Judy

Today I saw Judy, starring Renee Zellweger and Finn Witrock.

Sometimes even the greatest of artists aren't given a fighting chance in this world and that seemed to be the case for actress/singer Judy Garland (Zellweger). On stage since she was 2 1/2,  Garland's mother began supplying her with pills to ensure she was fit to perform before the age of 10. Once she was under contract with MGM studios as a child actress, it was reported they continued to supply pills, and further her dependency. This film shows the journey and result of her difficult path through life as an addict.

Garland is struggling financially when we join her on screen here, and is forced to take her two youngest children to their father's house in the middle of the night so they'll have a place to sleep. From here she must face the fact that she has to take the only job currently being offered to her to stay afloat, and that job happens to be a long way from California—in London. Though she loves the English city, she has a tough time leaving her children behind (though the stability is good for them) and continues to self-medicate to get through it all.

Her performances are both triumphant and tragic, and her audiences respond in kind. She's often late for her shows, so terrified to go on stage that she has to physically be pushed onto it to perform and often ends up swearing or storming off before it's over. In one instance, the guests are so angry with her behavior that they begin throwing dinner rolls at her.

In the midst of all of the chaos, she finds a fifth husband in musician Mickey Deans (Witrock), who provides her momentary happiness from the state of her fractured life, but he isn't enough to save her. Just months after her London tour concludes, he finds her dead of an accidental overdose.

The film shows a good representation of how addicts function, even in spite of huge commitments like sold-out concerts. There is a desperation in Zellweger's performance that left me exhausted, but that's a good thing because that's what being around an addict is like.

Zellweger's mannerisms, her voice, her speaking cadence—all very close to the real Garland who we can watch at will in the library of famous performances she left behind.

I was sad to see that most of the sequences in the film are based on truth simply because they're so sad, but perhaps we all need to see how influences, whether they be family or industry, can literally kill someone.

~~~

Yesterday

Last night I saw Yesterday, starring Himesh Patel and Lily James.

A world without The Beatles or Coca-Cola isn't a world I'd ever want to live in, but it's the warped reality that struggling English musician, Jack (Patel), experiences when he wakes from an accident. Jack was hit by a bus during a freak, 12-second worldwide blackout and seems to be the only person who remembers the most famous band that ever existed and the iconic soda.

Of course he doesn't have the formula for Coke, but he does remember a fair amount of The Beatles catalog of songs, so he begins to "write" them one-by-one and pass them off as his own. Of course, the world (again) loves them.

Side note: For those of us who are die-hard Beatles fans who absolutely hate covers of their songs, listening to him play their sacred hits throughout the film is as excruciating as you'd imagine.

By his side on his rise to fame is Ellie (James) who has known him since childhood and acts as his manager until he's recruited by a bigger fish, who arrives in the form of Kate McKinnon as Debra. She is a very welcome distraction, as is Ed Sheeran who portrays himself.

Although the film is marketed as this philosophical "what if" regarding the cultural shift that would happen if the band who influenced nearly every major rock act that came after them never happened, it's really just a mediocre romantic comedy about two people who don't have much chemistry and struggle to get past the friend zone. In fact, the film should have been called The Friend Zone.

As someone who counts Love Actually among the greatest rom coms of all time, I hoped that writer Richard Curtis would sprinkle his fairy dust on this couple as well, but instead all we got were a series of groan-worthy jokes (re-naming "Hey Jude" to "Hey Dude") and an odd twist at the end that contemplates what John Lennon would be doing today if he hadn't been murdered (for what it's worth, I don't think they even came close).

A film exploring an alternate Back to the Future-ish reality about how music would suck had rock 'n' roll never been blessed with John, Paul, George and Ringo? Now that would have been compelling.

Unfortunately, the greatest part of this film was the very end—when the real Beatles sing "Hey Jude" over the credits.

~~~

Rocketman

Yesterday I saw Rocketman, starring Taron Egerton and Bryce Dallas Howard.

I can see why Elton John gave this film his blessing. The ride through his life that covers the time between childhood and sobriety is tender, thrilling and above all, honest. A fitting tribute to such an interesting icon.

Young Elton is played by Matthew Illesly who bears such a strong resemblance to him, I want to see what he looks like in 40 years. We see Reggie (his given name) as a young piano prodigy, who's talent is celebrated by his grandmother (Gemma Jones) and merely tolerated by his mother (Bryce Dallas Howard). He has an inherent enthusiasm for music and thankfully follows his instinct to pursue it despite his dysfunctional family life.

