The Rocker tells the story of a failed drummer who is given a second chance at fame. Robert "Fish" Fishman is the extremely dedicated and astoundingly passionate drummer for the eighties hair band Vesuvius, who is living the rock n' roll dream until he is unceremoniously kicked out of the band. Twenty years after his rock star fantasies are destroyed, just when Fish has finally given up all hope, he hears that his nephew's high school rock band A.D.D. is looking for a new drummer. They reluctantly make him the newest member of the band, giving him a chance to reclaim the rock God throne he's always thought he deserved, and taking the young band along for the ride of their lives. . You can read more in Google, Youtube, Wiki
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Elton G (mx) wrote: There's something about this film that's so original....the excellent cast and the great visuals help too.
JohnnyLee T (it) wrote: Dour Scottish erotic drama worth watching for Ewan McGregor's performance alone. Perfectly recreated depiction of 1950s Glascow and the River Clyde. The film in overstriving for effect leaves the viewer feeling detached.Where does the title come from? Still baffled by that. The barge (which is actually owned by Ella, not her husband) is named the Atlantic Eve. Maybe this gives a clue. Joe is very passive in his approach to women, even though he beds every single (or married!) one of them he comes across. More interesting sides to his character are not really explored, particularly his writing. We see him reading a lot but at some stage has given up on being a successful writer and throws his typewriter into the Clyde. One of his girlfriends who was supporting him while he tried to write his novel accused him of not writing popular stuff, I would have loved to have learnt more about that side of his life."I Made Some Custard"It was during that scene I actually laughed, yes LAUGHED. Joe is sitting around trying to write his novel when his girlfriend, who has been supporting him for the last eight months, arrives home from work and accuses him of wasting his day while she's been bringing home the bacon. She asks him what he's been doing all day and Joe (straight-faced) replies he made some custard! McGregor is wonderful as he tells her that, perfect expression - I could imagine the actors bursting out laughing as the camera stopped rolling. Anyhow what happens after that sees our hero at his least passive! Controversially, his use of violence here is portrayed as possibly part of a sex game. I got the impression the director doesn't allow Cathie to be the total victim but we are not sure how far she is a willing partner or not. Joe doesn't console her afterwards or follow-up for her pleasure or tend to her. This mix of violence and sex is no doubt disturbing but their relationship lasted 16 more months and Cathie kicked him out in the end and they parted amicably, both agreeing their time together was up. Director's attitude unclear.The score by David Byrne is very appropriate for the mood, with the sound of the cello coming out underneath all the broody goings-on.
Calyre Z (au) wrote: "Ce que je sais d'elle d'un simple regard"
Justin B (gb) wrote: Shockingly well made trash.
Cody C (ru) wrote: Not nearly as good as Hard Ticket To Hawaii, but it has some fun parts, and contains one of my favorite lines in film history. It's just way too all over the place though.
Aj V (us) wrote: I'm glad I finally got to see this on TV last night, it's not available to rent anywhere. This movie has just a bunch of my favourite actors, some of which I didn't know were going to be in the movie, so it was fun to spot them. The story of this movie is very goofy, it's a spoof movie sort of like the movie Student Bodies, but less scary and more fun. I especially liked Kane and Reubens performances in this movie. I really enjoyed this movie, and I recommend seeing it if you get the chance.
Joshua L (ru) wrote: This wasn't bad. Quite good for an old school movie.
Ahmed M (mx) wrote: The story might not be good, but the characters and the movie is somewhat entertaining.
