Martin's Musings

I don’t know who it was that asked for a remake of the seminal Kevin Bacon film Footloose, but it sure wasn’t me. Nevertheless, we now have one in theaters. But before you all get your panties in a bunch and gasp in horror about how Hollywood could possibly do this to one of the greatest movies of our childhoods, I’ll ask you to calm down, take a step back, and remember this one very important fact: The original film wasn’t very good. It may have gained sentimental value over the years, and some people look back on it now with great affection, but Footloose won no awards in its day — not even for its soundtrack. (I know. This is a harsh truth. You’ll thank me later.)

So it’s a mixed blessing, then, that this new Footloose is in many ways a carbon copy of the original, from Kenny Loggins’ title song playing over the same foot-focused opening credits, to the teaching Willard how to dance scene, to the choreography of the final dance, which takes place while Blake Shelton’s countryfied cover of the song plays. Does that mean the film is short on creativity? Sorta. But does it matter? I don’t think so in this case. I mean, like a decent cover version of a beloved song (Shelton’s “Footloose,” for instance), it’s still a good song, even if it’s missing a certain je ne sais quoi and doesn’t sound exactly the same. And that’s pretty much what this Footloose is: A decent cover version of a beloved movie.

If you grew up in the 1980s, then you know the basic plot of the film: City kid Ren McCormack (Kenny Wormald, bravely and gamely taking over for Kevin Bacon) moves to Bomont, Georgia, a town where dancing and rock music have been banned (in 2011, that a town could or would ban music seems a bit hard to believe, but oh well). Ren’s rebellious spirit shakes up the town, and catches the attention of the Reverend’s daughter, Ariel (Julianne Hough), whose own rebellious spirit gets her into some hot water with her father (Dennis Quaid). Some of the details of the plot have been changed (for example, Ren is now from Boston, not Chicago, and his mother is dead), but nothing too significant. It’s the same movie with a fresh, sexier coat of paint. Again, not necessarily a bad thing. (I’d rather watch Hough shake her tail feather any day than watch Lori Singer. Wouldn’t you?)

Like the original, this Footloose is by no means a great movie, but it does have its moments of fun. Hough and Wormald make a very attractive couple, and those songs you loved in the original still sound great (I’ll admit that my feet and hands were tapping during the opening and closing numbers, and at various other times too). Will you smile when Ren calls out those same bible verses in the city council meeting? Sure. Will you giggle with recognition when Ren throws up the confetti at the end and yells, “Let’s dance!” Totally. If you answered “no” to either of those questions, then this new Footloose isn’t for you. But if you can stomach some awkwardness and tolerate a whole lot of similarities, and if the original film occupies a sweet spot in your memories, then you may just have a surprisingly good time watching this remake. I’m giving Footloose a B.

A documentary for fans, and made by a fan, Beats Rhymes & Life tells the story of the rise and fall and rise and uncertain future of A Tribe Called Quest, one of the best rap/hip hop groups of the last 20 years. Through interviews with group members and others (including The Beastie Boys, Monie Love, De La Soul, The Jungle Brothers, and Common), we learn how the group was formed, how it found success with a unique sound, and how eventually, differences, miscommunications, pride, and ego led to the group’s breakup in 1998.

Actor Michael Rapaport (Friends, Prison Break, Mighty Aphrodite) set out to make his movie in 2008, when A Tribe Called Quest reunited and went on tour. The film captures not a triumphant return to the stage but a fractured and tenuous relationship among the band, with unresolved issues that threaten any long-term reunion plans. In this footage and the accompanying interviews, Q-Tip is presented as ATCQ’s brains and leader, and Phife Dawg as its heart. And those two just can’t seem to see eye to eye. It’s a love-dislike relationship, with wounds that cut deep. And the film, in natural, not augmented ways, helps you see the discord is very real and heartfelt.

The rest of the movie is like that too. Neither a slick documentary, a PR puff piece, or an amateurish home video, Beats Rhymes & Life feels instead like an affectionate tribute to an influential music group, warts and all, made by a guy who really likes them. It’s filled with great music and well shot interview footage. I wouldn’t say the movie was essential viewing, but it’s a fun documentary and worth the hour and a half if you’re a fan of hip hop and rap. I’m giving Beats Rhymes & Life a B.