Read Positive User Reviews for Jersey Boys

7

foxgroveJun 21, 2014

It takes a fair while but eventually this bio-pic based on the better stage show about Frankie Valli and The Four Seasons manages to hit most of the right notes. However, it does take nearly a full hour for the film to even begin to find itsIt takes a fair while but eventually this bio-pic based on the better stage show about Frankie Valli and The Four Seasons manages to hit most of the right notes. However, it does take nearly a full hour for the film to even begin to find its feet and for the first hit, Sherry, to be sung. Then two more songs quickly follow (Big Girls Don't Cry and Walk Like a Man) within a time frame of 15 minutes. From here on in the film starts to come alive and the second half presents a much more cohesive and digestible movie.

The opening hour is full of caricature and every cornball cliché in the bio-pic book and makes for tedious, even irritating viewing. This is compounded by an annoying performance from Vincent Piazza as bad boy Tommy, who thankfully all but disappears from the last act. The actors portraying the other band members fare much better. Michael Lomenda is best at delivering the direct to camera monologues, a device which generally adds nothing beyond its gimmicky intent. Erich Bergen stands out as song writer Bobby and John Lloyd Young, after a bit of a struggle, manages to get to grips with Frankie Valli.

Despite seeming to possess all the right credentials to make the film soar, it has to be said that Clint Eastwood's direction is for the most part both listless and uninspired. The cinematography is flat and the colour palette washed out, especially in the first half. Other production values seem strangely muted for a period piece. There is perfect precision though, in one lengthy but excellent scene revolving around money issues, which also signals the end for the group.

The last scene over the final credits demonstrates what the film could have technically done better. This sequence is cut well and finally we have some colour and pizzazz in a musical number. Before this, competence alone has reigned supreme leaving the songs themselves to elevate proceedings. Let's face it the film should be all about those songs. Here it's just a shame that the vehicle showcasing them is not firing on all cylinders.… Expand

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8

Syoung16Jun 20, 2014

The movie spends a lot more time on the drama behind the music and it is not as uplifting as the musical. The cast is great and so are the songs. All in all, it is still great that the 4 Seasons finally got some appreciation after beingThe movie spends a lot more time on the drama behind the music and it is not as uplifting as the musical. The cast is great and so are the songs. All in all, it is still great that the 4 Seasons finally got some appreciation after being overshadowed by the Beatles and Stones. When I saw the play, when Gaudio wrote and they performed Sherry, the audience stood and cheered. The movie did not pack the same punch. Yet, I enjoyed it.… Expand

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7

horcrux2007Sep 3, 2014

"Jersey Boys" isn't the most original movie I've ever seen, and it is quite long. However, it's full of heart, energy, and good humor. The acting is, well, annoying in the first act of the film, but it eventually does get better, and the"Jersey Boys" isn't the most original movie I've ever seen, and it is quite long. However, it's full of heart, energy, and good humor. The acting is, well, annoying in the first act of the film, but it eventually does get better, and the musical numbers are great. It focuses more on the drama behind the music rather than the music itself, which made the film very interesting. I've never seen the Broadway musical, but this film encourages me to go see it.… Expand

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8

AdeeJun 25, 2014

At the end of the movie I clapped along with the audience. I cannot stop singing the music. I saw the musical Jersey Boys on Broadway and I enjoyed it almost as much. This is a movie that I will see more than once. I love the narration. ClintAt the end of the movie I clapped along with the audience. I cannot stop singing the music. I saw the musical Jersey Boys on Broadway and I enjoyed it almost as much. This is a movie that I will see more than once. I love the narration. Clint Eastwood did a terrific job, as always. Listen to the audience, not the critics on this one - They must have seen a different movie.… Expand

3 of 5 users found this helpful32

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8

Forrestgump1Jul 31, 2014

In the slum-dog age with the likes, and attests of the fortunate merry band of filmmakers turning huge Broadway productions into sensational motion pictures. Audience members, including myself, have seen this across the world; with such wellIn the slum-dog age with the likes, and attests of the fortunate merry band of filmmakers turning huge Broadway productions into sensational motion pictures. Audience members, including myself, have seen this across the world; with such well known titles, “Mamma Mia”, “Chicago”, “Rent” and, of course, “Les Miserables”. As fate would have proceeded, we have the wondrous, sometimes oversaturated, and embracing musical flux “Jersey Boys”. The latest musical adaptation to hit the silver screen, and much like the angel voice of Frankie Valli, the film is sweetly visceral, yet profoundly touching.
Nine years ago, the subdued Frankie Valli was inducted into a new generation of musical enthusiasts. He was resurrected by the Tony award winning stage production of the same name. From then on, the rest is history. The show, and film, chronicles the story of the rise and fall of the notorious Four Season, or “Frankie Valli & The Four Seasons”. Saving the four crooks from a lifetime of smuggling, dealing and heartache. The band cranked out four unstoppable hits including the likes of; “Sherry”, “Walk Like A Man” and the upbeat, high pitched anthem “Big Girls Don’t Cry”

