Cathardincu Surprisingly incoherent and boring

Titreenp SERIOUSLY. This is what the crap Hollywood still puts out?

ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Matylda Swan It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

Don Clayton There's people that prefer the drafting board to computers, prefer a typewriter to word-processing software, prefer film to digital cameras, etc. The list is extensive and the people on it are usually dismissed and eventually forgotten as technology moves forward. CGI creates better special effects; digital images can be deleted without wasting film; and Computer Aided Drafting and Manufacturing creates better, more accurate products. However, the case for analog over digital methods in music continues to be made. Musicologist Dave Grohl brings this debate to the court of public opinion in "Sound City." Called to the witness stand is a variety of fellow artists from the 60's to present which includes Paul McCartney, Stevie Nicks, Tom Petty, Neil Young, John Fogerty, Barry Manilow, Rick Springfield, et al. All these participants not only testify to their in experience with the studio but on the influences and differences of digital over analog methods on music culture. It's made apparent early on that this documentary is more than just a "day in the life" of musicians and how they created the art we enjoy as Dave later affirms: "It all started with this idea that I wanted to tell the story of the board. The conversation became something much bigger. Like . . . in this age of technology, where you simulate or manipulate anything, how do we retain that human element . . .? How do we keep music to sound like people? That feeling that I got when I was young, Oh, I could that too." And so the case is made that it's the analog imperfections that retains the human quality much like hand-made furniture as compared to the mass produced. But the film is not a total dis on technology. It's stated quite clearly that it was the "Neve" sound board that much homage is paid to including an interview with sound engineer Rupert Neve himself. For although this was the pinnacle of technology, it was still analog technology. As the film's humble narrator/producer conducts a multi leveled journey spanning many decades of music, digital methods continued to penetrate the music culture. In all these examples there are those who reject it, those who embrace it, and those who find a middle ground for old and new technologies to coexist in their vocation. Some prefer a set of drums and others use an electronic drum machine. Eventually, Sound City couldn't compete with the digital world where artists steadily became more like computer music "file makers" rather than instrument trained musicians. Through many examples we are shown that in music, in spite of the advances in recording and producing technology, many musicians can preserve the "human" quality with state of the art "analog" technologies. Come to think of it, one of my favorite composers "Vangelis" uses a variety of electronic and digital methods. But he's still very much in charge of the mood his music inspires. This quality would probably be lost if he just programmed a computer to play his compositions. Dave never forgot where he came from. This was the impetus for making this film and the reason for preserving the Neve board which now resides in his private studio. He waxes some heavy philosophy but never comes off preachy which could easily turn this movie into a "vanity project." In fact he comes off very altruistic with his many homages to the staff and studio where he cut his first album with Nirvana. And to top it off is Jam sessions including many of the artists who were interviewed throughout the feature.

Chris Nelson The first half of the movie is great. It documents a slummy old studio that produced some of the greatest music ever, in part because of a finely crafted analog audio mixer. Director Dave Grohl interviews some big names, who have great stories from this little studio. This is what the entire film should have been.But maybe halfway through, everything changes. Suddenly Grohl goes from interviewer (often times on camera conducting the interviews) to the interviewee. He's the director, so is he interviewing himself? Usually in documentaries, the crew documents something without getting involved. Here, he's feeding himself soundbites for the movie he's making. Keanu Reeve's role in Side By Side, about digital filmmaking, is a good example of how it's supposed to be done. This just seems like as a filmmaker, he decided he's not getting what he needed, so he jumped in front of the camera to do it himself.The last half hour forgets about Sound City and just becomes Grohl making a movie about himself looking good and recording music. He buys the soundboard from Sound City and starts his own studio, where he and his bandmates bring in big names and play with them (are you required to play with Grohl if you record at his studio?). One song cuts between Grohl rocking out on guitar, and Grohl behind the glass banging his head to what's being recorded. The song ends with him declaring, "That was f'ing awesome. That was so f'ing beautiful." He might as well write his own reviews for the film too.This documentary starts out strong, but slowly rolls downhill into one big Dave Grohl self-congratulation. If you're interested in the history of Sound City and the evolution from analog to digital music recording, there is some good info in here. You just have to separate it from all the times Grohl is telling you how great he is.

Instance Variable A heartfelt documentary that reminds how special times like these were…it however falls short in the second half where it transitions into Grohl's pet project.Growing up listening to many of the bands that recorded at Sound City in the 90's, it was a treat to watch footage from the musicians, and especially Rick Rubin and Butch Vig share their experiences. The film essentially breakdowns the magic and success of Sound City into three components: the acoustics of the recording room, the unique Neve sound board, and the people who worked there; this is where the film excels.Where it falters is that the documentary of Sound City ends at one point and becomes the "making of" video for the OST. It begins by rescuing the Neve soundboard. I can understand the inherent need and the emotional desire to keep recording on tape (I kept thinking how I can relate with the satisfaction and pleasure I get driving with a manual transmission or executing the perfect heel-toe shift). The objective of the second half, I believe, attempts to define the creative process, but the range of answers are limited to "it feels right" or that the jam, "nailed it". This is poor and certainly doesn't do the craft justice as it barely scratches the surface. I wanted some appreciation or reason, some "how" and "why" of the composition process. It was pure waste to have an extraordinary talent like Trent Reznor and not get more from a guy who worked as a janitor by day and composed (all instruments) the demo for Pretty Hate Machine by night. Now I can accept that defining the process can become convoluted, and out of scope very quickly but isn't that what any good documentary should strive for, focus and shed insight and/or impart knowledge on a subject? That savouring feeling from the first half faded in the second despite it resonating amongst the artists in the studio. No matter the pedigree, the jams are alright, but ultimately forgettable.

The Sunworshipper It's quite an interesting documentary with a rather sad development. I can see how the first half is interesting and of historic value, but the second part is not short of watching Grohl pleasuring himself. I find it very unfortunate that so many bands made so much money after recording there and nobody had the decency to help them out and keep the place running so other young people can experience Sound City. Instead, Grohl is nothing but an opportunist, who prays on Sound City's misfortune in order to get their unique console for himself. In 2011, after parting with lot's of their equipment the studio leases the space to Fairfax recordings.