Cameron J (de) wrote: It's Dean Martin, Ricky Nelson and, of course, the most dynamite musician of all, Mr. John Wayne, pilgrims. This is a weird cast line-up for a western, which could have just stuck with the singer theme, but seriously, what, were they just supposed to not involve John Wayne in this western? As long as this film is, Wayne would had to have showed up eventually, which is where "High Noon" really blew it when it was trying to get Wayne in the lead role... which was probably a little more compelling because Gary Cooper didn't play the same John Wayne role that you couldn't get rid of in the western film industry of '50s. ...No, I'm kidding; there's no getting tired of that good old-fashioned John Wayne charm, especially when it combines with that good old-fashioned Dean Martin charm. Wow, this sounds like one seriously charismatic duo, as well it should be, because two-and-a-half hours might just be a little too long for John Wayne, or at least that's probably what they thought back in 1959, a little bit before Wayne decided to really challenge that theory. Well, folks, this film is at least less overlong and exhausting than "The Alamo" and "The [u]Longest[/u] Day", which is probably why it's so endearing, you know, outside of that good old-fashioned John Wayne and Dean Martin Charm. With that said, while this film isn't exactly two-and-a-half hours wasted, if it isn't Wayne's voice, then something ought to try your patience. It's debatable just how refreshing the film is in certain places, but it's even harder to deny the film's still often devolving to conventions, with little to say that's new in the unraveling of a story that makes matters worse by taking from melodramatic roots. As with many westerns of this nature, melodramatics play an instrumental role in driving a very Hollywood narrative, and that's fine, but for only so long, before it becomes a touch too obvious that the near-overwrought histrionic plotting seems to be attempting to compensate for natural shortcomings. This is a less adventurous and more intimate Hollywood western that has plenty of intrigue on paper, but also has plenty of natural shortcomings and minimalisms which probably shouldn't be crafted into something of a pseudo-epic. At just shy of two-and-a-half hours, the film tends to seriously outstay its welcome, meandering along with expendable material, as well as potentially dismissible material that seems to be forcibly clung onto the narrative, usually as those aforementioned histrionics. All of this dramatic bloating and structural dragging aren't especially severe issues, but they're recurrent throughout a questionably hefty runtime, and that tires your patience about as much as the times in which, of all things, storytelling falls flat, not just with the thin spells to characterization or anything like that, but with certain thin spells to direction that are near-blanding, and all too often distancing in their sense of stylistic laziness. There's something vacant about this film, and that's a shame, because this film could have done a lot with its length, rather than laze through it, with too much familiarity, bloating and thinness to truly thrive. Still, no matter how much potential goes betrayed, it is still done enough justice to make a pretty decent, and even well-produced western. The production value of this particular, light-scale western is a little too subtle to be especially outstanding, but it is there, orchestrated by art director Leo K. Kuter in a tight fashion that is distinguished enough to draw you into the environment and draw this world about as, if not more colorfully than Jules Furthman's and Leigh Brackett's script. Well, perhaps the art direction does a more consistent job of selling the film, as the screenplay is formulaic, melodramatic and, of course, overblown, but it is still nonetheless clever, with some humor and memorable characterization, in addition to biting dramatic highlights that rally shine a light on the story concept's potential, no matter how limited. The 142-minute runtime wouldn't be as unreasonable as it very much is if the story concept was meaty enough to be more worthy of meaty ambition, which is still not unreasonable itself, as there is still a potential to this intriguing and sometimes colorful portrait on a sheriff's struggles on a path to fulfill justice, and the script, no matter how flawed, does more justice to such potential than Howard Hawks' direction. Hawks seems to understand the limitations of this drama, and therefore feels flat in enough ways for momentum to be retarded to the point of losing reward value, but when Hawks wakes up, momentum is restored, at least enough to entertain, with some effective highlights in genuine tension that actually use the cold storytelling effectively in establishing a certain quiet intrigue. Make no mistake, more than anything, the directorial highlights beget entertainment value that is still pretty limited in the long run, but it's not the only highlight, of which there are enough spread out throughout the near-two-and-a-half-hour runtime for the final product to border on rewarding, at least on the back of what is arguably the most consistently strong aspect. The acting is pretty decent, maybe even solid, for what it is, and while there isn't much to do here, whether it be Angie Dickinson as an intriguingly mysterious woman, or Walter Brennan as the colorfully chatty old deputy, or Dean Martin as a more frustrated and flawed man of justice, or John Wayne as a more soberly engaging, yet also flawed man of justice, there is deliverance across the board, as well as chemistry. Although the film boasts the length of an epic, it's about its characters, and their interactions, and no matter how flat the storytelling is, the performances have heart, of which there is still enough in other areas of filmmaking to make the final product endearing, even though it could have been more. All in all, there's little that's new and plenty that's melodramatic in the draggy and often lazy-feeling telling of a story of only so much meat, thus, the final product falls as underwhelming, but not so deeply that production value, writing highlights, direction highlights and across-the-board enjoyable performances fail to drive Howard Hawks' "Rio Bravo" as a plenty entertaining, if plenty flawed western classic. 2.75/5 - Decent