Nobody could argue that these songs aren’t timeless, but granted if you took any song from this era everyone could have a jingle with it. The portion that is seemingly potent is the talented cast, and what is done with the source material. It should only seem fitting that John Lloyd Young take on the role that won him a Tony in 2006, portraying Frankie Valli. Which is truly a remarkable achievement. The vocal pitch-range, is extremely tough to come by naturally. In terms of hitting the notes, and such Young was the “bees knees”. In contrast, I didn’t believe for one second in the opening scenes he was supposed to be 16, when in real life he is actually 38. Believe it or not, looks are deceiving because, when Young opens his mouth and starts belting that high nasal falsetto...wow.

The real show stealer belongs to Vincent Piazza the only actor of the four whom didn’t revive a role from Broadway. (Young, Michael Lomenda, and Erich Bergen all played their same characters from the stage production). The flow, consistency and humble brutality that Piazza enfuses into the ruthless thug, Tommy DeVito is one for the books. I was immensely captivated and enriched everytime he graced the screen. If there’s only just a reason to see “Jersey Boys” Piazza’s performance is that reason.

Michael Lomenda, who portrays Nick Massi the bands bass player, and Erich Bergen playing the bands lead writer Bob Gaudio are evenly spot on, even if their accents could use a little work. It doesn’t hurt that they previously played these roles, so to them it’s eerily comfortable, and that relaxation shows. Christopher Walken also steps into the limelight as the mentor and welcoming Gyp.

Being helmed by a legend all the same as it’s band of misfits, Director Clint Eastwood takes the source material one step ahead of the bunch. Crafting a larger than scale buffet of musical endeavours, and stage churning performances that easily cater to the talented crew in front of the camera. With the huge ticket sales, much like Les Mis, still pouring in; a live film adaptation seemed financially plausible. Which doesn’t mean the film doesn’t surrcomb with it’s fair share of flaws, there are a few. Running times have been a keen issue with films lately. “Jersey Boys” at times thinks it’s a stage production, and can keep up with the pace it sets. While evidently this portrays quite nicely early on, however, once the two hour mark pulls up; the audience is left feeling a bit clogged.

Ideally, the biggest fault, we also never really get to know the man behind the music. Frankie Valli is an impeccable persona, that would have been ideal to know. However, when you only have a set time frame, and strict studio restrictions; what else could be done, or cut to fit the time allotted?. Eastwood does his best to make sure we have a deeper connection within the film’s main protagonists. Including breaking the coveted fourth wall which, in my oh so humble opinion, made the film all the more worthwhile.

In addition, giving the context of the story, the film is told through the lifespans of the band. Which means each actor had to portray each character from early teens to late sixties. These actors are talented. However, when you see the final scene there are no favors given by the makeup department. Given all the critical backlash from Eastwood’s past (I’m looking at you “J Edgar”) you would think some thought would be given. Alas, I digress.

Still, when it boils down. The film earns the name “Jersey Boys” and for most musical enfucatinatos, this adaptation will likely get the good graces among that community. Even though I wanted to spend more time with these characters. I was distinctly satisfied with where things ended, and transcended all the same. The music will continue for generations to come, and thanks to this film it can live on just a little bit more.

B+

By: Nate Adams

Directed By: Clint Eastwood
Rated: R
Run-Time: 140 mins
Studio: Warner Bros.
Release Date: June 20th 2014

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9

MargateExpertJul 6, 2014

The single review I read before seeing this film was over-the-top nasty -- but also mostly wrong. The reviewer, presumably a relative youngster, appears to have missed the fact that the material was deliberately presented in the hokey styleThe single review I read before seeing this film was over-the-top nasty -- but also mostly wrong. The reviewer, presumably a relative youngster, appears to have missed the fact that the material was deliberately presented in the hokey style of a 1940s/50s Hollywood biopic. Plot points in 'Jersey Boys' are not subtle, the gangsters are not Joe Pesci-style psychopaths, and the acting is definitely not Method. Some biopics that possess the gritty qualities of real life – films about Johnny Cash, Lenny Bruce, Ray Charles, Jacqueline Dupre and Andy Kaufman come to mind -- are engrossing as a kind of cinema verite. But equally engrossing are some of the hokiest bios of an earlier generation, including The Glenn Miller Story, The Five Pennies, The Eddy Duchin Story, The Pride of the Yankees and Lust for Life (Kirk Douglas as Vincent Van Gogh.)

