Film Review - LES MISÉRABLES ★★☆☆☆

The characters suffer, and unfortunately so does the audience in the high profile adaptation of the long running stage musical based on Victor's Hugo's 1862 epic novel set in 19th century France.

Brought to the big screen by Tom Hooper, the Academy Award Winning director of The King's Speech, Les Misérables stars Wolverine, Maximus, Catwoman and Borat, is aimed directly at its target audience, and there is nothing wrong with that. Fans will marvel, sing along, applaud and weep with reckless abandon in all the right places, but musical civillians may find themselves crying for a whole different set of reasons. The film is a hit and miss on many levels.

A dreary gritty film set for a timely release on Christmas Day, at risk of sounding like Saturday Night Live's Stefon, "this film has everything": death, depression, broken dreams, prostitution, filth, betrayal, lost love, redemption and singing. Lots and lots of singing. Everyone sings every single word. So if off the bat, sitting through a movie that runs nearly three hours and boasts not one line of spoken dialogue to move the plot forward is not your thing, you may as well stop reading here.

If you are familiar with the story, you already know there is a rather high body count, save for Hugh Jackman (Jean Valjean) and Russell Crowe (Javert), meaning many of these stars listed above and below the title do not actually clock in a substantial amount of screen time. Don't grow too comfy to the cast, happy endings isn't one of the production's strengths.

Jackman was born to lead this cast as Jean Valjean, the iconic Prisoner Number 24601. The Aussie superstar and jack of all trades shines here among the cast (who all sang live on set during filming, no easy task). I don't think anyone blinked an eye when he was cast in the role, given his proven range in both drama and stage work. He does not disappoint as the film's anchor.

As the police hound who relentlessly pursues Valjean for decades after  breaking parole, Crowe effortless exudes the part snarling with a cold military stature as the vengeful Javert. But it's when Crowe sings the part it takes a turn for the worse. His low limited range is painfully outdone by his other cast mates who all seem to have more relavent experience singing on stage and in film. It makes you wonder if even this summer's hair metal homage Rock of Ages would have had a place for him where you are at least allowed to chuckle over the content. Crowe is probably the greatest casualty of performing live on set rather than mime to perfect vocals recorded in the safety of a studio.

There is nothing to take away from Hathaway here. Her turn as the doomed former factory worker turned prostitute Fantine will win her well deserved gold during awards season. Her "I Dreamed A Dream" performance, shot in a single long take, won't earn any 'feel good' points, but is without question the darkest and the moving highlight of the film. Hooper effectively captured this song as a single take in a medium to close-up shot that builds emotion as you immerse yourself in the performance. Hathaway takes the number to tears by its end, and Hooper's eye here is without question successful to capture every painful nuance.

However, by the fourth time the director goes back to that well, choosing to shoot number after number the same exact way, the visuals loses their emotional punch upon repetition and effectively takes away from Hathaway's well deserved spotlight, especially late in the third act when you realize at least the stage production allows you an intermission.

Singing live has its strengths and weaknesses. It allows the cast to really act and react to their environment on the set and, and relieves them of hitting pre-recored musical cues. But what we see on screen here countless times are (well orchestrated) complete single takes from a master shot with few, if any, cutaways. I find that tends to get visually repetitive when the shot composition is repeated over and over. But that's me dissecting this as a movie buff, not a musical fan.

As the tragically poor Éponine, stunning British newcomer Samantha Barks steals the second half of the show with her standout rain-soaked rendition of "On My Own." Yes, shot in one take like many others, but as an unfamiliar face to moviegoers and having the strongest stage-trained voice in the cast (she played the role in the London production as well), she truly makes the part her own. The notion that Taylor Swift or Glee's Lea Michele were in early contention for the role is beyond baffling.

If the film allows us anytime to breath and enjoy a laugh, thankfully there are Sacha Baron Cohen and Helena Bonham Carter, who as the greedy innkeepers the Thénardiers, bring the place down with their welcome rousing rendition of "Master of the House." You are so beaten into a drained depression since scene one, minute one of the film, the opportunity to enjoy a lighthearted number is more than necessary. The duo deliver much needed glee to an otherwise emotionally exhausting experience.

Amanda Seyfried holds her own as Cosette, the grown up illegitimate daughter of Fantine now in the care of the elder Jean Valjean (got that?). Cosette was placed in the care of the Thénardiers as a child, and grew up with their daughter Éponine (still with me?). Surprisingly Seyfried has scant screen time in this epic, serving mainly an object to be fawned over by Marius (Eddie Redmayne), the singing hunk who turns a blind eye to Éponine's unbathed adoration.

