Review: ‘Thor: Love and Thunder,’ starring Chris Hemsworth, Christian Bale, Tessa Thompson, Taika Waititi, Russell Crowe and Natalie Portman

July 5, 2022

by Carla Hay

Natalie Portman and Chris Hemsworth in “Thor: Love and Thunder” (Photo by Jasin Boland/Marvel Studios)

“Thor: Love and Thunder”

Directed by Taika Waititi

Culture Representation: Taking place on Earth and other parts of the universe (including the fictional location of New Asgard), the superhero action film “Thor: Love and Thunder” features a predominantly white cast of characters (with some African Americans, Latinos and Asians) representing the working-class, middle-class and wealthy.

Culture Clash: Nordic superhero Thor Odinson, also known as the God of Thunder, teams up with allies in a battle against the revengeful villain Gorr the God Butcher, while Thor’s ex-girlfriend Jane Porter has her own personal battle with Stage 4 cancer. 

Culture Audience: Besides appealing to the obvious target audience of comic book movie fans, “Thor: Love and Thunder” will appeal primarily to people who are fans of the movie’s headliners and action movies that skillfully blend drama and comedy.

Christian Bale in “Thor: Love and Thunder” (Photo courtesy of Marvel Studios)

“Thor: Love and Thunder” could also be called “Thor: Grief and Comedy,” because how of this superhero movie sequel balances these two themes with some results that are better than others. The movie goes big on showing bittersweet romance and the power of true friendships. Some of the movie’s subplots clutter up the movie, and any sense of terrifying danger is constantly undercut by all the wisecracking, but “Thor: Love and Thunder” gleefully leans into the idea that a superhero leader can be a formidable warrior, as well as a big goofball and a sentimental romantic.

Directed by Taika Waititi, “Thor: Love and Thunder” is also a commercial showcase for Guns N’Roses music. It’s the first Marvel Studios movie to blatantly shill for a rock band to the point where not only are four of the band’s hits prominently used in major scenes in the movie, but there’s also a character in the movie who wants to change his first name to be the same as the first name of the band’s lead singer. The music is well-placed, in terms of conveying the intended emotions, but viewers’ reactions to this movie’s fan worship of Guns N’Roses will vary, depending on how people feel about the band and its music. The Guns N’Roses songs “Welcome the Jungle,” “Paradise City,” “Sweet Child O’ Mine” and “November Rain” are all in pivotal scenes in “Thor: Love and Thunder.”

“Thor: Love and Thunder” picks up where 2019’s blockbuster “Avengers: Endgame” concluded. What’s great about “Thor: Love and Thunder” (which Waititi co-wrote with Jennifer Kaytin Robinson) is that the filmmakers didn’t assume that everyone watching the movie is an aficionado of the Marvel Cinematic Universe (MCU), nor did they assume that everyone watching “Thor: Love and Thunder” will know a lot about the Nordic superhero Thor Odinson (played by Chris Hemsworth) before seeing the movie. Near the beginning of the movie, there’s a montage summary (narrated cheerfully by Waititi’s Korg character, a rock-like humanoid who is one of Thor’s loyal allies) that shows the entire MCU history of Thor up until what’s about to happen in “Thor: Love and Thunder.”

The movie’s opening scene isn’t quite so upbeat, because it gets right into showing that grief will be one of the film’s biggest themes. In a very barren desert, a man and his daughter (who’s about 8 or 9 years old, played by India Rose Hemsworth) are deyhdrated, starving, and close to dying. The girl doesn’t survive, and the man is shown grieving at the place where he has buried her. Viewers soon find out that this man is Gorr the God Butcher (played by Christian Bale), who is the story’s chief villain. But he didn’t start out as a villain.

After the death of his daughter, a ravenously hungry Gorr ends up a tropical-looking, plant-filled area, where he devours some fruit. Suddenly, a male god appears before Gorr, who is pious and grateful for being in this god’s presence. Gorr tells the god: “I am Gorr, the last of your disciples. We never lost our faith in you.”

The god scoffs at Gorr’s devotion and says, “There’s no eternal reward for you. There’ll be more followers to replace you.” Feeling betrayed, Gorr replies, “You are no god! I renounce you!” The god points to a slain warrior on the ground and tells Gorr that the warrior was killed for the Necrosword, a magical sword that can kill gods and celestials. The Necrosword levitates off of the ground and gravitates toward Gorr.

