking for pop stardom. My father had moved on by the time of the Tate-La Bianca murders, but as he had once thrown Charlie out of the office — that was a moment in our house.

Directed by Frank Marshall (“Rather”) and Thom Zimny (whose documentary “Elvis Presley: The Searcher” is one of the best films about Elvis), it covers well-traveled — oft-surfed? — territory. Not even counting the scores of online videos and the all-star tributes, there’s a wealth of full-blown films about the band as a whole and of Brian Wilson, the foundation of their sound, going back decades, including three biopics: two for television — the Dennis-focused “Summer Dreams” and “The Beach Boys: An American Family” — and the well-regarded big-screen Brian young-and-old movie “Love and Mercy.”

Al Jardine, left, Brian Wilson, Mike Love, Carl Wilson and Dennis Wilson of the Beach Boys.

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(Michael Ochs Archives / Getty Images)

It’s irresistible material, a show business story and a family drama, salted with child abuse, drug addiction, mental illness and recovery, a war between art and commerce and an arc of success and failure and success — when “Endless Summer,” a two-LP best-of package went to No. 1 on the charts in 1974, it catapulted the group into permanent residency as “America’s Band.” With its range of good-time rock ’n’ roll and ambitious, eccentric art-pop, they’re at once a band for everybody and a band for geeks.

Running less than two hours at a time when four-hour rock docs are not unusual, this is a swift, compact telling, with surprisingly little in the way of music and whole swaths of recording history skated over. But it looks fantastic, with a bounty of archival photographs and home movies, many of which are new to me, even as a veteran of these things. Apart from new interview footage with the survivors, in and around the band, and the customary pop musician testimonials, not much if anything will be new to the fans. What is new, among Beach Boys documentaries, is the tone, which does not linger on the sensational episodes and downplays the squabbling to emphasize the love.

For a group whose relations have been famously divisive, and whose story has been marked by tragedy — the early deaths of Dennis and Carl are represented only by a closing title card — it’s essentially good-natured, even sentimental. (The film checks out early in their ongoing, competitive careers, before the Beach Boys became Mike Love’s band and Brian a solo artist, and surprisingly omits their 50th-anniversary reunion tour and final studio album, the 2012 “That’s Why God Made the Radio,” which is not bad at all.) Everybody, even problematic Wilson dad Murry, gets their due. A staged but genuinely sweet closing scene may bring a tear to your eye.

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Like the Beatles or the Grateful Dead, the Beach Boys are a perennial act whose influence will long outlive them. And eventually the idiosyncratic pop music they made in the late 1960s — my years in their orbit, which is to say my Beach Boys music — came to be celebrated. Few bought “Friends” when it came out in 1968, but now you can listen to a four-part podcast in which well-informed fans take it apart, tenderly, track by track, instrument by instrument, voice by voice.

Movie Reviews

1986 Movie Reviews – Black Moon Rising | The Nerdy

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1986 Movie Reviews – Black Moon Rising | The Nerdy
by Sean P. Aune | January 10, 2026January 10, 2026 10:30 am EST

Welcome to an exciting year-long project here at The Nerdy. 1986 was an exciting year for films giving us a lot of films that would go on to be beloved favorites and cult classics. It was also the start to a major shift in cultural and societal norms, and some of those still reverberate to this day.

We’re going to pick and choose which movies we hit, but right now the list stands at nearly four dozen.

Yes, we’re insane, but 1986 was that great of a year for film.

The articles will come out – in most cases – on the same day the films hit theaters in 1986 so that it is their true 40th anniversary. All films are also watched again for the purposes of these reviews and are not being done from memory. In some cases, it truly will be the first time we’ve seen them.

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This time around, it’s Jan. 10, 1986, and we’re off to see Black Moon Rising.

Black Moon Rising

What was the obsession in the 1980s with super vehicles?

