Culture Representation: Taking place in an unnamed U.S. city, the comedy/drama “There There” has a predominantly white cast of characters (with one black person) representing the working-class and middle-class.
Culture Clash: Various people express insecurities and have conflicts with each other.
Culture Audience: “There There” will appeal primarily to people who like pretentious and rambling independent films that are boring and have nothing meaningful to say.
“There There” should have been titled “Nothing There,” in case people are looking for a movie with a coherent plot or interesting characters. It’s one of those tedious independent films that tries to fool people into thinking that its shallow idiocy is cool. This annoying movie is so pretentious, “There There” writer/director Andrew Bujalski didn’t even bother giving the movie’s characters any names, except for two characters who are never shown on screen. But that’s not the only reason why viewers won’t care about these characters.
“There There” just looks like a series of improvisational sketches with no purpose. It’s just a bunch of actors talking to each other in scenes that go nowhere. Some of the characters are strangers to each other but are connected because someone they know is a mutual friend or mutual acquaintance. “There There” is supposed to be a comedy/drama, but there’s nothing funny about the comedy, and there’s nothing compelling about the drama.
The movie has four different scenarios that show the tenuous connection between some of the characters. Each scenario transitions to the next by showing musician Jon Natchez playing a different instrument. He’s shown playing a bass clarinet, a piano and a guitar in these musical interludes.
The first scenario shows two unmarried people in their 50s (played by Lili Taylor and Lennie James) waking up after he has spent the night at her place for the first time. The two new lovers have a very awkward morning-after conversation. She tells him that she doesn’t want him to see her get dressed in the daylight because she’s very self-conscious about her body.
She also mentions that she’s probably older than his average sexual conquest. He assures her that he thinks she’s attractive, and they make plans to see each other again. During the conversation, it’s mentioned that he works as a bartender at a restaurant/bar that he owns, which is why he meets a lot of younger women. This restuarant/bar owner has no shortage of self-confidence. “Instead of a hangover, I feel like Superman,” he says.
He also mentions a gruesome incident he saw the previous year, where a young woman got into a car accident in front of his restaurant. The car was so damaged, the fire department had to extract the woman from the car. What does this car accident have to do with anything? It’s explained later in the movie, but the reveal is very predictable as soon as this bar owner’s recent sex partner mentions that she’s grieving over the death of her friend Allison.
The next scenario shows the woman talking about her new “romance” with a close friend (played by Annie La Ganga) who’s about the same age. This friend listens patiently and then goes to the high school attended by her 16-year-old son Gino, who is never seen in the movie. This mother is at the school to meet with a teacher (played by Molly Gordon), who says that Gino is “definitely on track for his grade level.” The teacher mentions that Gino has only had minor problems, such as pizza stains on his homework.
The conversation turns ugly though when Gino’s mother and the teacher get into a heated argument over a video that Gino secretly recorded in the teacher’s classroom. It’s enough to say that Gino’s mother wants to use this video against the teacher, but the teacher thinks Gino is the one who should get in trouble for how he recorded the video, because part of it was filmed up the teacher’s skirt.
The third scenario shows a tense phone conversation between a website owner (played by Avi Nash) and his attorney (played by Jason Schwartzman), because the website (which allows people to upload videos) is getting into legal trouble because of the website’s uploaded content. The attorney is separated from his wife Christine and is having nightmares about his dead father (played by Roy Nathanson), who shows up in another nightmarish vision in the attorney’s bedroom. As the room starts to shake, the attorney asks, “Is this an earthquake? Am I being raptured?”
The last scenario shows the website owner walking into a restaurant/bar. And what a coincidence: It’s the same bar owned by the guy who was shown in the “morning after” scene, and he’s working as a bartender on this particular night. Gino’s schoolteacher happens to be at the same bar too. The website owner shows he’s attracted to her while they sit at the bar counter, but she’s not interested. She’s more interested in the bartender.
“There There” squanders the talent of the cast members in these pointless scenes. The screenwriting is so bad, there’s nothing that can be salvaged from this rambling movie. Gordon gives the best effort to make her character watchable, but the rest of the cast members look bored and are just going through the motions.
“There There” is one of those time-wasting movies where viewers (if they have the patience to watch this dreadfully dull garbage) will say to themselves when it’s all over: “That’s it?” Unfortunately, the answer is: “Yes, you just watched 94 minutes of the cinematic equivalent of stale air that has the stink of foul pretentiousness.”
