Rock of Ages (2012)
Directed by Adam Shankman
A small town girl and a city boy meet on the Sunset Strip, while pursuing their Hollywood dreams.
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What critics compared Rock of Ages to
Watching Rock of Ages, I was reminded to one degree or another of three previous features: Mamma Mia! , Xanadu , and Showgirls .
Sure, if we're judging on the Mamma Mia! scale of basic cinematic competence, Rock of Ages is unabashedly and objectively the better jukebox musical: scenes are assembled coherently if not with the utmost clarity, and the actors have all generally been turned to point in the same direction, though Zeta-Jones and Cruise are by a criminally large margin the only people onscreen worth bothering with, largely because they are the only two who understand how to have much fun with what is, after all, a schlocky and disposable premise.
It ends up being "Mamma Mia!" with a dash of "Glee."
Not surprisingly, such tactics also made it onto Broadway, with the biggest success coming in the form of "Mamma Mia!" that took old ABBA songs and built a musical around them.
Based on the jukebox musical, the film should be a guyliner-and-leather infused version of Mamma Mia! — a light-hearted production with a vague and silly plot strung together clumsily by infectious songs that demand you sing along (this time by Poison, Def Leppard, Journey and Whitesnake instead of ABBA).
…there is a “Cats,” “Rock of Ages,” or “Dear Evan Hansen.”
It's only a week before Jason's wedding to his boss's daughter Meredith (Julianne Hough, "Footloose," "Rock of Ages"), but he relents for some overdue bonding time.
Mientras que el mainstream yanqui continúa empujando el negocio hacia las franquicias eternas, Cruise, una de las figuras con mayor poder intra Hollywood, pretende mantenerlo apegado a los preceptos que le interesan y le convienen a él, los de las estrellas inmaculadas del pasado, de allí surge el tono narrativo nostálgico de Top Gun: Maverick y el buen nivel de los trabajos de Cruise en formato productor/ curador artístico, pensemos en Barry Seal: Sólo en América ( American Made , 2017), de Doug Liman, Al Filo del Mañana ( Edge of Tomorrow , 2014), otra de Liman, la citada Oblivion , Jack Reacher (2012), de su compinche McQuarrie, y Operación Valquiria ( Valkyrie , 2008), del malogrado Bryan Singer, esquema que nos lleva a señalar que no todas son rosas porque el señor a veces entrega obras fallidas como La Momia ( The Mummy , 2017), de Alex Kurtzman, La Era del Rock ( Rock of Ages , 2012), de Adam Shankman, y Encuentro Explosivo ( Knight and Day , 2010), opus de James Mangold.