Purposeful Practice, Dancing With the Stars Edition

Ever wonder why Dancing with the Stars is being dominated by former athletes? Most people jump to the conclusion that it is a result of their physical prowess. Certainly this does not hurt them, but I know many highly accomplished athletes who are horrible dancers. For every Donald Driver, Shawn Johnson, Apolo Anton Ohno and Emmitt Smith there is a Monica Seles, Clyde (note nickname "The Glide," which at least suggests dancing skills) Drexler, Natalie Coughlin and Ron Artest (Aka Metta World Peace) who bow out early.

Before I get too far into this let me make this disclaimer, I've never watched Dancing with the Stars. That said it is safe to say, I am about as far from being an authority on both dancing and this show as possible. However, I do know something about performance and developing skills, and that will be how I approach this topic.

I suspect a big reason that athletes seem to dominate this competition is related to how they practice and evolve through the competition. To be a successful athlete at the highest level requires that you not only spend a lot of time practicing, but that the practice is purposeful. Purposeful practice has several characteristics, including but not limited to the following: it is centered on progress rather than results, it is deliberate, and it is highly focused on going just beyond your current limits.

When the average person practices, they want to spend 90% of their time practicing what they already do well. The highly accomplished athlete knows that he must spend the majority of his or her time working on things that they are not currently good at, but which will make them much better over time. The goal of purposeful practice is always the same: progress. We learn almost everything through making mistakes. That's how we learned to walk and talk and that's how we progress.

Additionally, most athletes at the highest level are striving to get better even once they reach the higher levels of their sport. Not to take anything away from the other competitors invited to compete on Dancing with the Stars, but most of them get comfortable with their craft once they achieve success.

Once a comedian has a successful routine, they stick with it for years or longer and are more likely to hire writers than continually work at getting better. Likewise, most actors and actresses tend to play the same kind of parts throughout their careers and when studying usually spend 90% of their practice on things they are good at. They are not actively trying to get better everyday with purposeful practice like most high level athletes.

Most athletes who reach the highest level of their sport also possess the mental edge necessary to master nearly any skill they choose to pursue. So if you combine their mental edge with purposeful practice, it is quite predictable that the athletes will improve much more throughout the process of the show than their competitors. You don't have to be athletic to sing and I suspect if they come out with a show called (please no) 'Singing with the Stars,' that it is entirely likely that athletes would dominate it as well for the same reasons I stated above. Providing articles, reviews and writings on movies online.

Auf Wiedersehen Pet Series 1

In 1983, a TV show was shown on ITV, that could have been a huge hit or a ratings disaster. Thankfully for all involved, Auf Wiedersehen Pet was a huge hit for viewers and critics alike.

The UK in the late 1970's and early 1980's was a place of national strikes and huge unemployment, especially in places such as the North East. Franc Roddam the creator of the show, came up with the idea, when on returning to his home town of Norton, Stockton on Tees, found that many of his friends in the construction trade had gone to work in Germany.

Franc Roddam created the series, and worked with the brilliant writing team of Ian la Frenais and Dick Clement, who had also written for shows such as The Likely Lads and Porridge. Six episodes were written, and then the rest of the series was written around the characters, as we watched them fall in and out of love, get into fights and also find some of them back in the UK unexpectedly.

The series was a huge success, and not only down to the great writing and superb performances of the cast. The series made huge names out of Jimmy Nail, Tim Spall, Tim Healy, Kevin Whately, Pat Roach and Gary Holton.

Viewers were drawn to the reality of what they were seeing on screen, and because of what was happening at that time in the UK, it was almost like watching a documentary for many people. The series struck a chord, and still does almost 30 years on from when it was first shown on British TV.

The series revolved around a group of seven men. Four bricklayers, a carpenter, a plasterer and an electrician. The timing of the show was perfect, and to think that this type of show would be such a hit in this modern world we live in, probably not.