His instructors immediately recognize his gift, and as he grows older (and is then played by Kit Connor), it's clear this will be how his life plays out.

By the time we reach adult Elton (Taron Egerton), we know he's gay and that he's found a lifetime friend and creative partner in Bernie Taupin (Jamie Bell). The road to success was paved with drama and pain and joy and hard work and as a result of all of it, an addiction has has taken over his spirit.

The film is shown in flashbacks from his point of view at a rehabilitation meeting and structured in a traditional musical sense: The characters break into song frequently in the middle of otherwise linear scenes and sometimes recreate classic performances or videos.

At first, I found the format jarring, but as the film went on and I grew to expect it, I liked it. What was especially fun was seeing photos from the real situations in comparison to the film reenactments at the end. It makes me sorry I only had the privilege of seeing Elton live twice in my lifetime.

All in all, it's a very satisfying, enjoyable look at the remarkable life of a musical genius.

~~~

Bohemian Rhapsody

Today I saw Bohemian Rhapsody, starring Rami Malek and Lucy Boynton.

The life of Freddie Mercury (Malek) is explored with great flair in this loose retelling, which chronicles his rise to fame with Queen through to their landmark performance at Live Aid.

First of all, it can't be understated how good Malek is at capturing Mercury's movements and mannerisms. If you squint you may just not be able to tell the difference. He was a joy to watch because you could tell he was having a ball portraying this legend.

Second, Mary (Boynton), who many claim was the true love of Mercury's life, is given a respectable place in his history (though before this film casual fans may never have heard of her).

Third, the finale, which replicates the famous Live Aid performance is stunning. Note-for-note, prance-for-prance, it's all there in its incredible glory. I went right home afterward and watched the real performance and marveled about how close the film truly got to it.

Now, for the issues: the creative team took liberties with some key facts, which is forgivable if it makes the story better, but I'd argue that Mercury's story was plenty interesting as it really occurred.

Also, the film is called "Bohemian Rhapsody," and we get teased by seeing how the song came to fruition, but we never get a full performance of it, which I thought was a missed opportunity.

And while we're on the topic of songs, I sort of felt like this was a wanna-be musical that would only tease us with the beginnings of the hits (i.e. "We Will Rock You") and then move on to the next scene before our thirst for the music was quenched.

It was also too long. This is a trend in movies these days, to exceed the standard 2-hour running time, but really, less is more. It could've been shorter or they could have used some of the time they took to remind us of his bisexuality and just played the title song.

~~~

A Star Is Born

Last night I saw A Star Is Born, starring Lady Gaga and Bradley Cooper.

Jackson (Cooper) is a star of the stage—unfortunately he's as good at drinking as he is at singing and playing guitar. Ally (Gaga) is an amateur with an amazing voice who performs as the only "real" girl at drag shows. Jackson stumbles into one of those shows one evening and experiences love at first sight.

Soon, Ally is piggybacking her talent onto his successful music career and getting noticed in her own right. All the while, Jackson keeps drinking, keeps drugging.

Even if you've seen any of the previous versions of this story, you'll be able to predict where it's headed. Her star shines bright, his addiction worsens, etc.

At the heart of it, it's a story about the endurance of love through tough times. Anyone who has suffered from addiction, or suffered because of someone else's addiction will be able to relate. Anyone who's been so deeply in love with another soul will relate. Anyone who has struggled to reach their dreams will relate.

With the two leads having insanely strong chemistry (not to mention brilliant singing voices), it will be terribly surprising if they aren't both Oscar-nominated for their performances. It just works on so many levels.

If you can stand blinking through your tears, go see it. You won't regret it.

~~~

Juliet, Naked

Tonight I saw Juliet, Naked, starring Rose Byrne and Ethan Hawke.

British Annie (Byrne) is in a relationship with Duncan (Chris O'Dowd) who is obsessed with Tucker Crowe (Hawke), a washed up American independent singer/songwriter who hasn't released music in decades.

A rare piece of music by Tucker surfaces and Duncan is overcome with excitement. Annie, fed up with the fandom, writes a scathing review in response to Duncan's enthusiasm and gets a reply ... from Tucker himself. Soon the two are corresponding via email and developing a friendship. And Duncan has his sights on a colleague.

So the story follows Annie's odd love triangle and Tucker's complicated life while we are treated to a lighthearted, yet oddly meaningful journey that's quite believable. The three leads are perfectly cast and the supporting players who act as the colleagues, siblings and children of the leads are a welcome addition.

What's more, Ethan Hawke does his own singing as the character, so it's fun to hear him exercise yet another creative talent.

Immersed in a few "super-fan" music communities myself, I found Duncan's character very relatable (and truthfully it helped to laugh at his behavior). He's more realistic than some may assume, and he plays it beautifully.

You should go see this. It will make you smile.