The god tells Gorr: “The sword chose you. You are now cursed.” Gorr replies, “It doesn’t feel like a curse. It feels like a promise. So this is my vow: All gods will die!” And you know what that means: Gorr kills the god in front of him, and Thor will be one of Gorr’s targets.

Meanwhile, Thor is seen coming to the rescue of the Guardians of the Galaxy, who need his help in battling some villains on a generic-looking planet in outer space. All of the Guardians are there (except for Gamora, who died at the end of “Avengers: Endgame”), and they see Thor as a powerful ally. However, the Guardians are worried that Thor has lost a lot of his emotional vitality. Thor (who hails from Asgar) is grieving over the loss his entire family to death and destruction.

Thor is also still heartbroken over the end of his romantic relationship with brilliant astrophysicist Jane Foster (played by Natalie Portman), who was in 2011’s “Thor” and 2013’s “Thor: The Dark World.” Viewers will find out in a “Thor: Love and Thunder” flashback montage what really happened that caused the end of this relationship. Jane and Thor are considered soul mates, but their devotion to their respective work resulted in Thor and Jane drifting apart.

Guardians of the Galaxy leader Peter Quill, also known as Star-Lord (played by Chris Pratt), tries to give Thor a pep talk, because Star-Lord can relate to losing the love of his life (Gamora, played by Zoe Saldana), but the main difference is that Thor has a chance to see Jane again because she’s still alive. As shown in the trailer for “Thor: Love and Thunder,” Jane will soon come back into Thor’s life in an unexpected way, when she gains possession of Thor’s magical hammer, Mjolnir, and she reinvents herself as the Mighty Thor. As an example of some of the movie’s offbeat comedy, Korg keeps getting Jane Foster’s name wrong, by sometimes calling her Jane Fonda or Jodie Foster.

The Guardians of the Galaxy section of “Thor: Love and Thunder” almost feels like a completely separate short film that was dropped into the movie. After an intriguing opening scene with Gorr, viewers are left wondering when Gorr is going to show up again. Instead, there’s a fairly long stretch of the movie with Thor and the Guardians of the Galaxy

After spending a lot of meditative time lounging around in a robe, Thor literally throws off the robe for the battle scene with Thor and the Guardians of the Galaxy, as the Guns N’Roses song “Welcome to the Jungle” blares on the soundtrack. After the battle is over (it’s easy to predict who the victors are), Thor’s confident ego seems to have come roaring back. He exclaims with a huge grin: “What a classic Thor adventure! Hurrah!”

As a gift for this victory, Thor gets two superpowered goats, which have the strength to pull space vessels and whose goat screaming becomes a running gag in the movie. The visual effects in “Thor: Love and Thunder” get the job done well enough for a superhero movie. But are these visual effects groundbreaking or outstanding? No.

The Guardians’ personalities are all the same: Star-Lord is still cocky on the outside but deeply insecure on the inside. Drax (played by Dave Bautista) is still simple-minded. Rocket (voice by Bradley Cooper) is still sarcastic. Mantis (played by Pom Klementieff) is still sweetly earnest. Groot (voiced by Vin Diesel) still only has three words in his vocabulary: “I am Groot.”

Nebula (voiced by Karen Gillan), who is Garmora’s hot-tempered adopted sister and a longtime Guardians frenemy, is now an ally of the Guardians. Guardians associate Kraglin Obfonteri (played by Sean Gunn) makes a brief appearance to announce that he’s gotten married to an Indigarrian woman named Glenda (played by Brenda Satchwell), who is one of his growing number of his wives. It’s mentioned in a joking manner that Kraglin has a tendency to marry someone at every planet he visits.

With his confidence renewed as the God of Thunder, Thor decides he’s ready to end his “retirement” and go back into being a superhero. He says goodbye to the Guardians, who fly off in their spaceship and wish him well. Little does Thor know what he’s going to see someone from his past (Jane), whom he hasn’t seen in a long time.

Sif (played by Jaimie Alexander), an Asgardian warrior who was in the first “Thor” movie and in “Thor: The Dark World,” re-appears in “Thor: Love and Thunder,” but she now has a missing left arm and has to learn to re-adjust her fighting skills. Sif’s presence in this movie isn’t entirely unexpected. It’s a welcome return, but some viewers might think that Sif doesn’t get enough screen time.