A key point in Jersey Boys concerns how Frankie Valli's career took off when song writer Bob Gaudio entered his life musically. Valli had been singing Dean Martin-type songs before then, and although it's clear that his voice would have been interesting to anyone in the audience, the songs failed to take advantage of his unique vocal gifts. So when Gaudio sits down at the piano and riffs a “perfect” Frankie Valli song, viewers get the same electrical jolt that Valli himself and the members of his band must have felt when they realized what had been missing from their music all along. Although it's possible that no such epiphany occurred and that the musical meshing of Gaudio and Valli evolved over weeks or months rather than in a single, dramatically charged instant, the film succeeds at artfully compressing the process so that it packs an old-fashioned dramatic wallop.

As Picasso said, art is a lie that tells the truth. Director Eastwood does this so well here that we are reminded not only of his great gift for presenting musical themes and subjects, but of the enormous skill he has acquired as a director over the years in choosing which details to emphasize visually and aurally. Eastwood is no less talented as a producer, and he has spared no expense in giving this film the look of the Fifties and Sixties when the Four Seasons climbed from obscurity to the top of the pop-music world. If you enjoyed the stage version of “Jersey Boys,” you will also appreciate the addition of some important biographical material that presumably was cut from the play because it might have bogged it down. It adds dramatic weight to the story without burdening viewers with too many plot lines and characters. This is one of the summer’s best films so far, a great “date movie,” and a highly entertaining way to spend a couple of hours.… Expand

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8

MindSpazJun 29, 2014

If you are expecting a musical, then turn back now. You probably will not like the movie if you loved the musical. But, if you like a great drama, then go ahead and see this movie. It is not nearly as light hearted as the Broadway show, itsIf you are expecting a musical, then turn back now. You probably will not like the movie if you loved the musical. But, if you like a great drama, then go ahead and see this movie. It is not nearly as light hearted as the Broadway show, its more of a dark tone drama. Focused more behind the music, and the meaning of each song, rather than the actual songs, singing and dancing, ect. You will hear popular Four Seasons songs in the movie, and they are performed well in my opinion. I really enjoyed this movie, and it's probably one of my favorites this year. Definitely worth the watch, and your money.… Expand

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7

catcarloJun 24, 2014

Tratto da uno dei maggiori successi di Broadway nel decennio scorso, il nuovo film di Eastwood rappresenta la realizzazione del desiderio del regista di mettere la sua firma sotto a un musical, tanto da accettare di prendere il posto di JonTratto da uno dei maggiori successi di Broadway nel decennio scorso, il nuovo film di Eastwood rappresenta la realizzazione del desiderio del regista di mettere la sua firma sotto a un musical, tanto da accettare di prendere il posto di Jon Favreau a progetto già avviato. Si tratta di un'ulteriore tappa nella esplorazione dei generi classici hollywoodiani e il risultato è una commedia musicale a tutto tondo (a testimoniarlo basterebbe la gioiosa scena collettiva sulla quale scorrono i titoli di coda) in cui i conflitti vengono smussati e anche il boss mafioso Gyp DeCarlo – nei cui panni gigioneggia divertito Cristopher Walken – è rappresentato soltanto come un bonario, per quanto rispettato, ‘facilitatore’. La storia di Frankie Valli e dei futuri Four Seasons - Vivaldi chi? - inizia nel New Jersey con un vago sentore di ‘American Graffiti’ che pervade le peripezie di quattro ragazzi italoamericani alla ricerca del successo: in questa prima parte la scena è dominata dal chitarrista e piccolo intrallazzatore Tony Visconti (Vincent Piazza) che spesso e volentieri parla direttamente in macchina – come pure succede più avanti al bassista Nick Massi (Michael Lomenda), facendo nascere più di un sospetto che si tratti di un omaggio a ‘Quei bravi ragazzi’ – e dà l'avvio alla scalata organizzando le prime serate nei locali del circondario. A questo punto l'attenzione si sposta sul personaggio di Valli (John Lloyd Young), narrando la crescita verso il vertice della parabola e la susseguente discesa, che inizia proprio in uno dei momenti di massimo successo (l’esibizione all’Ed Sullivan Show), ma non si trasforma in un crollo rovinoso, anzi il cantante riuscirà ancora a piazzare qualche buon colpo come solista, ‘Grease’ e ‘Can't take my eyes off you’ su tutti. Proprio la genesi di quest'ultimo brano si trova al centro di quella che, assieme alla panoramica a salire sul Brill Building e sui relativi generi musicali, è una delle scene più belle del film. In essa, Valli sta seduto da solo in un diner dopo la morte della figlia mentre fuori cade la neve e viene raggiunto da Bob Gaudio (il tastierista e compositore del gruppo, interpretato da Erich Bergen) che gli propone lo spartito con il quale trovare la forza di ripartire: un insieme di narrazione e inquadrature che dice molto della sensibilità di un regista che sa ben raccontare la malinconia. Un altro tema caro a Eastwood è il rapporto padre-figlio, che qui però appare solo in una dimensione secondaria: in tutta la pellicola il registro drammatico risulta solo accennato (si veda anche il difficile rapporto di Valli con la moglie) e fatica ad amalgamarsi al tono da commedia che caratterizza l'andamento complessivo quando in scena non ci sono le canzoni (che sono, ovviamente, parecchie, a partire dalla celeberrima ‘Sherry’). Tra i tanti pregi dello zio Clint è, del resto, anche la notevole capacità di mettere in immagini la musica, sia quando essa è protagonista, sia quando è parte integrante nello sviluppo della storia e questo anche quando il genere è lontano dalle sue preferenze (che come noto, sono orientate al jazz): perché il tutto risultasse più efficace, il regista ha voluto che gli interpreti fossero gli stessi del musical (Young ha vinto un Tony per la sua interpretazione teatrale) o comunque provenissero da quel mondo e le canzoni sono state eseguite direttamente sul set. Su un tocco di nostalgia per gli anni migliori che non tornano più – dal palco della Hall of Fame il ricordo torna al vecchio quartiere – si chiude una pellicola che, per quanto detto in precedenza e perché il coinvolgimento emotivo non riesce sempre ad essere al massimo, non è certo un capolavoro, ma che comunque garantisce due ore leggere di ottimo intrattenimento. Il che, poi, è un problema per l’ex Biondo (che si cita in un fotogramma da ‘Rawhide’): da lui ci si aspetta sempre il colpo d'ala e, quando si limita al solido mestiere, c’è sempre qualcuno che finisce per storcere il naso.… Expand