Not every musical translates well as a screenplay, especially when the movie then must entirely rely on all exposition to be conveyed through song, leading some parts to come off like, for lack of a better term, a cheesy musical. Characters can fall in love after a sole dreamy gaze from across the stage, but that's a lot harder to make seem credible on the big screen. And you do have to question that why Javert really didn't have bigger career criminals to obsess over in life than to dedicate decades to hunting down a man convicted of stealing a piece of bread for his sister's starving child. Additionally, while some set pieces come across as sweeping and lavish, others add imagery no more convincing than the Seinfeld NYC street backlot.

Overall, I had a tough time with it, at this point in my review that is painfully obvious. Am I the target demo for Les Misérables? No. Do I feel fans and purists of the musical will be pleased? Yes. My screening in NYC had fans who reacted just as they should have, and just as the filmmakers wanted. But I know as many folks who felt as I did, like a caged animal eyeballing the seconds hand of their watches. However, I also know which friends not to recommend the likes of The Hobbit, Prometheus or Cloud Atlas to.

I surely can admire its strengths, and genuinely enjoy the solid work from most of the cast. But overall with its painfully generous length, excessive use of one-take close-ups, overdone production and numerous missteps in leaping from stage to screen, given the choice I would sooner gladly re-visit Rob Marshall's Chicago, a slick stunning big screen musical that managed to get it right.

Les Misérables opens in theaters on December 25th.

REVIEW RATING:  ★★☆☆☆
Directed By: Tom Hooper

Starring: Hugh Jackman, Russell Crowe, Anne Hathaway, Amanda Seyfried and Sacha Baron Cohen

Studio: Universal Pictures

Rated: PG-13
Running Time: 157 minutes

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Film Review - ROCK OF AGES ★½☆☆☆☆

If there was but one thing I have said about Rock Of Ages since I saw it on stage in NYC while running off-Broadway in 2008, and that was its the only musical I knew nearly every lyric to every song on the entire '80s set list. Since the show boasted a soundtrack comprised of 'The Greatest Hits of the Sunset Strip,' it struck a major chord with this proud child of the '80s who was easily used to cranking up all the popular hair metal tunes.

In 1988, I was in 8th grade when I went to my first concert, Def Leppard (playing 'in the round' no less), just as 'Pour Some Sugar On Me' was riding high atop the radio and MTV hot play lists, and CD's had started to really take off as a listening format.

When the feature film based on the now long-running hit Broadway musical was announced, I knew if there was only one thing about it I would enjoy, it would be that soundtrack of my youth. And after seeing Rock Of Ages on the big screen, it looks like I was right on the money.

But let's start with the plot. As we begin the film we are taken back to 1987 as Sherri Christian (played to cutie pie pixie perfection by Julianne Hough), an Oklahoma small town gal who hits LA's Sunset Strip to pursue her Hollywood singing dreams. The perky wide & blue eyed blonde is promptly robbed of her luggage, and just as promptly lands a job at the Bourbon Room, a sleezyy '80s metal club run by Dennis Dupree (Alec Baldwin). Since destiny brings together similar souls who share similar dreams, Sherri quickly falls in love with her high spirited bar back co-worker Drew Boley (Diego Boneta), also an aspiring singer.

I suppose I shouldn't waste any further space here without getting to Tom Cruise's much hyped role as rock God Stacee Jaxx. Although Cruise's presence is felt throughout the entire story, he is featured on-screen rather sparingly truth be told. But when he is there, he gives a standout performance that is not to be missed. Give the guy credit for going out on a limb by playing (and nailing) an aging  burnt out shirtless rockstar, and is required to really perform several iconic songs.

Story-wise there is also backdrop drama about financial woes that threaten to close the club, a conservatist PMRC-esque protest movement against the evils Jaxx and his type of music inspire (led by the Mayor's wife played by Catherine Zeta-Jones), a Rolling Stone reporter (Malin Akerman) determined to delve deep into Jaxx's troubled inner demons, and the struggles of the Sunset Strip relationship of Sherri and Drew.

But the flat out problem with the film is that it's simply painfully flat out flat. When your soundtrack consists of some of the best rock pop ballads, stadium anthems, and head banging tunes ever written, you expect to attend a non-stop party (which was my experience seeing it on stage).