~~~

Coco

Tonight I saw Coco, featuring the voices of Anthony Gonzalez and Gael Garcia Bernal.

Miguel (Gonzalez) is a young boy in love with music. He plays the guitar, sings and enjoys the sounds that he passes by in town, but he's forbidden from music by his strict family.

They are in the midst of preparing for El Dia de los Muertos—The Day of the Dead—where they display photos of their ancestors to invite them to come and "visit" that one special day of the year. As this is going on, Miguel plans to enter the town talent show without permission until his guitar gets destroyed so he goes to look for another one.

As he finds the one he intends to "borrow," something paranormal occurs and he's transported into the dead world. There he meets his ancestors, who are entering a rigid customs-like process to be able to cross over to the living world for that one day visit. No, the metaphor couldn't be more obvious.

It's there he encounters Hector (Garcia Bernal) who begs him to take his photo back to the living world with him so he can be remembered and earn visitation. There is also the matter of Miguel coming face to face with his musical idol and realizing things aren't always as they seem.

In typical Pixar fashion, whether you want to or not, you'll shed some tears along the way. It's not as devastating as Up or Toy Story 3, but the writers hit the right tender notes to bring the sads (not that that's a bad thing).

It's also one of their most visually stunning films. The brilliant colors burst with vibrant energy, weaving you deep into Mexican culture as the magical elements capture your senses. Furthermore, the details are impeccable—watch for skeleton faces in everything from the fireworks to the synchronized swimmers.

An emotionally rich, delightful ride for the whole family that will make your heart sing.

~~~

The Beatles: Eight Days a Week — The Touring Years

Tonight I saw The Beatles: Eight Days a Week—The Touring Years, directed by Ron Howard.

Though I've probably seen every Beatles documentary in existence, I'm happy to report there are elements of this one that still feel fresh.

Director Ron Howard uses footage from familiar flashbacks such as the band's appearance on The Ed Sullivan Show to illustrate their journey from 1963 to the time they quit touring in 1966, spliced in with talking head interviews (both from the era and present day). He captures the intensity and madness that was Beatlemania, but without dwelling on the drama.

At the heart of the phenomenon were four friends: John, Paul, George and Ringo. As Lennon once said, "We were just a band who made it very, very big—that's all." Big indeed. In the three years covered in the film, the band performed over 250 concerts, each one arguably growing in fan intensity.

Before it became suffocating (and downright dangerous after Lennon's famous "bigger than Jesus" remark), the thrill of touring—and the fame that came with it—was intoxicating for the group. They were young men who got to use their collective creative genius to conquer the world. With that came money, women, adoration and years of fun.

Considering how they all sued each other and fought publicly in their later years, we sometimes forget how close these boys were in the beginning. They were basically brothers, and thankfully by the time two of the four passed, they'd found their way back to one another.

At one point in the film, their musical gifts are compared to Mozart. Some may call that exposition apples to oranges, but a good case is made as to why it's a just parallel. Above all else, the contemplation reminds us that extraordinary talents like John, Paul, George and Ringo, only happen once in a lifetime.

~~~

Amy

Tonight I saw the documentary Amy, about the life and death of singer Amy Winehouse.

We only said goodbye with words
I died a hundred times
You go back to her
And I go back to black 

I always loved the music of Amy Winehouse. Her lyrics stung the way the best lines of prose attack you—her voice a rare seduction in a sea of trendy, chirpy female voices. She epitomized sexy jazz.

Unfortunately, like so many musicians before her, she died at the young age of 27. This film, crafted together like a scrapbook of home movies by director Asif Kapadia, chronicles her life.

We see a young girl emerge rebellious from her parents' separation (she was 9 when they split), an undeniable gift for music cultivated and a dangerous substance addiction present throughout. At the end of the day she was a junkie. An incredibly talented genius, but still a junkie.

The love of her life was her husband Blake, and the film implies he made a great effort to keep her high (he, also a junkie). Couple that with a battle against bulimia and the pressures of intense international fame and you have a recipe for disaster.