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10

nicolexJun 28, 2014

I agree with the person who said listen to the peoples reviews not the critics over this film. It was well made you felt you were back in the day as so authentic. A thoroughly enjoyable film ,well acted and presented.I cant tell you how muchI agree with the person who said listen to the peoples reviews not the critics over this film. It was well made you felt you were back in the day as so authentic. A thoroughly enjoyable film ,well acted and presented.I cant tell you how much we enjoyed it other than to say we have already been to see it twice and will buy as soon as it comes out on DVD welldone Clint. .definetly worth going to see.Such a shame if it doesnt get the people in it so deserves .we also all ended up on our feet dancing. AMAZING… Expand

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8

ClariseSamuelsJun 25, 2014

In spite of a few cliches and some generalizations about Italian-Americans, not to mention New Jerseyans, this movie is so charming that you are disappointed when it's over. No matter how many times we see the rags-to-riches stories that areIn spite of a few cliches and some generalizations about Italian-Americans, not to mention New Jerseyans, this movie is so charming that you are disappointed when it's over. No matter how many times we see the rags-to-riches stories that are so common among celebrities, there is something perpetually appealing about this kind of story─four youngsters who are undereducated, lower middle-class, and bored to the point where committing petty crimes is the most excitement that life has to offer them, realize that they have a uniqeness about them, a spark of genius, that makes them different from everyone else. They put all their money on this one shot in a million, which is that someday they are going to be famous, and that every naysayer who ever dismissed them will live to regret it. And their wildly overconfident predictions then proceed to come true. Not only do they make it big in the music industry, these four kids from Mob-infested Newark, NJ would invent a new sound that would characterize the 60's and early 70's, and they would become the background music for the lives of millions of baby boomers who came of age during that era.

I grew up in northern New Jersey, where most of my high-school friends were Italian-Americans, and hearing the tough-guy Italian dialect and the familiar songs of the Four Seasons made me feel positively nostalgic for the good, old days. There is a spirit to the Italian-American culture that is stoically upbeat (putting aside the criminality of the Mafia). Even if they became plumbers, electricians, hairdressers, and car mechanics, every Italian friend I had was a superstar. They were all talented, whether they knew it or not, and they all saluted life with all its up and downs, joys and tragedies, as something they had to tackle with guts and courage. Nothing could keep them down for long. They were fearless. I don't know if that's what they are like in Italy, but the Italian predilection for romance, family loyalty, and cultural pride combined with American optimism produced a unique culture that thrived in the State of New Jersey. The collective personality of the Four Seasons, a bland American name for such pronounced ethnicity, was a peculiar blend of Italy, the United States, and the working classes of New Jersey.

The film delves into the band's personal story, perhaps not as profoundly as we would like, for the light-hearted influence of the original Broadway musical prevails. But the four actors who portray the original band members, most notably John Lloyd Young as Frankie Valli, are mesmerizing in their perfect imitation of the sound and style of the Four Seasons. And when the four join together to do a few simple side steps in unison while performing on stage, they light up like a magical force of pure music and synchronization. The perfection of the imitation is as riveting as the original.… Expand