The series was shown on ITV from the 11th of November 1983, through to the 10th of February 1984. Viewing figures for the first series were an average of 10 million, but this would almost double for the second series when that was aired in 1986.

There were many comparisons made to this first series, with many commenting on how it was very much like watching a WW2 film, as the lads all lived in a blue wooden hut on site. This was what made the series real and gritty, and the writers and creator knew how to connect with the British public at a time when there was nothing to look forward to, except rising unemployment figures. Providing articles, reviews and writings on movies online.

Movie Review: Prometheus (2012)

Director Ridley Scott originally intended on creating a prequel to his film Alien, but when the script writing began, he realized the wealth of material presented warranted its own separate tale (still set in the same universe, however). Such an undertaking led to copious speculation and extremely high expectations from fans for what would eventually become Prometheus. Yet for a film that supposedly merited severance from becoming a direct Alien precursor, the sequence of events in Prometheus are strikingly close to that of Scott's prior effort. In fact, certain segments seem designed specifically as a counterpart to the iconic moments now cemented in cinematic history. Unfortunately, none of these scenes come close to the shocking brilliance of those found in Alien, and while the atmospheric sets, awe-inspiring practical effects, and competent acting are present as they should be, don't expect to find the answers you're looking for - in either the notorious beasts' origins or the countless new questions raised that Scott clearly feels are better left unanswered.

When scientists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) discover clues on Earth that point to possible "engineers" of mankind, they partner with the powerful Weyland Corporation to launch an expedition into space to make contact with their creators. Governed by Weyland's stern attaché Meredith Vickers (Charlize Theron) and accompanied by geologists, mercenaries, and the cryptic android David (Michael Fassbender), the crew of the spaceship Prometheus is instructed not to interact with any life forms they may encounter. But once the group reaches their destination of the moon LV-233 and discovers the remains of the beings they set out to find, avoiding exposure becomes impossible. As a deadly infection rapidly spreads and mysterious creatures begin attacking the crew, Elizabeth realizes the horrifying truth and must fight for her own life as well as the very fate of mankind.

The usually capable director has bitten off a bit more than he could chew with Prometheus, which attempts at different moments to be a great many things. Expectations are particularly high, since Scott became famous for Alien in 1979, and this film marks his return to the genre. At the beginning, he ventures into contemplating alternatives to the evolution of humankind with predominantly science-fiction philosophies; in the middle, he explores favorite themes such as the assault on feeble human flesh, the invasion of orifices, and genetic mutation - essential elements of gore for the sake of horror; and toward the conclusion, he opts for action-oriented thrills, packed with impressive CG wizardry and massive destruction. Each shift in genre disorients the story from having a clear vision, and the result is a mess of unresolved ideas and poorly defined beings (especially regarding the capabilities and function of the Engineers, their cargo, and subsequent anomalies).

Brandywine Productions, David Giler and Walter Hill as producers, the title font, notations of "LV_223," talk of company jobs, an android, a monstrous ship full of lonely corridors, hypersleep sickness, hidden agendas, sabotage, H.R. Giger's artwork, and advanced technology all harken the return of a familiar atmosphere. But while the environment, heaped with humidity, high-pitched noises, black muck, and slithery critters, remains reminiscent of Scott's original masterpiece, the plot progresses slowly and formulaically. A crew awakes from hypersleep, a bypass surgery medical pod is inspected, Jackson claims he's there for security purposes and brandishes weaponry, ship and helmet cameras feed crackling, static-filled transmissions, allochthonous walls glisten with slime, and an unsuccessful quarantine allows something to be brought back aboard the command ship. None of it is notably original and the sense of foreboding and foreshadowing is jeeringly blatant. Suspense arrives too late, horror is handled clumsily, and the poignancy of physical pain, understanding the purpose of the structures, and digesting answers to the mysteries of life is sorely neglected. The "space jockey" creation from Alien sparked an interesting question of origin and ancestry, but the solution is mightily underwhelming.