Magnolia Pictures released “There There” in select U.S. cinemas, on digital and VOD on November 18, 2022.
Culture Representation: Taking place in the fictional city of Ennui-sur-Blasé, France, the comedy film “The French Dispatch” features predominantly white cast of characters (with a few black people, Latinos and Asians) representing the working-class, middle-class and wealthy.
Culture Clash: After the American editor of The French Dispatch magazine dies, his staffers gather to put together the magazine’s final issues, with four stories coming to life in the movie.
Culture Audience: “The French Dispatch” will appeal primarily to people who are fans of filmmaker Wes Anderson and of arthouse movies that have well-known actors doing quirky comedy.
At times, “The French Dispatch” seems like an overstuffed clown car where filmmaker Wes Anderson tried to fit in as many famous actors as possible in this movie. This star-studded cast elevates the material, which is good but not outstanding. Anderson’s style of filmmaking is an acquired taste that isn’t meant to be for all moviegoers. He fills his movies with retro-looking set designs, vibrant cinematography and snappy dialogue from eccentric characters. “The French Dispatch,” written and directed by Anderson, takes an anthology approach that doesn’t always work well, but the fascinating parts make up for the parts that are downright boring.
The movie revolves around a fictional magazine called The French Dispatch of the Liberty, Kansas Evening Sun (also known as The French Dispatch), which is a widely circulated American magazine based in the fictional city of Ennui-sur-Blasé, France. The French Dispatch was founded in 1925. The movie opens in 1975, when the French Dispatch editor/owner Arthur Howitzer Jr. (played by Bill Murray), an American originally from Kansas, has died in the magazine’s offices. The employees have gathered to work on his obituary and reminisce about him and the magazine’s history.
Arthur appears in flashbacks throughout the movie. In one of the flashbacks, Arthur has told his top-ranking staffers that he has put a clause in his will which requires that The French Dispatch will stop publishing after he dies. The staffers are melancholy and a bit disturbed when they hear about this decision. Arthur is loved and respected by his employees, so they oblige his request. Therefore, they know that the French Dispatch issue that will have Arthur’s obituary will also be the magazine’s final issue.
The French Dispatch is a magazine that is known for its collection of stories. In “The French Dispatch” movie, four of these stories come to life and are told in anthology form, with each story told by someone from the magazine’s staff. Some scenes are in color, and other scenes in black and white. Anderson says in the movie’s production notes that The French Dispatch was inspired by his love for The New Yorker magazine. That’s all you need to know to predict if you think this movie will be delightful or pretentious.
The French Dispatch staffers are mostly Americans. They including copy editor Alumna (played by Elisabeth Moss), cartoonist Hermès Jones (played by Jason Schwartzman), an unnamed story editor (played by Fisher Stevens), an unnamed legal advisor (played by Griffin Dunne), an unnamed proofreader (Anjelica Bette Fellini) and an unnamed writer (played by Wally Wolodarsky). All of these aforementioned staffers don’t have in-depth personalities as much as they have the type of quirky reaction conversations and stagy facial expressions that people have come to expect from characters in a Wes Anderson movie. A running joke in “The French Dispatch” is how obsessive Alumna and proofreader are about things such as comma placement.
The staffers who get more screen time and more insight into their personalities are the four staffers who tell their stories. The first story is told in travelogue form by Herbsaint Sazerac (played by Owen Wilson), whose title is cycling reporter. Herbsaint travels by bicycle to various parts of the city. He has a penchant for going to the seedier neighborhoods to report what’s going on there and the history of how certain locations have changed over the years. During his travels, he visits three other French Dispatch writers who tell their stories. They are J.K.L. Berensen (played by Tilda Swinton), who is the magazine’s flamboyant art critic; Lucinda Krementz (played by Frances McDormand), a secretive essayist who likes to work alone; and Roebuck Wright (played by Jeffrey Wright), a lonely and brilliant writer with a typographic memory.
J.K.L.’s story is “The Concrete Masterpiece,” which is about the how a “criminally insane” painter named Moses Rosenthaler (played by Benicio del Toro as a middle-aged man and by Tony Revolori as a young man) is discovered and exploited while Moses is in prison for murder. One of the paintings that first gets attention for Moses is a nude portrait of a prison guard named Simone (played by Léa Seydoux), who is his muse and his lover. Moses has a makeshift art studio in prison for these intimate painting sessions, which he is able to do because Simone gives him a lot of leeway and protection from being punished.
