Indie Film Review “Band On The Run” Classic road trip feels, candid humor, and reconnecting with life
WATCH THE TRAILER BELOW:
First, the Recap:
Figuring it all out. We are in a constant state of flux, especially in youth, when all we wish to do is have the path to travel clearly extending in front of us. The dreams to attain push us forward, yet also provide the challenge of having to overcome everything that attempts to dissuade us from succeeding. As others around us seem to reach the pinnacles we ourselves desire, can we find the inner fortitude to rise up and believe that we too CAN achieve it as well?
It is 1999, and in Detroit, MI, the garage rock scene is seeing its height of popularity and potential for all the artists striving to become the next big thing. As the members of local group Hot Freaks–Jesse (Matt Perl), Max (Daniel Blair), and Cody (Dylan Randazzo)–live under the shadow of their bitter “rivals”, Bull Roar’s egomaniac J.J. (Landon Tavernier) and the harmless Seff (Yousef Fadel), as they all pursue fame. When the South By Southwest festival comes calling for BOTH bands, circumstances throw Jesse, his ill father Thomas (Larry Bagby), and the band into a race against the clock…and their future.
Next, my Mind:
What might appear on the surface to be a film in danger of being nothing more than a vain attempt to mimic the atmosphere of classic road trip cinematic gems such as “National Lampoon’s Vacation”, “Tommy Boy”, “Planes, Trains, and Automobiles” et al turns into a surprisingly poignant (at times), wholly entertaining, intelligently engaging, and just plain comedically FUN indie film excursion that stands firmly on its OWN merits and unique perspectives without sacrificing its ode TO those other efforts. Executed in a manner that remains so adeptly true to the core values of independent projects via character and story-centric focus, it effectively and successfully transports us back to the heady days of cusp-of-the-millennium yore, the reality of where music was at in this time, and the appreciation for all the life lessons that can actually be learned, even in the midst of the utter chaos that is seeking one’s personal validation and desired career of choice. Ah, the wonders of being young, uncertain, fed up, and yet committed to gain betterment.
Clocking in at an appropriately brisk 88-minute runtime, the narrative following the whimsical yet meaningful journey of a young man and his band simply wishing to transcend their “garage” status, attain SOME kind of genuine recognition (and a record contract, of course), overcome the “bullying” by a rival group’s comically unhinged, self-obsessed singer (and his precious mic stand!), and discover life’s value now and ahead carries itself with lighthearted intent, poking fun at about anything and everything being thrown at them while not shrinking away from getting quite serious when necessary about friendship, competition, wanting to succeed, the potential cost of it, and the candidly immense importance of familial/parental ties and love. Truthfully, the road trip format becomes more a foundation for these other explorations, hence giving the film a lot more overall depth of purpose and impact in spite of the majority shown being done for mild and blatantly hysterical laughs.
Thematic adventures abound within the insanity, again to both jocular and contemplative ends. Covering dead end jobs and the associated monotony, discontent with the mundane, the struggle to GET noticed while watching other’s “less deserving” gaining what we long for, having rock star dreams, striving for authenticity rather than falling to cliché, losing your soul for that elusive contract, selling OUT in order to find achievement, the regrets of things past that cannot be changed, what can be passed along to someone else, learning more about someone we thought we knew but had really only assumed about, needing to embrace the NOW, have a little crazy fun, reality TV shows, and really understanding what sincere opportunity is that is worked hard for vs. any “easy road” taken all get some kind of screen time here and, again, to superb effect in a way that this critic found a little unexpected. Always reminds me why I deeply love indie cinema! It’s (usually) never just surface.
Ensemble casts unite! As with many feature length films, the magic must be found in the chemistry of cast members that then form the basis for a group of characters we come to love. Happy to say, for this critic, this was realized adeptly, starting off with a real scene stealer, veteran actor Bagby, as Jesse’s infirmity-stricken, cantankerous father Thomas, who’s own existence has been unceremoniously upended, only made more so initially when he ends up dragged along on his son’s band’s run for SXSW while waging war on a rival group. Offering a whole new approach to the concept of (supposedly) good “parental guidance”, his shenanigans to get the young upstarts to loosen and lighten up, instigating plenty of the ensuing hijinks himself, actually cause Thomas and Jesse’s strained relationship to get a potent, revealing wake-up call that will alter their bond forever. It’s an unburdening of regrets that Thomas experiences, and sharing it with everyone, for better or worse, allows them all to take heed.
