Directed by Bruce McDonald.
Starring Hugh Dillon and Callum Keith Rennie.
In a Nutshell: A self-destructing punk rock band is documented during a comeback stint.
Or probably more accurately, Unfunny Spinal Tap. True, this movie is not without a few dark laughs, but if you liked This Is Spinal Tap, you will not necessarily like Hard Core Logo. But it’s a bit unfair to make the comparison since both films are aiming to accomplish two completely different tones. The concept is the same; the film is a fake documentation of a band making a final gasp of a comeback tour. Though instead of the endearing Spinal Tap fools, trying to grab depth and meaning out of thin air, the band-mates of Hard Core Logo are the standard “rage against the establishment” sort. The band’s frontman Joe Dick (Hugh Dillon who, thanks to his experience in the band The Headstones, brings an untrained authenticity to his role) plans on roping back guitarist Billy Tallent (Callum Keith Rennie) for the tour to benefit one of Dick’s idols. However, Tallent is poised to be signed into an alternative pop band. Their relationship is far more hostile than ‘old married couple’ given Dick’s knowing insecurity (barely disguised by his coarse machismo) at fading away, unlike Tallent whose, well, talent will surely give him a life outside of HCL.
Or probably more accurately, Unfunny Spinal Tap. True, this movie is not without a few dark laughs, but if you liked This Is Spinal Tap, you will not necessarily like Hard Core Logo. But it’s a bit unfair to make the comparison since both films are aiming to accomplish two completely different tones. The concept is the same; the film is a fake documentation of a band making a final gasp of a comeback tour. Though instead of the endearing Spinal Tap fools, trying to grab depth and meaning out of thin air, the band-mates of Hard Core Logo are the standard “rage against the establishment” sort. The band’s frontman Joe Dick (Hugh Dillon who, thanks to his experience in the band The Headstones, brings an untrained authenticity to his role) plans on roping back guitarist Billy Tallent (Callum Keith Rennie) for the tour to benefit one of Dick’s idols. However, Tallent is poised to be signed into an alternative pop band. Their relationship is far more hostile than ‘old married couple’ given Dick’s knowing insecurity (barely disguised by his coarse machismo) at fading away, unlike Tallent whose, well, talent will surely give him a life outside of HCL.
Too many critics felt this movie was too cringe inducing and never really went anywhere; none of the scenes build and the plot just meanders. Which makes me wonder if a documentary recreating a punk band’s exploits should be a labyrinth-plotted, light-hearted romp (I don’t think so, HCL’s style is more than appropriate). There we were many small details that I thought gave it an edge over other fake-docs. Particularly the way that Bruce McDonald (playing himself) and his camera crew were not just observers of the madness, but added to the band’s annoyance and had plenty of interactive moments (including one insane drug trip that may have stepped outside the documentary style). And the simmering anger between Dick and Tallent really gets under the skin; the movie’s progression makes it clear the payoff will be far more explosive than that between Nigel and David. I would recommend this movie, but maybe not to any Spinal Tap fans. Maybe fans of Apocalypse Now. Group dynamic destruction over an arduous journey into madness that nobody wants to be on? Maybe that’s overreaching, but in all, this is not a fun film. It is accomplished in its discomfort and makes itself impossible not to watch with horror. A fine, if incredibly squirmy piece of fauxdocumentary.
HCL is one of my favorite movies because you can watch this band self-destuct in the very worst ways. It's like a car wreck about to happen, but you can't look away, can't stop it, can't make it go away...
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