Entertainment
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.
(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.
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.
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‘Clayface’ trailer teases DC Studios’ first proper horror movie
The DC universe is going full on body horror.
DC Studios released its first trailer for “Clayface” on Wednesday, giving audiences a glimpse of the gruesome origins of the shape-shifting Batman villain.
Set to an eerie rendition of the Flaming Lips’ “Do You Realize??,” the teaser flashes among various images of up-and-coming Hollywood actor Matt Hagen (portrayed by Tom Rhys Harries) before and after a violent encounter as the camera slowly zooms toward his haunted eyes and bloody, bandaged face as he is recovering on a hospital bed.
The clip also includes footage of Hagen’s clay-like, malleable face, which he appears to gain after some sort of scientific procedure.
According to the DC description, “Clayface” will see Hagen transformed into a “revenge-filled monster” and explore “the loss of one’s identity and humanity, corrosive love, and the dark underbelly of scientific ambition.”
“Clayface,” set for an Oct. 23 release, will be the third DCU film to hit theaters since James Gunn and Peter Safran took over DC Studios and reset (most of) its comic book superhero franchise. The studio’s upcoming slate also includes “Supergirl,” which will hit theaters June 26, as well as “Man of Tomorrow,” the sequel to Gunn’s 2025 blockbuster “Superman,” announced for 2027.
Who is Clayface?
Clayface is a DC Comics villain usually affiliated with Batman. The alias has been used by a number of different characters over the years, but they all usually possess shape-shifting abilities due to their clay-like bodies. Created by Bill Finger and Bob Kane, the original Clayface was a washed-up actor turned criminal who first appeared in a 1940 issue of “Detective Comics.”
Matt Hagen was the name of the second Clayface, who first appeared in an issue of “Detective Comics” in the 1960s. He was the first to have shape-shifting powers, which he gained after encountering a mysterious radioactive pool of protoplasm.
Other versions of Clayface have been introduced in various media since.
Who is in ‘Clayface’?
The upcoming film stars Tom Rhys Harries as rising Hollywood actor Hagen. The cast also includes Naomi Ackie, who is seen in the trailer, reportedly as the scientist Hagen turns to for help following his disfigurement. Also set to appear are David Dencik, Max Minghella and Eddie Marsan, as well as Nancy Carroll and Joshua James.
Who are the ‘Clayface’ filmmakers?
Director James Watkins, known for horror films including “Speak No Evil” (2024), is helming “Clayface.” The script was written by prolific horror scribe Mike Flanagan (“The Haunting of Hill House,” “Doctor Sleep”) and Hossein Amini (“The Snowman”).
The producers are Matt Reeves, Lynn Harris, James Gunn and Peter Safran. Exective producers include Michael E. Uslan, Rafi Crohn, Paul Ritchie, Chantal Nong Vo and Lars P. Winther.
Movie Reviews
Miyamoto says he was surprised Mario Galaxy Movie reviews were even harsher than the first | VGC
Nintendo’s Shigeru Miyamoto says he’s surprised at the negative critical reception to the Super Mario Galaxy Movie.
As reported by Famitsu, Miyamoto conducted a group interview with Japanese media to mark the local release of The Super Mario Galaxy Movie.
During the interview, Miyamoto was asked for his views on the critical reception to the film in the West, where critics’ reviews have been mostly negative.
Miyamoto replied that while he understood some of the negative points aimed at The Super Mario Bros Movie, he thought the reception would be better for the sequel.
“It’s true: the situation is indeed very similar,” he said. “Actually, regarding the previous film, I felt that the critics’ opinions did hold some validity. “However, I thought things would be different this time around—only to find that the criticism is even harsher than it was before.
“It really is quite baffling: here we are—having crossed over from a different field—working hard with the specific aim of helping to revitalize the film industry, yet the very people who ought to be championing that cause seem to be the ones taking a passive stance.”
As was the case with the first film, opinion is divided between critics and the public on The Super Mario Galaxy Movie. On review aggregate site Rotten Tomatoes, the film currently has a critics’ score of 43% , while its audience score is 89%.
While this is down from the first film’s scores (which were 59% critics and 95% public) it does still appear to imply that the film’s target audience is generally enjoying it despite critical negativity.
The negative reception is unlikely to bother Universal and Illumination too much, considering the film currently has a global box office of $752 million before even releasing in Japan, meaning a $1 billion global gross is becoming increasingly likely.
Elsewhere in the interview, Miyamoto said he hoped the film would perform well in Japan, especially because it has a unique script rather than a simple localization as in other regions.
“The Japanese version is a bit unique,” he said. “Normally, we create an English version and then localize it for each country, but for the first film, we developed the English and Japanese scripts simultaneously. For this film, we didn’t simply localize the completed English version – instead, we rewrote it entirely in Japanese to create a special Japanese version.
“So, if this doesn’t become a hit in Japan, I feel a sense of pressure – as the person in charge of the Japanese version – to not let [Illumination CEO and film co-producer] Chris [Meledandri] down.
“However, judging by the reactions of the audience members who’ve seen it, I feel that Mario fans are really embracing it. I also believe we’ve created a film that people can enjoy even if they haven’t seen the previous one, so I’m hopeful about that as well.”
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