An unscrupulous art dealer named Julian Cadazio (played by Adrien Brody), along with his equally corrupt and greedy uncles Nick (played by Bob Balaban) and Joe (played by Henry Winkler), find out about Moses’ talent and are eager to make huge profits off of Moses’ work. These art vultures figure that they can take advantage of Moses because he’s in prison. Julian, Nick and Joe get a tizzy over how much money they can make off of Moses, who is a mercurial and unpredictable artist. Imagine these art dealers’ panic when Moses decides he’s going to stop painting until he feels like painting again. There’s also a Kansas art collector named Upshur “Maw” Clampette (played by Lois Smith) who comes into the mix as a potential buyer.
“The Concrete Masterpiece” is the movie’s highlight because it adeptly weaves the absurd with harsh realism. Swinton is a hilarious standout in her scenes, because J.K.L. is quite the raconteur. She delivers her story as a speaking engagement in front of an auditorium filled with unnamed art people. It’s like a pompous lecture and bawdy stand-up comedy routine rolled into one. You almost wish that Anderson would make an entire movie about J.K.L. Berensen.
Lucinda’s story is “Revisions to a Manifesto,” which chronicles a youthful uprising in the French town of Ennui, when young people stage a labor strike that shuts down the entire country. At the center of this youthful rebellion are two lovers named Zeffirelli (played by Timothée Chalamet) and Juliette (played by Lyna Khoudri). Zefferelli (a college student) is the sensitive and romantic one in this relationship, while Juliette has a tendency to be aloof and no-nonsense. Although “Revisions to a Manifesto” has some visually compelling scenes depicting the strikes and protests, the overall tone of this story falls a little flat. Chalamet’s performance is very affected, while McDormand is doing what she usually does when she portrays a repressed character.
Roebuck’s story “The Private Dining Room of the Police Commissioner,” which is a tale of kidnapping and other criminal activities. The story starts off being about a famous chef named Nescaffier (played by Stephen Park), who is hired to serve Ennui-sur-Blasé’s police commissioner (played by Mathieu Amalric), who is just named The Commissaire in the story. But then, the story becomes about The Comissaire’s son/crime-solving protégé Gigi (played by Winsen Ait Hellal), who gets kidnapped by some thugs, led by someone named The Chauffeur (played by Edward Norton). The kidnappers say that Gigi will be murdered unless a recently arrested accountant named Albert (played by Willem Dafoe), nicknamed The Abacus, is set free from jail.
“The Private Dining Room of the Police Commissioner” ends up being too convoluted and somewhat sloppily executed. Liev Schreiber has a small role as a Dick Cavett-type TV talk show host who interviews Roebuck on the show. There’s some whimsical animation in this part of the movie. But ultimately, “The Private Dining Room of the Police Commissioner” is a story about a lot of people running around and making threats with no real sense of danger.
Although it’s admirable that Anderson was able to attract so many famous actors in this movie, after a while it seems like stunt casting that can become distracting. Viewers who watch “The French Dispatch” will wonder which famous person is going to show up next. Some well-known actors who make cameos in “The French Dispatch” include Christoph Waltz, Saoirse Ronan and Rupert Friend. Anjelica Huston is the movie’s voiceover narrator.
“The French Dispatch” can almost become a game of Spot the Celebrities, since there are so many of them in this movie. That being said, there isn’t a bad performance in the bunch. However, the movie would’ve benefited from taking a chance on casting lesser-known but talented actors in some of the prominent speaking roles, in order to make the film a more immersive viewing experience instead of it coming across as an all-star parade.
Despite its flaws, there’s no doubt that “The French Dispatch” is a highly creative film that has Anderson’s unique vision and artistic flair. He has a love of language and a knack for keeping viewers guessing on what will happen next in his movies. And these bold risks in filmmaking are better than not taking any risks at all.
Searchlight Pictures released “The French Dispatch” in U.S. cinemas on October 22, 2021.
Culture Representation: The documentary film “The Sparks Brothers” features a nearly all-white group of people (and one African American) discussing the career and influence of the American experimental rock/pop duo Sparks, including Sparks members Russell Mael and Ron Mael.
Culture Clash: The highs and lows of Sparks’ career included the Mael brothers’ sibling rivalry; relocating to England during a pivotal time in the duo’s career; parting ways with filmmaker Tim Burton on a movie musical that was supposed to be a big comeback for Sparks; and dealing with the fickle nature of the music business.