Meanwhile, as shown in “Avengers: Endgame,” Thor gave up his King of New Asgard title to his longtime associate Valkyrie (played by Tessa Thompson), who’s finding out that being the leader of New Asgard isn’t quite as enjoyable as she thought it would be. She’d rather do battle alongside her buddy Thor instead of having to do things like attend dull council meetings or cut ribbons at opening ceremonies. New Asgard is a fishing village that has become a tourist destination that plays up its connection to Thor and his history.

The stage play recreation of Thor’s story was used as a comedic gag in 2017’s “Thor: Ragnarok” (also directed and written by Waititi), and that gag is used again in “Thor: Love and Thunder,” as this play is staged in New Asgard, but with an update to include what happened in “Thor: Ragnarok.” Making uncredited cameos as these stage play actors in “Thor: Love and Thunder” are Matt Damon as stage play Loki (Thor’s mischievous adopted brother), Luke Hemsworth as stage play Thor, Melissa McCarthy as stage play Hela (Thor’s villainous older sister) and Sam Neill as stage play Odin (Thor’s father). This comedic bit about a “Thor” stage play isn’t as fresh as it was in “Thor: Ragnarok,” but it’s still amusing.

One of the New Asgard citizens is a lively child of about 13 or 14 years old. His name is Astrid, and he announces that he wants to change his first name to Axl, in tribute to Axl Rose, the lead singer of Guns N’Roses. Axl (played by Kieron L. Dyer) is the son of Heimdall (played by Idris Elba), the Asgardian gatekeeper who was killed by supervillain Thanos in 2018’s “Avengers: Infinity War.” As fans of superhero movies know, just because a character is killed on screen doesn’t mean that that character will never be seen again. And let’s just say that “Thor: Love and Thunder” makes it clear that people have not seen the last of Heimdall.

Jane has a poignant storyline because she has Stage 4 cancer, which is something that she’s in deep denial about since she wants to act as if she still has the same physical strength as she did before her cancer reached this stage. Jane’s concerned and loyal assistant Darcy Lewis (played by Kat Dennings) makes a brief appearance to essentially advise Jane to slow down Jane’s workload. Jane refuses to take this advice.

The way that Jane gets Thor’s hammer isn’t very innovative, but she finds out that the hammer gives her godlike strength and makes her look healthy. It’s no wonder she wants to explore life as the Mighty Thor. (Her transformation also includes going from being a brunette as Jane to being a blonde as the Mighty Thor.)

And where exactly is Gorr? He now looks like a powder-white Nosferatu-like villain, as he ends up wreaking havoc by going on a killing spree of the universe’s gods. And it’s only a matter of time before Gorr reaches New Asgard. With the help of shadow monsters, Gorr ends up kidnapping the children of New Asgard (including Axl) and imprisoning them in an underground area. Guess who’s teaming up to come to the rescue?

After the mass kidnapping happens, there’s a comedic segment where Thor ends up in the kingdom of Greek god Zeus (played by Russell Crowe), a toga-wearing hedonist who says things like, “Where are we going to have this year’s orgy?” Zeus is Thor’s idol, but Thor gets a rude awakening about Zeus. Thor experiences some humiliation that involves Thor getting completely naked in Zeus’ public court. Crowe’s questionable Greek accent (which often sounds more Italian than Greek) is part of his deliberately campy performance as Zeus.

“Thor: Love and Thunder” packs in a lot of issues and switches tones so many times, it might be a turnoff to some viewers who just want to see a straightforward, uncomplicated and conventional superhero story. However, people who saw and enjoyed “Thor: Ragnarok” will be better-prepared for his mashup of styles that Waititi continues in “Thor: Love and Thunder,” which has that same spirit. “Thor: Love and Thunder” tackles much heavier issues though, such as terminal illness and crushing heartbreak.

The movie’s cancer storyline with Jane could have been mishandled, but it’s written in a way that has an emotional authenticity among the fantastical superhero shenanigans. “Thor: Love and Thunder” also goes does fairly deep in exposing the toll that superhero duties can take on these superheroes’ love lives. Thor and Jane have to come to terms with certain decisions they made that affected their relationship.