The film captures her spirit well: a painfully shy, wounded little girl mixed with a bold, raw, authentic woman. It's sweet to watch her rise to stardom in the early days when she hadn't yet disappeared into addiction; gut-wrenching to see her staggering around the stage near the end, not fully knowing where she was.

The whole story is simply sad but at least she left us the legacy of her beautiful voice, and now, though this moving portrait of her years, we can see perhaps why she left us the way she did.

~~~

All Things Must Pass

Tonight I screened the documentary All Things Must Pass.

Full disclosure: I was a financial backer of this film by way of a Kickstarter donation in 2011 and my name does actually appear in the credits (1st name, 3rd column if anyone's looking). Since I had absolutely no creative control, I don't think it's a conflict of interest to script a review. If you disagree, then feel free to leave this page.

Now that I got that out of the way, let me tell you how much I loved the film (and am relieved/excited my modest contribution went toward making something so great).

The first ten years of my life in Portland, Oregon, I lived directly across the street from a mall, and in the corner of that mall was Tower Records. There was no place more sacred than this store. Because it was open 365 days a year, my parents made a habit of buying Christmas gift certificates for my sister and me, so we would shuffle across the street and spend hours deciding how to use them. They were the only store open on Christmas and we couldn't have been happier. We also had their free calendar hanging on our bedroom door every year. And numerous album flats they would discard into the trash if we didn't claim them first (Millennials: an album flat was a cardboard image of an album cover used to promote new records; like a poster, only more legit).

In high school, on an extended stay in Washington, DC for a journalism workshop, my new friends and I spent afternoons in the Tower Records store that was near our dormitory at George Washington University—a common bond amongst teenagers from different backgrounds.

When I moved to Seattle at age 23, I spent a lot of time at the Queen Anne Tower Records, attending midnight release parties for U2 albums, etc. I wept when it closed a few years later.

This film isn't about just me, though, it's about the millions affected by the collapse of this eternally likeable brand. Director Colin Hanks gets testimonials from those closest to the company (its founder and executive team, who all came up as clerks) and many notable musicians (Springsteen, Dave Grohl) about what the stores meant to them and what its loss meant to the greater community.

It may sound silly to personify a brand so passionately, but Tower was so much more than a brand, it's fitting in this context.

From the joyful beginning that stemmed from the founder's father's drugstore to the international expansion and fame the company got from its celebrity shoppers (i.e. Elton John, who gives a sincere interview about his obsession with the store here), there really wasn't anything like it and because the way we consume music has changed so much there probably won't be again.

For those who remember Tower's glory, the film will serve as a sort of personal time capsule; for those who are too young to remember, it offers a glimpse of the golden years.

An entertaining final verse, sung with a lot of heart.

~~~

Kurt Cobain: Montage of Heck

Tonight I attended the North American public premiere of Kurt Cobain: Montage of Heck.

I'll start by saying this: I'm a huge Nirvana fan. I was the "right age" when they became famous, and Kurt Cobain's life and death have haunted me ever since. I knew that I would see any documentary that was ever made about him/the band; I had no idea I'd see one that moved me this much.

Director Brett Morgen, privy to unprecedented access to the Cobain family storage vault, traces the genesis of the grunge genius in this raw, unvarnished, unpretentious series of moments captured by various friends, family members and journalists.

Beginning with Kurt's mother Wendy, his entire life is constructed by memories of those who were closest to him—and by Kurt himself.

When so seamlessly weaved together as they are here, the stages of his soul's progress are jarring. What begins as a picture perfect life for a boisterous blond baby soon becomes a cloud of shame for a child embarrassed by his parents' divorce. His energy—instead of being channeled into the music and art he was so good at—instead turns to mischief and darkness as he bounces from home to home, feeling rejected at each stop.

His family loved him, but he was out of control. Fortunately he found a good girlfriend to float him through periods of unemployment and allow him to perfect his creative crafts: writing, drawing, playing the guitar and singing. Unfortunately, he also learned to self-medicate his chronic stomach pain with heroin. And alcohol, and marijuana, etc.

Then along came Nirvana, and later Courtney Love, and the rest is music history.

The film shows us many things we already knew about Cobain, but what makes it special is how it conveys the things we didn't. Kurt's glorious innocence and sweetness as a toddler; his tender love for his wife; his sophisticated cries for help masked by elaborate artwork; his absolute dedication to being a better father than the one he had.