- The Massie Twins (GoneWithTheTwins.com) Providing articles, reviews and writings on movies online.

Movie Review: Rock of Ages (2012)

Rock god Stacee Jaxx vents that he's a slave to rock 'n' roll. His lament parallels the problems at the core of Rock of Ages; the story and characters are swallowed whole by the music - and when the pounding beat ebbs, there's little left to attract us to what's underneath. This won't be a problem for many as the creative use of classic rock songs as a form of narration has its own substantial appeal. The clever juxtaposition of recognizable tunes and the extravagantly choreographed dance sequences are also entertaining, but they don't provide the stability of a stronger plot and more intricately developed characters. When the guitars roar and the singing starts though, it can be easy to forgive the faults and submerse yourself in the pulsing music and fervent performances.

With high hopes of becoming a singer, young Oklahoma girl Sherrie Christian (Julianne Hough) heads to Hollywood. Once there, a chance encounter lands her a job at the Bourbon Room, a famous nightclub run by Dennis Dupree (Alec Baldwin) that has played host to countless rock icons, including the wildly unhinged Stacee Jaxx (Tom Cruise). Falling in love with the Bourbon's busboy Drew (Diego Boneta), Sherrie thinks she's found happiness, but a grave misunderstanding finds the lovers parting ways; as each one drifts further away from their dreams, tragedy also strikes the Bourbon in the form of a bitter mayor's wife (Catherine Zeta-Jones), intent on shutting them down. But with a little luck and a lot of love, the power of rock 'n' roll might just save them all.

Fleeting cleverness works its way into a story of shattered dreams, lost and found love, personal redemption, and all that is '80s rock (including oodles of sweat, skin, pyrotechnics, girls, booze, and mischievous pet monkeys). With laughs from sexually deviant setups, suggestive comedic arrangements, and lascivious routines, and awkwardness from the stereotypical insanities of out-of-control musicians, the lack of a plot is intermittently forgotten. The infectious, nonstop soundtrack is also, fortunately, so intoxicating that it hides the deficiency in scripting. Generic characters and expected revelations messily fill in the gaps for a thrillingly assembled composition of catchy tunes and innovative duets, further augmented by an impressive cast (considering the success of the stage play, notable actors were probably easily attracted to the theatrical adaptation).

An abundance of energy similarly makes up for the unconvincing lip-syncing and spontaneous song-and-dance that isn't as smoothly integrated into character actions as other modern musicals. The flow and transitions are somewhat abrasive at the start, but after a few montages that seem to exist in their own indeterminate time frame, it's difficult not to get caught up in Cruise's silliness (embellished with an unwarranted sense of entitlement and extreme decadence), Giamatti's go-to sleazy linguist role, and Baldwin's uncharacteristic visual styling. Russell Brand, Catherine Zeta-Jones, Bryan Cranston, and Malin Akerman conflictingly add nothing but recognizable names and missed potential. Despite the foibles and faults, however, the music really makes it work.

- The Massie Twins (GoneWithTheTwins.com) Providing articles, reviews and writings on movies online.

Movie Review: Abraham Lincoln: Vampire Hunter (2012)

From the concept of a former president's double life as a monster slayer to the outrageously unhinged action sequences, Abraham Lincoln: Vampire Hunter will test your suspension of disbelief. Films of this nature are often hard to digest in the first place, but a more careful attention to creating a coherent narrative and a greater focus on explanation over theatrics would have better prepared the mind for the outlandish situations presented. Few rules are set for the abilities of our hero, even fewer for the foes, motives are blurry at best, and gravity (of any kind) rarely makes an appearance. There's a reason you've never seen two people fighting atop a stampede of wild horses - it's just not believable no matter how substantial the special effects.