The movie also provides a glimpse into the personal lives of supporting characters Korg and Valkyrie. In a memorable scene, Valkyrie and Korg are alone together in an area of Thor’s Viking ship, and they have a heart-to-heart talk about not finding their true loves yet. They are lovelorn cynics but still show some glimmers of optimism that maybe they will be lucky in love. It’s in this scene where Korg mentions that he was raised by two fathers, and Valkyrie briefly mentions having an ex-girlfriend. A scene later in the movie shows that Korg is open having a same-sex romance.

All of the cast members do well in their roles, but Hemsworth and Portman have the performances and storyline that people will be talking about the most for “Thor: Love and Thunder.” The ups and downs of Thor and Jane’s on-again/off-again romance are not only about what true love can mean in this relationship but also touch on issues of power, control, trust and gender dynamics. It’s a movie that acknowledges that two people might be right for each other, but the timing also has to be right for the relationship to thrive.

Bale does a very solid job as Gorr, but some viewers might be disappointed that Gorr isn’t in the movie as much as expected. That’s because the first third of “Thor: Love and Thunder” is taken up by a lot of Guardians of the Galaxy interactions with Thor. In other words, Gorr’s villain presence in “Thor: Love and Thunder” is not particularly encompassing, as Hela’s villain presence was in “Thor: Ragnarok.”

The movie’s final battle scene might also be somewhat divisive with viewers because one member of Thor’s team is not part of this battle, due to this character being injured in a previous fight and being stuck at a hospital. Fans of this character will no doubt feel a huge letdown that this character is sidelined in a crucial final battle. Leaving this character out of this battle is one of the flaws of “Thor: Love and Thunder.”

The mid-credits scene and end-credits scene in Thor: Love and Thunder” show characters who are supposed to be dead. The mid-credits scene also introduces the family member of one of the movie’s characters, while the end-credits scene teases the return of other characters who exist in another realm. Neither of these scenes is mind-blowing. However, they’re worth watching for MCU completists and anyone who likes watching all of a movie’s credits at the end.

What “Thor: Love and Thunder” gets right is that it shows more concern than many other MCU movies about how insecurities and isolation outside the glory of superhero battles can have a profound effect on these heroes. Saving the universe can come at a heavy emotional price, especially when loved ones die. Whether the love is for family members, romantic partners or friends, “Thor: Love and Thunder” acknowledges that love can result in grief that isn’t easy to overcome, but the healing process is helped with loyal support and some welcome laughter.

Disney’s Marvel Studios will release “Thor: Love and Thunder” in U.S. cinemas on July 8, 2022.

2019 Tribeca Film Festival movie review: ‘All I Can Say’

May 2, 2019

by Carla Hay

Shannon Hoon and daughter Nico Blue Hoon in “All I Can Say” (Photo by Shannon Hoon)

“All I Can Say”

Directed by Danny Clinch, Taryn Gould, Colleen Hennessy and Shannon Hoon

World premiere at the Tribeca Film Festival in New York City on April 26, 2019.

The documentary “All I Can Say” gets its title from the first line of “No Rain,” the biggest hit song from Blind Melon, the rock band that released only two studio albums when lead singer Shannon Hoon died of a cocaine overdose in 1995, at the age of 28. Unlike most documentaries, which combine archival footage with new interviews, “All I Can Say” consists entirely of footage that Hoon filmed of his life from 1990 to 1995, the years when Blind Melon existed with Hoon as lead singer. Danny Clinch, Taryn Gould and Colleen Hennessy (who are credited as co-directors) assembled the footage and made it into this film.

The 2019 Tribeca Film Festival has the world premieres of three documentaries about lead singers of rock bands who had untimely, tragic deaths in the 1990s, and all three men left behind a toddler or infant child to grow up without their father. The documentaries are “All I Can Say”; “Sublime” (whose lead singer Bradley Nowell died in 1996 of a heroin overdose); and “Mystify: Michael Hutchence” (about INXS lead singer Michael Hutchence, who committed suicide in 1997). “All I Can Say” is the most unique of this trio of movies, simply because it’s filmed from a first-person perspective with no outside commentary or current footage. There are voiceovers, but they are of interviews that Hoon did during the five-year period in which the documentary footage was filmed.

Almost all of the footage in “All I Can Say” is shown in chronological order, but it begins on a chilling note, with the last footage that Hoon filmed of himself. It shows him in a New Orleans hotel room, talking on the phone to an unidentified person, on October 21, 1995, the day that he died. Before this final footage can be seen in its entirety, the movie then rewinds to 1990, when Hoon was living in Los Angeles as a struggling musician, but also going back home to visit family in Indiana, where he grew up in the suburban cities of Lafayette and Dayton.