There was an innate kindness to Kurt that many spoke of in interviews after he passed, but here we get to witness it first-hand, from the little boy trying to feed the ceramic turtle his saltine cracker, to the proud papa throwing himself all over the room to make his infant daughter giggle.

It's painful to think that if his family unit had remained intact or if he hadn't been the victim of ridicule as a teenager that he may not have become an addict and could be alive today.

But there's also the chance that if his young life had been more conventional, he may never have been driven to express himself so deeply, or ever have shared his gifts with the world. And as tragic as it is, his passing brought awareness about the evils of drug use and the senselessness of suicide to the masses.

There has never been a more beautiful sacrificial lamb.

~~~

Whiplash

Tonight I saw Whiplash, starring Miles Teller and J. K. Simmons.

Based loosely on writer/director Damien Chazelle's own experiences, the film chronicles the study of Andrew (Teller) under the direction of Fletcher (Simmons) at the country's most prestigious school of music.

Andrew is just 19, the youngest one in the studio program, when he begins his jazz drills under the tough instructor. And when I say 'tough', I don't mean 'difficult' or 'challenging,' I mean downright menacing with a touch of evil.

Fletcher's character is the kind of guy who will pretend as if he's interested in you to learn personal things about you, solely for the purpose of someday using them against you. He's also (apparently) homophobic judging from the theme of his many slurs—used to make the students 'better' musicians, of course.

Although he's stronger than many of his classmates, Andrew does have moments of weakness, which Fletcher preys upon every chance he gets. It's really 107 minutes of watching excruciating pain and discomfort. But that doesn't mean it's bad.

Perhaps I had a visceral reaction to it because I had a family member and a dance coach who behaved in very similar fashions, but the fact I did recoil tells me there was something there to feel.

The performances are first rate, and the Oscar nomination Simmons received may even be unfairly shadowing the brilliance of Teller, who wears every moment of his journey on his face. We always know what he's thinking, even when he's not vocalizing.

I also appreciated the camera angles on the instruments, and the director's gift of perspective. I always felt like I was in that band room or on that stage.

Forgiving the painfully formulaic aspects of the movie, and going in to appreciate it vs. enjoy it makes it a fully worthwhile watch.

~~~

Alive Inside

Today I saw the Michael Rossato-Bennett documentary Alive Inside.

Social worker Dan Cohen was commuting to work one day when he heard a story on the radio about iPods. This made him consider that it may be helpful to use the music players with some of his eldery clients in the nursing homes where he was assigned.

Soon, lives were being changed.

Dan began loading the residents' favorite songs onto iPods and saw evidence of the soul waking. Patients with dementia that never interacted with people began making eye contact, singing and dancing. Memories came alive and they began sharing them. The caretakers were stunned by their responsiveness.

Famed neurologist Oliver Sacks appears in the film to help explain why music can ignite parts of the brain that simple dialog cannot. Apparently we begin hearing music in the earliest days of our formation as embryos, and music bypasses other parts of the brain that fail when humans are stricken with ailments such as Alzheimer's.

Music allows patients to connect with the world in ways that may have gone dark for several years prior. Cohen soon sees the depth of positivity this is bringing to the nursing home community and begins a crusade to bring iPods to all U.S. nursing homes.

At first he is met with resistance (how can something considered a luxury be equated as medicine?), but soon transforms several communities and the groundswell for change begins.

The result is a nonprofit he founded called Music & Memory. The organization gathers donations of iPods, then trains students to go into the nursing homes and work with the residents to develop their ideal playlist.

His work reminds us that a little change in our way of thinking about therapy and treatment can make a world of difference.

This film will tug at your heart—and then leave you scrambling to find out how you can help.

~~~

Amour

Last night I saw Amour, starring Emmanuelle Riva and Jean-Louis Trintignant.

If this wasn't a Best Picture nominee, I would never have made it through the whole film.

Georges (Trintignant) and Anne (Riva) are a happy old couple. Their adult daughter has made a life of her own abroad and they seem content in their retirement.

One morning during breakfast, Anne zones out. Not for a moment, not for a second, but for a terrifying few minutes while her husband scrambles to decide what to do next. Anne has suffered a stroke and soon she will be paralyzed on one side of her body.

In a matter of days, this vibrant couple who still attended concerts and playfully flirted with one another will become a frustrated, pained duo who survives only for the other's benefit.

Emmanuelle Riva, who is still stunning in her mid 80s, is shown deteriorating piece by piece, while every last morsel of her dignity is stripped from her being. Jean-Louis Trintignant as Georges wears each heartbreaking revelation in his expressions, as he witnesses the love of his life leaving.

There is no greater devastation, and none of us want to think of our loved ones ever reaching these stages of their lives, but sometimes it happens. And there is always someone who carries the burden of dealing with it more than any other.

The film does a phenomenal job of communicating the quiet that comes with perpetual depression. Water left running is suddenly more noticeable, as is a window left open during a rain storm. The quiet is no longer peaceful; a home once filled with music is now stale with decay.

Every part of the movie (the acting, the script, the direction) is good, but I enjoyed none of it.

Life is hard enough as it is.