Culture Audience: Aside from die-hard fans of Sparks, “The Sparks Brothers” will appeal mostly to people who are nostalgic or curious about influential pop/rock musicians who never became superstars.
“The Sparks Brothers” documentary director Edgar Wright makes it abundantly clear that he’s a massive fan of the pop/rock duo Sparks, so this film is more of a tribute than a well-rounded biography. At 140 minutes long, “The Sparks Brothers” can be an endurance test for people who aren’t die-hard Sparks enthusiasts. And since the documentary only interviews people who are either fans of Sparks or have worked with Sparks, the non-stop praise for Sparks can be a bit repetitive. However, the documentary is a fascinating look at the longevity of Sparks and the brotherly dynamics of Sparks members Ron and Russell Mael.
“The Sparks Brothers,” whose exclusive interview footage was filmed in black and white, is a documentary that makes some attempt to not completely follow the typical film biography format of mixing archival footage with new footage that was filmed exclusively for the documentary. Sparks is known as an experimental and offbeat act that never hit superstar mainstream status. And so, there are moments in the film that are nods to the quirky image of Sparks.
For example, director Wright can sometimes be heard talking to the Mael brothers off-camera in a cheeky manner to make a joke or set up a sight gag. When he asks the Ron and Russell why they decided to do an authorized documentary at this time in their lives, older brother Ron says, “We didn’t want to do a standard documentary full of talking heads.” Russell adds, “It would become too dry.” And then two buckets of water are thrown on the brothers.
It’s a facetious moment, because this documentary is actually full of talking heads—so much so that numerous people’s comments about Sparks take up at least 40% of the movie. Some of the best moments of the documentary, which tells the Sparks story in chronological order, is near the beginning, when it reveals photos and details about the early years of Ron and Russell being musicians.
Ron (who was born in 1945 in Santa Monica, California) and Russell Mael (who was born in 1948 in Culver City, California) are the only children of Meyer and Miriam Mael. Meyer was a commercial painter, graphic designer and caricaturist, who tragically died when Ron was 11 and Russell was 8. Miriam was a librarian. Ron and Russell were raised primarily in Pacific Palisades (an affluent suburb of Los Angeles), and the brothers performed in talent shows when they were school children.
Ron says that these talent shows were the first experiences that he and Russell had in getting a taste of the “addicting” thrill of affecting an audience. People unfamiliar with the Mael brothers’ teen years might be surprised to find out from this documentary that Russell (who’s known for his thin physique) was the quarterback of his high school football team. Russell says that he got the same adrenaline rush from playing in football games that he later got when he performed on stage as an entertainer. The Mael brothers say that the 1955 dramatic film “Blackboard Jungle” was a huge influence on them as children.
Ron and Russell attended the University of California at Los Angeles (UCLA), where they started to play in rock bands that never really went anywhere beyond the local music scene. Two of those bands were Moonbaker Abbey and the Urban Renewal Projects. The Mael brothers say they first started getting serious about music when they began working with Earle Mankey, a founding member of Halfnelson, the band whose name was later changed to Sparks. Sparks’ 1971 eponymous debut album was originally titled “Halfnelson.” Mankey is one of the people interviewed in the documentary.
At UCLA, Ron and Russell both studied film, which would influence the types of music videos that they made and their tendency to sometimes reinvent themselves with various images and costumes. But throughout their career, one image of the band remained true and constant: Russell as the extroverted lead singer (who was also a heartthrob in Sparks’ heyday) and Ron as the introverted keyboardist/songwriter/producer.
It’s repeated several times in the documentary that Ron had private struggles with being overshadowed by Russell, even though Ron was the one creating the band’s songs. It’s a common situation with musical duos and groups, because the lead singer is usually the one who gets most of the attention. But adding in sibling rivalry makes it a more emotionally complicated issue. Someone can stop working with a sibling, but that sibling will still be a family member.
Russell describes the early years of developing his stage persona as trying to emulate Rolling Stones lead singer Mick Jagger and The Who lead singer Roger Daltrey. “I was off by a few thousand miles,” he quips. The Mael brothers say other musical influences on Sparks were French New Wave bands. Given the brothers’ background in studying film, it’s not surprising that French New Wave in music and film had an effect on them, because there’s a very European style to the Mael brothers’ art.