Sam Quint (Tommy Lee Jones) is hired to steal a computer tape with evidence against a company on it. While being pursued, he tucks it in the parachute of a prototype vehicle called the Black Moon. While trying to retrieve it, the car is stolen by Nina (Linda Hamilton), a car thief working for a car theft ring. Both of them want out of their lives, and it looks like the Black Moon could be their ticket out.

Blue Thunder in the movies, Airwolf and Knight Rider on TV, the 1980s loved an impractical ‘super’ vehicle. In this case, the car plays a very minor role up until the final action set piece, and the story is far more about the characters and their motivations.

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The movie is silly as you would expect it to be, but it is never a bad watch. It’s just not anything particularly memorable.

1986 Movie Reviews will continue on Jan. 17, 2026, with The Adventures of the American Rabbit, The Adventures of Mark Twain, The Clan of the Cave Bear, Iron Eagle, The Longshot, and Troll.


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Commentary: California made them rich. Now billionaires flee when the state asks for a little something back.

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Commentary: California made them rich. Now billionaires flee when the state asks for a little something back.

California helped make them the rich. Now a small proposed tax is spooking them out of the state.

California helped make them among the richest people in the world. Now they’re fleeing because California wants a little something back.

The proposed California Billionaire Tax Act has plutocrats saying they are considering deserting the Golden State for fear they’ll have to pay a one-time, 5% tax, on top of the other taxes they barely pay in comparison to the rest of us. Think of it as the Dust Bowl migration in reverse, with The Monied headed East to grow their fortunes.

The measure would apply to billionaires residing in California as of Jan. 1, 2026, meaning that 2025 was a big moving year month among the 200 wealthiest California households subject to the tax.

The recently departed reportedly include In-n-Out Burger owner and heiress Lynsi Snyder, PayPal co-founder and conservative donor Peter Thiel, Venture Capitalist David Sacks, co-founder of Craft Ventures, and Google co-founder Larry Page, who recently purchased $173 million worth of waterfront property in Miami’s Coconut Grove. Thank goodness he landed on his feet in these tough times.

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The principal sponsor behind the Billionaire Tax Act is the Service Employees International Union-United Healthcare Workers West (SEIU-UHW), which contends that the tax could raise a $100 billion to offset severe federal cutbacks to California’s public education, food assistance and Medicaid programs.

The initiative is designed to offset some of the tax breaks that billionaires received from the One Big Beautiful Bill Act recently passed by the Republican-dominated Congress and signed by President Trump.

According to my colleague Michael Hiltzik, the bill “will funnel as much as $1 trillion in tax benefits to the wealthy over the next decade, while blowing a hole in state and local budgets for healthcare and other needs.”

The drafters of the Billionaire Tax Act still have to gather around 875,000 signatures from registered voters by June 24 for the measure to qualify on November’s ballot. But given the public ire toward the growing wealth of the 1%, and the affordability crisis engulfing much of the rest of the nation, it has a fair chance of making it onto the ballot.

If the tax should be voted into law, what would it mean for those poor tycoons who failed to pack up the Lamborghinis in time? For Thiel, whose net worth is around $27.5 billion, it would be around $1.2 billion, should he choose to stay, and he’d have up to five years to pay it.

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Yes, it’s a lot … if you’re not a billionaire. It’s doubtful any of the potentially affected affluents would feel the pinch, but it could make a world of difference for kids depending on free school lunches, or folks who need medical care but can’t afford it because they’ve been squeezed by a system that places much of the tax burden on them.

According to the California Budget & Policy Center, the bottom fifth of California’s non-elderly families, with an average annual income of $13,900, spend an estimated 10.5% of their incomes on state and local taxes. In comparison, the wealthiest 1% of families, with an average annual income of $2.0 million, spend an estimated 8.7% of their incomes on state and local taxes.

“It’s a matter of values,” Rep. Ro Khanna (D-Fremont) posted on X. “We believe billionaires can pay a modest wealth tax so working-class Californians have Medicaid.”

Many have argued losing all that wealth to other states will hurt California in the long run.