Sadly director Adam Shankman finds scant inspiration from the hard hitting drums, fret defying guitar solos, or any of the karaoke classic lyrics, and delivers a static straight-forward paint-by-numbers movie that just happens to have a lot of characters that break into well know songs. Painful dialogue exchanges in between the hits seem to exist merely as a necessary means to get from tune to tune. And when we get one of the rocking songs to follow along to, Shankman chooses to lose interest and use boring near static camera shots where there should be instead fast & dizzying edits, sweeping crane moves, and fancy Steadi-cam work following the characters in and around well choreographed mini-music videos.

The material offers a wealth of prime visual opportunity that's laid wasted by snooze worthy camera setups and execution. Shankman is a now a repeat offender as I felt the same way about his screen version of Hairspray. Watch any musical number from Rob Marshall's Chicago and you'll see what I mean about translating stage to the big screen in a fun way (and that film also earned Zeta-Jones an Oscar).

Sadly the leads offer little excitement as well. As perfect as Hough is to play a small time wish-upon-a-star girl from Tulsa, when cast opposite Diego's bland goody two shoes dreamer Drew, they add up to a couple who possess no balls, bite, or hard edge between them, especially when dropped into a very decadent setting notorious for sex, drugs, and rock and roll. Alec Baldwin and Russell Brand are not only topped off with incredibly unconvincing wigs, but have many useless time killing and sometimes cringe worthy scenes of dialogue. There is little of the brilliance required for Jack Donaghey seen here in Baldwin's Dennis Dupree.

Getting back to Cruise, who gives his all as the eccentric Jaxx, and for all intents and purposes is the shining star of the film. But its interesting to note that Cruise plays it so straight and serious that its almost out of place in this film that never decides if it needs to be darker in tone or amp up the '80s over the top spoof factor. Plus, Cruise still looks half his actual age and no fading rock star would be lucky enough to remain as physically presentable as he is (take note Axl Rose).

But when it even comes to the make or break question of whether Cruise can hold a note, yes he can. Taking to task Wanted Dead Or Alive, Pour Some Sugar On Me and Paradise City, the Stacee Jaxx versions are welcome updates to those songs' legacies. Cruise has a surprisingly good voice. Would I want to hear a vanity album of metal covers from Tom Cruise & The Mavericks? Eh, that might be pushing it. But obviously a big gamble here was taken and paid off.

Next to the soundtrack, Cruise is the rock solid anchor of Rock Of Ages. His scenes with Malin Akerman offer more than any other pairing in the film, In addition, Jaxx travels with a wing man monkey named Hey Man. Sadly I always fall for the monkey humor in a movie. It gets an easy laugh no matter what in my book. Moving on...

While you can't argue with the sheer fun that goes along with the music, and there are a few rousing numbers, especially when you are given a mash up of songs which showcase the entire cast. But even that stunt has already been trumped by Glee, which has made that a near weekly staple.

Rock Of Ages drags overall in its excessive two hour running time. Less talk, more music. Case closed. The original show's book brilliantly linked unrelated songs from an era, and made it work for moving the plot forward. Here it outstays its welcome. For fans of the era, its a fun no brainer. See it and hit karaoke afterwards. But as far as any depiction of the true seedy yet glam atmosphere of Sunset's Whiskey or Roxy hey days that hosted Guns N' Roses, Poison, Motley Crue, and Warrant's transition from small club performers to multi-platinum arena rockers, you're better off with a repeat of any VH1 Behind The Music or even the better than you'd expect Rockstar starring Mark Wahlberg.

Note: Songs titles included in the film's soundtrack like Nothin' But A Good Time, I Wanna Rock, We're Not Gonna Take It,  I Love Rock And Roll, Can't Fight This Feeling, and Don't Stop Believing were purposely not worked or worded into this review in any clever cute way. But... If you are looking for the Heart of Rock & Roll, sadly you will have to search elsewhere. Since that's a Huey Lewis song, it doesn't count...

Rock Of Ages opens in theaters and IMAX on Friday, June 15th.

REVIEW RATING: ★½☆ ☆☆☆
SOUNDTRACK RATING: ★★★★☆
Directed By: Adam Shankman

Starring: Tom Cruise, Julianne Hough, Alec Baldwin, Catherine Zeta-Jones, Russell Brand

Studio: New Line

Rated: PG-13
Running Time: 123 minutes

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