Becoming a superstar act was never Sparks’ goal, but this documentary makes it clear that Ron and Russell Mael have wanted enough commercial success to be famous and to be wealthy enough to able to self-fund their projects in case no companies or investors were interested. There’s no question that Sparks has a very devoted fan base, but this documentary wants to bestow “legendary” status on Sparks. It’s a description that gives the movie a very fan-worship tone that exaggerates how far Sparks’ influence really went, compared to other non-mainstream arists who influenced a wider variety of people.
“The Sparks Brothers” documentary gives a comprehensive overview of the Sparks album discography, up until 2020, when the movie was completed. There’s a mention at the end of the film about the 2021 movie musical “Annette” (directed by Leos Carax), which features original music by Sparks, as well as the Mael brothers in supporting roles as actors. “Annette” (which stars Adam Driver and Marion Cotillard) is set for release by Amazon Studios in August 2021, thereby making it the second movie of 2021 (after “The Sparks Brothers”) to feature Ron and Russell Mael. “The Sparks Brothers” world premiered at the 2021 Sundance Film Festival, and the world premiere of “Annette” is at the 2021 Cannes Film Festival,
“Annette” is the culmination of years of the Mael brothers’ dream to do a movie musical. “The Sparks Brothers” documentary includes their version of what happened when they parted ways with director Tim Burton on a movie musical called “Mai, the Psychic Girl,” based on the 1985-1986 manga series written by Kazuya Kudō and illustrated by Ryoichi Ikegami. The Mael brothers worked on the movie during a time (the late 1980s to early 1990s) when the duo’s career was in a slump, and they say they needed a hit project to keep them financially afloat.
Although the Mael brothers don’t give too many details on what led to Burton’s departure from the project, they make it clear that Burton was the one who walked away, and the Mael brothers were heartbroken over it. (According to numerous reports, Burton chose to instead work with Disney for 1993’s “The Nightmare Before Christmas” and 1994’s “Ed Wood.”) The Mael brothers invested several years and most of their personal fortune into the “Mai, the Psychic Girl” movie. And once Burton was no longer involved in making the movie, all the other investors backed out. The rights to make the movie eventually went to other people, but so far, attempts to make “Mai, the Psychic Girl” into a movie have not come to fruition.
Another crossroad in Sparks’ career that’s discussed in the documentary is when the Mael brothers decided to relocate to England in 1973, after growing frustrated by their lack of commercial success in the United States. They fired their American band mates to start over in a completely new country. It was in England that Sparks began to blossom artistically and found a bigger fan base than ever before. Sparks’ popularity eventually spread all over Europe (mainly in Western Europe), where Sparks had their biggest hits. The Mael Brothers moved back to the Los Angeles area in 1976.
Although Sparks has plenty of fans in other continents, Europe is where Sparks has been glorified the most. Sparks became so associated with England in the 1970s, that many fans who discovered them back then incorrectly assumed that the Mael brothers were natives of England. Sparks’ biggest string of hit songs were in the 1980s, including 1983’s “Cool Places,” from the album “In Outer Space”; 1986’s “Music You Can Dance To,” the title track of Sparks’ 1985 album; and 1989’s “Just Got Back From Heaven,” from the 1988 album “Interior Design.”
“The Sparks Brothers” documentary has plenty to say about the Mael brothers’ music, but very little to say about their personal lives, except for Russell mentioning that he was quite a playboy when he was young. The Go-Go’s co-founder/rhythm guitarist Jane Wiedlin, who’s interviewed in the documentary, says she dated Russell in the early 1980s, but their brief romance was more one-sided on her part. And in the early 1970s, Russell used to date a well-known groupie named Miss Christine, who was part of a short-lived all-female singing group called the GTO’s, whose first and only album was produced by Frank Zappa. Pamela Des Barres, a member of the GTO’s, is interviewed in “The Sparks Brothers” documentary.
There’s no mention if Ron or Russell ever married or if they have children—something they’ve refused to publicly talk about for years. However, it’s clear that even through their ups and downs, the brothers have remained close. The documentary shows that Ron and Russell have a routine of going to their favorite cafe in the Los Angeles area before going back to their home studio to work.
There’s some footage of the brothers creating music in their home studio. The documentary needed more of that type of behind-the-scenes footage and less talking heads giving Sparks testimonials. It’s fair to say that this documentary is overstuffed with people talking about Sparks and doesn’t show enough current footage of what the lives of the Mael brothers are like. The archival footage is good enough, but avid Sparks fans have probably seen a lot of it already.