Even Gov. Gavin Newsom has argued against the measure, citing that the wealthy can relocate anywhere else to evade the tax. During the New York Times DealBook Summit last month, Newsom said, “You can’t isolate yourself from the 49 others. We’re in a competitive environment.”

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He has a point, as do others who contend that the proposed tax may hurt California rather then help.

Sacks signaled he was leaving California by posting an image of the Texas flag on Dec. 31 on X and writing: “God bless Texas.” He followed with a post that read, “As a response to socialism, Miami will replace NYC as the finance capital and Austin will replace SF as the tech capital.”

Arguments aside, it’s disturbing to think that some of the richest people in the nation would rather pick up and move than put a small fraction of their vast California-made — or in the case of the burger chain, inherited — fortunes toward helping others who need a financial boost.

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‘Song Sung Blue’ movie review: Hugh Jackman and Kate Hudson sing their hearts out in a lovely musical biopic

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‘Song Sung Blue’ movie review: Hugh Jackman and Kate Hudson sing their hearts out in a lovely musical biopic

A still from ‘Song Sung Blue’.
| Photo Credit: Focus Features/YouTube

There is something unputdownable about Mike Sardina (Hugh Jackman) from the first moment one sees him at an Alcoholics Anonymous meeting celebrating his 20th sober birthday. He encourages the group to sing the famous Neil Diamond number, ‘Song Sung Blue,’ with him, and we are carried along on a wave of his enthusiasm.

Song Sung Blue (English)

Director: Craig Brewer

Cast: Hugh Jackman, Kate Hudson, Michael Imperioli, Ella Anderson, Mustafa Shakir, Fisher Stevens, Jim Belushi

Runtime: 132 minutes

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Storyline: Mike and Claire find and rescue each other from the slings and arrows of mediocrity when they form a Neil Diamond tribute band

We learn that Mike is a music impersonator who refuses to come on stage as anyone but himself, Lightning, at the Wisconsin State Fair. At the fair, he meets Claire (Kate Hudson), who is performing as Patsy Cline. Sparks fly between the two, and Claire suggests Mike perform a Neil Diamond tribute.

Claire and Mike start a relationship and a Neil Diamond tribute band, called Lightning and Thunder. They marry and after some initial hesitation, Claire’s children from her first marriage, Rachel (Ella Anderson) and Dayna (Hudson Hensley), and Mike’s daughter from an earlier marriage, Angelina (King Princess), become friends. 

Members from Mike’s old band join the group, including Mark Shurilla (Michael Imperioli), a Buddy Holly impersonator and Sex Machine (Mustafa Shakir), who sings as James Brown. His dentist/manager, Dave Watson (Fisher Stevens), believes in him, even fixing his tooth with a little lightning bolt!

The tribute band meets with success, including opening for Pearl Jam, with the front man for the grunge band, Eddie Vedder (John Beckwith), joining Lightning and Thunder for a rendition of ‘Forever in Blue Jeans’ at the 1995 Pearl Jam concert in Milwaukee.

There is heartbreak, anger, addiction, and the rise again before the final tragedy. Song Sung Blue, based on Greg Kohs’ eponymous documentary, is a gentle look into a musician’s life. When Mike says, “I’m not a songwriter. I’m not a sex symbol. But I am an entertainer,” he shows that dreams do not have to die. Mike and Claire reveal that even if you do not conquer the world like a rock god, you can achieve success doing what makes you happy.

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ALSO READ: ‘Run Away’ series review: Perfect pulp to kick off the New Year

Song Sung Blue is a validation for all the regular folk with modest dreams, but dreams nevertheless. As the poet said, “there’s no success like failure, and failure’s no success at all.” Hudson and Jackman power through the songs and tears like champs, leaving us laughing, tapping our feet, and wiping away the errant tears all at once.

The period detail is spot on (never mind the distracting wigs). The chance to hear a generous catalogue of Diamond’s music in arena-quality sound is not to be missed, in a movie that offers a satisfying catharsis. Music is most definitely the food of love, so may we all please have a second and third helping?

Song Sung Blue is currently running in theatres 

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