It’s clear from these first few scenes that even before he was famous, Hoon was a self-described troublemaking rebel who couldn’t wait to get out of Indiana to become a rock star. He had drug problems and arrests before he moved to Los Angeles to pursue his dream. He also had a high-school sweetheart named Lisa Crouse, who was in a relationship with him during the time all of this footage was filmed.

It was while in Los Angeles that Hoon met the musicians who would become the other members of Blind Melon: lead guitarist Rogers Stevens, rhythm guitarist Christopher Thorn, bassist Brad Smith and drummer Glen Graham. The band’s name was inspired by the nickname that stoner hippies gave themselves in Graham and Smith’s home state of Mississippi. But it was Hoon’s Indiana roots that proved to be a major factor in Blind Melon’s career, because Guns N’Roses lead singer Axl Rose, whose hometown was Lafayette, knew Hoon’s half-sister Anna from high school.

Guns N’Roses was one of the biggest bands in the world at the time, and Hoon became friends with Rose in Los Angeles. Hoon did guest backup vocals on several Guns N’Roses songs (including “Don’t Cry” and “The Garden”) that would be released on Guns N’Roses’ 1991 albums “Use Your Illusion I” and “Use Your Illusion II.” There’s footage in the documentary of Hoon with Guns N’Roses at the Record Plant recording studio in Los Angeles.

Hoon’s prominent appearance in the “Don’t Cry” video catapulted him into the spotlight, and it became the catalyst for a quickie route to Blind Melon signing with Capitol Records, at a time when Blind Melon didn’t even have enough original songs for a showcase. The documentary has footage of Blind Melon recording the band’s 1992 self-titled debut album, including signature tune “No Rain.” There’s also footage of Hoon watching the 1992 Los Angeles riots on TV.

The documentary shows that Hoon’s heavy drug use was ongoing throughout the period of time that this movie was filmed. In one scene, he holds up a bag of psychedelic mushrooms. In other scene, he and Stevens are seen doing cocaine on Mulholland Drive in the Hollywood Hills. In other scene, a coked-out Hoon is talking about being awake for several days. There’s also a hint that Hoon’s substance-abuse problems were probably passed down from a previous generation, since there’s a scene of him on the phone with his father after his father was arrested for DUI.

Blind Melon’s self-titled debut album was a big hit (selling 4 million copies in the U.S. alone), and it remains the band’s best-selling album,  known for the singles “No Rain,” “Tones of Home,” “I Wonder” and “Change.” But that quick success came at a price, because Blind Melon became known as the “bee girl” band, which was an image the band ended up hating. First, the album cover was of drummer Graham’s younger sister Georgia as a child, dressed as a bee when she was in a school play. Then, Blind Melon’s “No Rain” video prominently featured another child—actress Heather DeLoach—dressed in a similar bee costume.

The “No Rain” video, directed by Samuel Bayer (who also directed Nirvana’s iconic “Smells Like Teen Spirit” video), has the concept of a lonely bee girl who is rejected and ridiculed by society until she walks into an open field where she finds that there are other bee people just like her. Blind Melon is shown performing in the field, but “Bee Girl” DeLoach actually ends up being a scene-stealer in the video. For a while, she became a minor celebrity in real life. It’s obvious that the “bee girl” image was starting to annoy the band, because Blind Melon was constantly asked about it in interviews. In one such interview that’s shown in the documentary, Hoon says with an exasperated voice, “The bee is bigger than the band.”

Another major fame-related issue that Blind Melon had was the lead singer got most of the attention—and that didn’t sit well with the rest of the band. (It’s a common issue with most famous bands.) Blind Melon was on the cover of Rolling Stone in 1993 (when being on the cover of Rolling Stone was still a big deal), and the documentary shows how that cover caused a lot of tension in the band behind the scenes. Rolling Stone originally wanted only Hoon on the cover, but the other band members insisted that they be on the cover too.

The documentary shows video footage that Hoon secretly recorded of the band members talking about him when he wasn’t in the room. “All I Can Say” also shows Blind Melon’s photo session for Rolling Stone—all the band members were completely naked—and the cover photo ended up showing Hoon, front and center, in pig-tailed braids. The documentary also shows Stevens’ giddy and happy reaction to seeing the magazine cover for the first time.