When ruthless businessman Jack Barts (Marton Csokas) murders his mother (with a conspicuous bite that causes a sickness for which there is no febrifuge), Abraham Lincoln (Benjamin Walker) becomes obsessed with revenge. But on the night he finally musters the courage to kill Barts, he discovers his nemesis is actually an immortal vampire. With the aid of the mysterious vampire hunter Henry Sturgess (Dominic Cooper), Lincoln learns how to destroy the undead and becomes a skilled killer. Hiding his demonic exploits from his love, Mary Todd (Mary Elizabeth Winstead), Lincoln begins a career in law and politics. His successes in both his public and private endeavors brings the unwelcome attention of the deadly vampire leader Adam (Rufus Sewell), causing a war to ignite that will determine the very fate of mankind.

The extent of the ridiculousness in Abraham Lincoln: Vampire Hunter cannot easily be compared or understood. It's not dissimilar to director Bekmambetov's other wildly eccentric projects, although it is drastically less polished. He makes interesting choices with adaptations, but is starting to reveal himself to be limited to the creativeness of the source material and the level of over-stylized special effects he can fuse into the blueprint. As his selections become further and further disconnected from believability, the errors and ludicrousness are much more apparent. It's bad enough that history is being grossly (not cleverly) distorted; with the exaggerated fight sequences, physics-defying stunts (an occasional few of which aren't entirely disappointing), unconvincing CG medley, and superhuman abilities of a character defined as ordinary, this hopelessly silly premise repeatedly approaches insulting.

"Vampires are real, Mr. Lincoln," matter-of-factly states Henry. This line occurs early on, with an abruptness and a bluntness that establishes the general degree of hasty introductions for every character and setting. There's never time to absorb the elements of the supernatural, the twist on the historical legend, or the shocking physical strength and ninja-like agility of Lincoln (which never subsides, especially noticeable when he turns 50). Even the unique aspects of the bloodsuckers, including invisibility, acclimation to sunlight, and the invulnerability of vampires to other vampires, present themselves out of thin air and without explanation. Abraham is taken as a pupil instantly, a training montage materializes swiftly, and genuine danger seems remote. If it isn't peculiar enough hearing factual names, famous battle locations, and civil rights milestones mentioned in context with slaying monsters, or the use of recognizable comedy character actors (Alan Tudyk, Jimmi Simpson), or hilariously violent and intentionally gratuitous death scenes, the 20+ year gap in vengeance (the villains just ignore the hero for decades) and acrobatic duel atop charging stallions might do the trick.

- The Massie Twins (GoneWithTheTwins.com) Providing articles, reviews and writings on movies online.

Purposeful Practice, Dancing With the Stars Edition

Ever wonder why Dancing with the Stars is being dominated by former athletes? Most people jump to the conclusion that it is a result of their physical prowess. Certainly this does not hurt them, but I know many highly accomplished athletes who are horrible dancers. For every Donald Driver, Shawn Johnson, Apolo Anton Ohno and Emmitt Smith there is a Monica Seles, Clyde (note nickname "The Glide," which at least suggests dancing skills) Drexler, Natalie Coughlin and Ron Artest (Aka Metta World Peace) who bow out early.

Before I get too far into this let me make this disclaimer, I've never watched Dancing with the Stars. That said it is safe to say, I am about as far from being an authority on both dancing and this show as possible. However, I do know something about performance and developing skills, and that will be how I approach this topic.

I suspect a big reason that athletes seem to dominate this competition is related to how they practice and evolve through the competition. To be a successful athlete at the highest level requires that you not only spend a lot of time practicing, but that the practice is purposeful. Purposeful practice has several characteristics, including but not limited to the following: it is centered on progress rather than results, it is deliberate, and it is highly focused on going just beyond your current limits.

When the average person practices, they want to spend 90% of their time practicing what they already do well. The highly accomplished athlete knows that he must spend the majority of his or her time working on things that they are not currently good at, but which will make them much better over time. The goal of purposeful practice is always the same: progress. We learn almost everything through making mistakes. That's how we learned to walk and talk and that's how we progress.