Bagby is a complete stitch then calmly affecting here, delivering his lines with impeccable comedic timing and exuding the attitude of defiance, inner pain, need for release, and ultimately heartwarming acceptance of the real help he’s needing that befits Thomas’ character so deftly and with complete, believable conviction. It’s a worthy performance, and Bagby takes it all in stride like the pro he is. Perl is absolutely great here as well through his role as Jesse, a young adult in crisis, who knows what he wants, yet cannot seem to escape from the rigors of necessity to fully gain it. When the opportunity comes about to see it all come into motion, his almost arrogant desperation to make it so could actually threaten his camaraderie with bandmates and further fracture what little he has with his father. However, as the road trip evolves, the lessons Jesse absorbs will change his own notions on life in amazing and transformative ways. Perl guides the character through all of this with plenty of energy paired with instances of hilarity and earnestness that lends a grounded credibility to Jesse while allowing us to both laugh with and at, but also empathize with him.
Blair is Max, the band’s singer/guitarist who really presents, and proves, himself to be the voice of conscious for the group, even as his interactions and reactions to everyone else’s legitimate or humorously perceived logic with often reluctant degrees of cautious but steady support and sometimes conspicuous frustration that is portrayed so beautifully by Blair throughout the story. Randazzo plays Cody, the bass player and frequently (with mirthful, chuckle-inducing enthusiasm and innocence, mind you) oblivious individual who wants to soak in every bit of “wisdom” Thomas shares as well as do and/or say other things that similarly contradict what his friends suggest or wish him to do in given circumstances. Yet, it is in his silliness that the heart he has for all of them and what they want to procure really does shine though, and how Randazzo navigates the character through this sea of unfeigned but still a tad anarchic storm is just a pleasure to watch and have a solid guffaw through.
Tavernier wonderfully embodies the kind of played-for-smirks and chortles, absurdly full-of-themselves cad that we all just roar at because he’s the character you love to hate via his turn as J.J., the singer of garage band on the rise, Bull Roar, and whose one hundred percent unhealthy fixation with his prized mic stand elicits giggles galore. Once he runs afoul of our intrepid group of misfits, things only escalate and it is thanks to Tavernier’s magnificent performance that we undeniably relish watching each and every moment J.J. is in full-on hubristic mode as he tries to manage the riotously aggravating events he’s being subjected to. Fadel is brilliant in his role as J.J.’s completely opposite in demeanor bandmate/drummer Seff, who is more interested in quietly sitting back, saying nothing, eating, and reading that he is with his friend’s total breakdown and lack of control over, yes again, his mic stand! The way Fadel presents the character is so funny BECAUSE he’s so laid back and unassuming the entire time.
Supporting turns arrive in force, astutely given by Jake Eberle, Steve Larson, Chris Plum, Sammy Ketcham, Elyssa Smith, Zach Shipps, Korin Visocchi, Merritt Fritchie, Alayna Patten Neilly, Mia Fritchie, David Below, Mary Ann Hupp, Lily Paul, Zoe McManus, Jessie Pettit, Yolanda Davis, Dave Engbers, Chris Johnston, Jack Anderson, Erin Sant, Jeff Hupp, Mark Hamady, David Silcox, and Matt Roman. So, in total, thanks to writer/director/producer Jeff Hupp, directors Brian Cusac and Merritt Fritchie, writer Colby Clayton Lemaster, producers Larry Bagby, Rich Hansen, and Kristin Redman, plus executive producer Dave Engbers, “Band On The Run” should easily manifest all the high-spirited levity, amusement, and rollicking diversion viewers need while also conveying the actuality of what it IS to believe in ourselves, overcome the hurtles we face, press forwards towards the end goals we crave, and find that the humanity we connect with along the way might just be enough to sustain us beyond what we originally imagined. Though….at least a MODICUM of glory and accomplishment to accompany it all wouldn’t hurt, right?
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
1