A constant theme in “The Sparks Brothers” documentary is that Sparks has been very underrated in how much Sparks has influenced musicians in pop and rock music. What the movie ignores—although it’s pretty obvious when you see who’s interviewed in the documentary—is that when fans and other admirers talk about Sparks’ influence, they’re really talking about influence on mainly white people. Pop music nowadays is a lot more diverse than it was in the 20th century, so if Sparks really had as wide of an influence range as this movie claims, then there would be more diversity in the people being interviewed, not just in terms of race but also nationality and age.
With the exception of Icelandic singer Björk (who is not interviewed on camera), the people interviewed in the documentary are British and American people who were born before 1985. They include musicians such as Beck; Duran Duran co-founders John Taylor and Nick Rhodes; Franz Ferdinand lead singer Alex Kapranos; Red Hot Chili Peppers bassist Flea; Todd Rundgren; Faith No More keyboardist Roddy Bottum; Jack Antonoff; Bernard Butler; Erasure members Vince Clarke and Andy Bell; “Weird Al” Yankovic; former Visage drummer Rusty Egan; Electric Prunes singer James Lowe; former Haircut 100 singer Nick Heyward; Martyn Ware, co-founder of pop groups Human League and Heaven 17; DJ Lance Rock; New Order members Stephen Morris and Gillian Gilbert; and former Sex Pistols guitarist Steve Jones.
Past and present Sparks associates interviewed include former Sparks drummer Tammy Glover; former Halfnelson tour manager/photographer Larry Dupont, former Halfnelson manager Mike Berns; former Halfnelson/Sparks drummer Harley Feinstein; former Sparks drummer Hilly Michaels; former Sparks manager John Hewlett; former Sparks road Richard Coble; former Sparks drummer Christi Haydon; former Sparks bassist Ian Hampton; former Sparks drummer David Kendrick; former Sparks guitarist Dean Menta; Sparks manager Sue Harris; and Sparks drummer Stevie Nistor.
And several people known for their work in movies, television or stand-up comedy weigh in with their thoughts. They include “The Sparks Brothers” director Wright; actor Mike Myers; actor Jason Schwartzman; actor/comedian Patton Oswalt; TV producers/writers/spouses Amy Sherman-Palladino and Dan Palladino; actor/comedian Jake Fogelnest; actor/screenwriter Mark Gatiss; comedian April Richardson; actor/comedian Scott Aukerman; and comedian/TV host Jonathan Ross, who jokes that Ron and Russell Mael “don’t really look like a band. They look [institutionalized] people who’ve been let out for a day.”
Media people interviewed include broadcaster/columnist Katie Puck; journalist David Weigel; radio host Michael Silverblatt; and poet Josh Berman. Other admirers who have soundbites in the film are Sparks superfans Madeline Bocchiaro (president of the Sparks Fan Club), Julia Marcus, Vera Hegarty and Ben House. And behind-the-scenes music industry people interviewed include producer Tony Visconti and former Island Records A&R executive Muff Winwood.
If you’re exhausted or annoyed just by reading this list of names people interviewed for this documentary, that’s kind of like how it feels to watch this too-large number of people chiming in with their soundbites about Sparks and sometimes interrupting the flow of the movie. “The Sparks Brothers” director Wright clearly wanted to show as many people as possible who profess their adoration of Sparks, but the “less is more” approach would’ve served this movie better. And it certainly would’ve lessened the movie’s overly long run time.
“The Sparks Brothers” also has a bit of a pretentious tone in how it tries to make it look like people who aren’t fans of Sparks must have something wrong with them. Quite frankly, as talented as Ron and Russell Mael are, their music will never be a lot of people’s cup of tea. In fact, what this movie could’ve used is at least some perspective from people who are music experts but aren’t worshipful fans of Sparks and were never on the Sparks payroll. It would go a long way to explain why Sparks never caught on with a massive, worldwide audience.
Despite the overabundance of fawning over Sparks in this documentary, anyone who appreciates unique artists in music can find something to like about “The Sparks Brothers.” The movie also succeeds in presenting Ron and Russell Mael in their most candid on-camera interview spotlight. And the joy that Sparks has brought to so many people is obvious, so it’s a delight to watch in this movie.
Focus Features released “The Sparks Brothers” in select U.S. cinemas on June 18, 2021.