Additionally, most athletes at the highest level are striving to get better even once they reach the higher levels of their sport. Not to take anything away from the other competitors invited to compete on Dancing with the Stars, but most of them get comfortable with their craft once they achieve success.

Once a comedian has a successful routine, they stick with it for years or longer and are more likely to hire writers than continually work at getting better. Likewise, most actors and actresses tend to play the same kind of parts throughout their careers and when studying usually spend 90% of their practice on things they are good at. They are not actively trying to get better everyday with purposeful practice like most high level athletes.

Most athletes who reach the highest level of their sport also possess the mental edge necessary to master nearly any skill they choose to pursue. So if you combine their mental edge with purposeful practice, it is quite predictable that the athletes will improve much more throughout the process of the show than their competitors. You don't have to be athletic to sing and I suspect if they come out with a show called (please no) 'Singing with the Stars,' that it is entirely likely that athletes would dominate it as well for the same reasons I stated above. Providing articles, reviews and writings on movies online.

Pre-Movie Entertainment

An outdoor movie night is the perfect way to entertain families. If you have carefully chosen the movie for the event based on who will be attending, your event will almost surely be a success. What about before the movie begins, though? Guests will arrive at different times, and many will come early in order to secure a good spot. This is where pre-movie entertainment comes in.

Plan to begin pre-movie entertainment about an hour before the movie is scheduled to begin. Activities before the movie starts will keep the crowd engaged, especially young children, who are likely to grow restless while waiting. Adding entertainment to the event also enhances the experience; instead of simply coming out and seeing a movie, movie night turns into a full evening of family fun. Families heading to events like this are looking for an affordable way to have fun as a family, and keep everyone entertained; offering entertainment in addition to the movie is a great way to meet these expectations for families.

What type of entertainment should you plan for your outdoor movie night? This depends, in part, on the movie you are showing, and the demographics of the expected crowd. Bounce houses, face painting and carnival games are excellent choices for family friendly events, where children will be present. Be sure to plan ahead to ensure the success of these activities. During the summer months, especially, you will need to reserve a bounce house ahead of time to ensure availability. If you are planning to rent any special concession equipment such s a popcorn machine, be sure to reserve those items ahead of time as well.

Concessions are appropriate for any event, and many guests will want to purchase snacks before the movie begins. Popcorn is a classic movie snack, others to consider include candy, and popsicles for summer movie nights.

Consider planning themed entertainment for an especially memorable experience. If you are showing an Ice Age movie, for example, consider bringing in a snow machine.

Pre-movie entertainment is also a great way to raise some money to help cover the production costs for the movie night. You can charge reasonable prices for snacks and small fees for carnival games to keep it affordable while raising money.

Hosting a successful outdoor movie event takes careful thought and some time spent planning ahead. From choosing a movie, promoting the event, securing the equipment and preparing the venue, there is a lot of work that goes on behind the scenes to make these seemingly simple events successful. Putting in a little bit of extra effort to plan some pre-movie entertainment is worth the additional time and planning. Entertainment will set your movie night apart from other outdoor movie events and give attending families a special night to remember. Providing articles, reviews and writings on movies online.

Auf Wiedersehen Pet Series 1

In 1983, a TV show was shown on ITV, that could have been a huge hit or a ratings disaster. Thankfully for all involved, Auf Wiedersehen Pet was a huge hit for viewers and critics alike.

The UK in the late 1970's and early 1980's was a place of national strikes and huge unemployment, especially in places such as the North East. Franc Roddam the creator of the show, came up with the idea, when on returning to his home town of Norton, Stockton on Tees, found that many of his friends in the construction trade had gone to work in Germany.