~~~

U2 3D

Last night I screened U2 3D, starring U2.

To read my @U2 review click here.

Here Is What Is

A few nights ago I screened the new Daniel Lanois documentary Here Is What Is.

My review can be found here at @U2.

To purchase Danny's new album and documentary, visit Red Floor Records.

August Rush

This morning I saw August Rush, starring Freddie Highmore and Keri Russell.

If it weren't for Robin Williams, this may have been a great movie.

At the heart of the film is little Evan Taylor (Highmore), an orphan with an incredible gift for music who believes his long-lost parents will find him by "hearing" him. He's placed in a miserable NY home for boys and runs away only to fall into the trap of "The Wizard" (Williams), an evil transient that pimps out young musicians only to reap the financial benefits.

Meanwhile Lyla (Russell) is a heartbroken cellist that never got over the supposed loss of her infant son (and his father, whom she had a passionate one-night-stand with). The boy's father Louis (Meyers) is a guitarist-turned-suit who left the pain of NY behind for a mundane life in San Francisco.

As you can imagine, there are many cheesy scenes that lead up to the predictable, if not sweet ending. But woven into them are great performances from Russell, Meyers, Highmore and Terrence Howard, who has a minor role as a social worker.

Robin Williams' awful overacting ultimately ruins the film, which with its message of music as a saving grace, could have been so much more.

Once

Today I saw Once, a harmonic love story starring Glen Hansard and Markéta Irglova.

If I was forced to describe this film in one word it would be "chemistry."

The musical follows a guy and a girl (seriously—we're not sure of their names) as they meet on a Dublin street and fall in love...over music.

The guy is a street musician/vaccuum repair man who catches the eye of the girl who is a maid/flower salesperson, originally from the Czech Republic. There is an immediate spark between the two, and at first it seems as if the girl is chasing the boy.

Soon enough we learn the girl is married with a daughter and an estranged husband. This puts a damper on things, as the tables have quickly turned and the guy is the one doing the chasing.

Regardless, the two end up making beautiful music together—joining forces to create an actual CD with a handful of other musicians, and dancing around the topic that is their connection.

The movie is frustrating, as you're never quite sure the girl wants their love to be realized the way you and the guy character crave for it to be, but it's a beautiful journey nonetheless.

The original music, their undeniable chemistry and an especially gorgeous scene with a piano in the dark makes for a pretty romantic piece of art.

Go see it.

Shut Up & Sing

Today I saw Shut Up & Sing, a lively documentary that follows the Dixie Chicks from their controversial anti-war comment to the present day.

I'll admit it—I'm not a fan of country music. I've never bought a Dixie Chicks record. I probably couldn't name one of their albums if my life depended on it, but after watching this I almost want to just on principle.

A few months prior to the start of the war in Iraq, lead singer Natalie Maines said "We're ashamed that the President of the United States is from Texas" during a show in England. The London-based newspaper The Guardian printed the quote and soon the American right-wing group the Free Republic got a hold of it and led a national boycott of their music.

Ridiculous. And wildly hypocritical.

Here they are "defending" a war that is allegedly taking place to "liberate" a country so they can enjoy the same freedoms that we do, and these so-called patriots are denying the Dixie Chicks their freedom of speech (and freedom of security since Maines received death threats as a result of speaking her mind). It's also hypocritical because it hurt the business of the Dixie Chicks, a business which is ultimately stimulating the American economy when it does well.

It was refreshing to see Republican John McCain cracking down on the radio suits who originally ordered the boycott during congressional hearings, but it was nauseating watching these three lovely ladies see their career crumble before them because they acted like...Americans.

Every journalism teacher should show this film in class and every fan of the first amendment should buy a Dixie Chicks album. Just to show their patriotism.