“All I Can Say” also shows a mischievous, devil-may-care side to Hoon, such as a scene of him delivering pizza on-stage naked, a scene of him trying to channel the Beatles while walking on London’s famous Abbey Road, and a full-frontal nude scene of him filming himself completely naked in front of a bathroom mirror. There are also a few rock-star diva moments, such as when Hoon taunts a security guard backstage at a concert for some real or perceived conflict. Hoon treats the guard in a condescending manner, essentially saying, “I dare you to pick a fight with me, but you won’t, because I’m untouchable.”

Hoon was arrested for indecent exposure in 1993 for urinating on a fan during a Blind Melon concert in Vancouver, but that footage isn’t in the documentary, although the arrest is briefly mentioned in a TV news report that Hoon filmed. Hoon was also arrested in 1995 in New Orleans for disorderly conduct. That arrest isn’t shown in the movie either.

Since most people watching this movie know how Hoon died, there’s a sense of impending doom when watching “All I Can Say”—and there are plenty of signs that despite the fame and success, Hoon was deeply troubled and immersed in drug addiction. In one scene, he has a spoon that looks like it’s dripping with melted heroin. In another scene, he openly talks about doing smack. Hoon’s drug addiction was well-known to people in the industry and to Blind Melon fans, and he had multiple stints in rehab. The rehab stints are obviously not in the movie, but the documentary includes footage of Hoon getting a message from Pearl Jam guitarist Mike McCready asking for Hoon’s advice on rehab.

Hoon’s emotional turmoil must have also been compounded by a suicide that he and other band members witnessed after one of Blind Melon’s shows at St. Andrews Hall in Detroit, where a woman in her 20s jumped to her death at a nearby hotel. (Blind Melon’s song “St. Andrew’s Fall” on the band’s 1995 second album, “Soup,” is about that horrifying experience.) In the documentary, Hoon is seen confessing that witnessing the suicide was the hardest moment for him in the band.

Other haunting footage is of Hoon watching TV news about the suicide of Nirvana lead singer Kurt Cobain (who died in 1994 at the age of 27), and later commenting about Cobain’s death in an interview: “A lot of people are hurting, including his little girl.” The irony is that one year later, Hoon would also leave his own little girl behind by tragically dying. Hoon and Crouse welcomed their daughter, Nico, on July 11, 1995. The documentary has footage of Hoon finding out he was going to be father, seeing ultrasounds, the birth of Nico, and Hoon being a loving and affectionate father to Nico.

One month after the birth of Nico, Blind Melon’s second album, “Soup,” was released, and it was the band’s sophomore slump. Even though there’s a scene where a band member jokes that Blind Melon isn’t that popular anymore, the band’s big decline in sales was obviously a blow to the band’s confidence. And although Hoon didn’t reveal on camera how this career decline affected him, there’s one scene in the movie that clearly shows how depressed he was.

At home celebrating his 28th birthday, Hoon is seen with Crouse and Nico, who are seated at a table with him. A birthday cake is on the table, and while Crouse is smiling and singing “Happy Birthday,” Hoon sits there sadly, deep in his own thoughts. It’s impossible to know if Hoon’s personal problems or career problems (or both) were weighing him down at that moment, but it’s obvious that being surrounded by his closest loved ones on his birthday wasn’t making him happy.

We’ll never know what Hoon would be doing if he were alive today. Blind Melon’s third album, “Nico,” was released in 1996, and featured songs the band had already recorded with Hoon. After going on hiatus, Blind Melon regrouped in 2006 with new lead singer Travis Warren. But in that five-year period when Hoon experienced his meteoric rise to stardom, we get to see his perspective in “All I Can Say” as a talented but self-destructive person who found out that fame wasn’t the answer to his problems.

Hoon might have escaped from Indiana, but he couldn’t escape from himself. The tragedy is that Hoon left behind a child who didn’t know what it was like to grow up with her father. But at least she can see from this footage that she was adored by him in the short time that he was in her life, and he left behind a musical legacy that affects people who are fans of Blind Melon’s early music.

UPDATE: Oscilloscope Laboratories will release “All I Can Say” in select U.S. virtual cinemas on June 26, 2020.

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