Franc Roddam created the series, and worked with the brilliant writing team of Ian la Frenais and Dick Clement, who had also written for shows such as The Likely Lads and Porridge. Six episodes were written, and then the rest of the series was written around the characters, as we watched them fall in and out of love, get into fights and also find some of them back in the UK unexpectedly.

The series was a huge success, and not only down to the great writing and superb performances of the cast. The series made huge names out of Jimmy Nail, Tim Spall, Tim Healy, Kevin Whately, Pat Roach and Gary Holton.

Viewers were drawn to the reality of what they were seeing on screen, and because of what was happening at that time in the UK, it was almost like watching a documentary for many people. The series struck a chord, and still does almost 30 years on from when it was first shown on British TV.

The series revolved around a group of seven men. Four bricklayers, a carpenter, a plasterer and an electrician. The timing of the show was perfect, and to think that this type of show would be such a hit in this modern world we live in, probably not.

The series was shown on ITV from the 11th of November 1983, through to the 10th of February 1984. Viewing figures for the first series were an average of 10 million, but this would almost double for the second series when that was aired in 1986.

There were many comparisons made to this first series, with many commenting on how it was very much like watching a WW2 film, as the lads all lived in a blue wooden hut on site. This was what made the series real and gritty, and the writers and creator knew how to connect with the British public at a time when there was nothing to look forward to, except rising unemployment figures. Providing articles, reviews and writings on movies online.

Movie Review: Prometheus (2012)

Director Ridley Scott originally intended on creating a prequel to his film Alien, but when the script writing began, he realized the wealth of material presented warranted its own separate tale (still set in the same universe, however). Such an undertaking led to copious speculation and extremely high expectations from fans for what would eventually become Prometheus. Yet for a film that supposedly merited severance from becoming a direct Alien precursor, the sequence of events in Prometheus are strikingly close to that of Scott's prior effort. In fact, certain segments seem designed specifically as a counterpart to the iconic moments now cemented in cinematic history. Unfortunately, none of these scenes come close to the shocking brilliance of those found in Alien, and while the atmospheric sets, awe-inspiring practical effects, and competent acting are present as they should be, don't expect to find the answers you're looking for - in either the notorious beasts' origins or the countless new questions raised that Scott clearly feels are better left unanswered.

When scientists Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) discover clues on Earth that point to possible "engineers" of mankind, they partner with the powerful Weyland Corporation to launch an expedition into space to make contact with their creators. Governed by Weyland's stern attaché Meredith Vickers (Charlize Theron) and accompanied by geologists, mercenaries, and the cryptic android David (Michael Fassbender), the crew of the spaceship Prometheus is instructed not to interact with any life forms they may encounter. But once the group reaches their destination of the moon LV-233 and discovers the remains of the beings they set out to find, avoiding exposure becomes impossible. As a deadly infection rapidly spreads and mysterious creatures begin attacking the crew, Elizabeth realizes the horrifying truth and must fight for her own life as well as the very fate of mankind.

The usually capable director has bitten off a bit more than he could chew with Prometheus, which attempts at different moments to be a great many things. Expectations are particularly high, since Scott became famous for Alien in 1979, and this film marks his return to the genre. At the beginning, he ventures into contemplating alternatives to the evolution of humankind with predominantly science-fiction philosophies; in the middle, he explores favorite themes such as the assault on feeble human flesh, the invasion of orifices, and genetic mutation - essential elements of gore for the sake of horror; and toward the conclusion, he opts for action-oriented thrills, packed with impressive CG wizardry and massive destruction. Each shift in genre disorients the story from having a clear vision, and the result is a mess of unresolved ideas and poorly defined beings (especially regarding the capabilities and function of the Engineers, their cargo, and subsequent anomalies).

Brandywine Productions, David Giler and Walter Hill as producers, the title font, notations of "LV_223," talk of company jobs, an android, a monstrous ship full of lonely corridors, hypersleep sickness, hidden agendas, sabotage, H.R. Giger's artwork, and advanced technology all harken the return of a familiar atmosphere. But while the environment, heaped with humidity, high-pitched noises, black muck, and slithery critters, remains reminiscent of Scott's original masterpiece, the plot progresses slowly and formulaically. A crew awakes from hypersleep, a bypass surgery medical pod is inspected, Jackson claims he's there for security purposes and brandishes weaponry, ship and helmet cameras feed crackling, static-filled transmissions, allochthonous walls glisten with slime, and an unsuccessful quarantine allows something to be brought back aboard the command ship. None of it is notably original and the sense of foreboding and foreshadowing is jeeringly blatant. Suspense arrives too late, horror is handled clumsily, and the poignancy of physical pain, understanding the purpose of the structures, and digesting answers to the mysteries of life is sorely neglected. The "space jockey" creation from Alien sparked an interesting question of origin and ancestry, but the solution is mightily underwhelming.

- The Massie Twins (GoneWithTheTwins.com) Providing articles, reviews and writings on movies online.

Movie Review: Rock of Ages (2012)

Rock god Stacee Jaxx vents that he's a slave to rock 'n' roll. His lament parallels the problems at the core of Rock of Ages; the story and characters are swallowed whole by the music - and when the pounding beat ebbs, there's little left to attract us to what's underneath. This won't be a problem for many as the creative use of classic rock songs as a form of narration has its own substantial appeal. The clever juxtaposition of recognizable tunes and the extravagantly choreographed dance sequences are also entertaining, but they don't provide the stability of a stronger plot and more intricately developed characters. When the guitars roar and the singing starts though, it can be easy to forgive the faults and submerse yourself in the pulsing music and fervent performances.

With high hopes of becoming a singer, young Oklahoma girl Sherrie Christian (Julianne Hough) heads to Hollywood. Once there, a chance encounter lands her a job at the Bourbon Room, a famous nightclub run by Dennis Dupree (Alec Baldwin) that has played host to countless rock icons, including the wildly unhinged Stacee Jaxx (Tom Cruise). Falling in love with the Bourbon's busboy Drew (Diego Boneta), Sherrie thinks she's found happiness, but a grave misunderstanding finds the lovers parting ways; as each one drifts further away from their dreams, tragedy also strikes the Bourbon in the form of a bitter mayor's wife (Catherine Zeta-Jones), intent on shutting them down. But with a little luck and a lot of love, the power of rock 'n' roll might just save them all.

Fleeting cleverness works its way into a story of shattered dreams, lost and found love, personal redemption, and all that is '80s rock (including oodles of sweat, skin, pyrotechnics, girls, booze, and mischievous pet monkeys). With laughs from sexually deviant setups, suggestive comedic arrangements, and lascivious routines, and awkwardness from the stereotypical insanities of out-of-control musicians, the lack of a plot is intermittently forgotten. The infectious, nonstop soundtrack is also, fortunately, so intoxicating that it hides the deficiency in scripting. Generic characters and expected revelations messily fill in the gaps for a thrillingly assembled composition of catchy tunes and innovative duets, further augmented by an impressive cast (considering the success of the stage play, notable actors were probably easily attracted to the theatrical adaptation).

An abundance of energy similarly makes up for the unconvincing lip-syncing and spontaneous song-and-dance that isn't as smoothly integrated into character actions as other modern musicals. The flow and transitions are somewhat abrasive at the start, but after a few montages that seem to exist in their own indeterminate time frame, it's difficult not to get caught up in Cruise's silliness (embellished with an unwarranted sense of entitlement and extreme decadence), Giamatti's go-to sleazy linguist role, and Baldwin's uncharacteristic visual styling. Russell Brand, Catherine Zeta-Jones, Bryan Cranston, and Malin Akerman conflictingly add nothing but recognizable names and missed potential. Despite the foibles and faults, however, the music really makes it work.

- The Massie Twins (GoneWithTheTwins.com) Providing articles, reviews and writings on movies online.