My Review of Rock & Rule

There has been many attempts to do an animated music film that wasn't going to Disney or any company that wasn't Disney. It's a tricky attempt to try and branch out of the norm and create a film with a unique premise. Rock & Rule was a nice start for that, it's not entirely a music movie masterpiece, but it does have some moments I'll share.

Before I get into this review it's imperative to know that this rock and roll movie had a lot of refusals, it's a small budget film that tried to get big names in music to contribute to the soundtrack. There was an attempt to get Mick Jaggar, David Bowie, Michael Jackson, Sting, heck even Tim Curry! Take that in for a moment how perfect Tim Curry would have been in this film . It was a missed opportunity to see Tim Curry in this, it would have fit, but sadly Tim Curry, as well as the rest of the suggested singers were too expensive to afford for a film that had a tight budget. Instead, Lou Reed, Iggy Pop, Cheap Trick, Debbie Harry, and Earth Wind & Fire were the selected ones to play for this movie. Listening to the songs throughout the movie. Not bad choices at all.

For a start of the film, I sat there and went , "Oh my god...reading." It has to be the weirdest reading intro I've ever seen. The explanation for the end of the world that happened years ago so the idea of 'when' is out of the question, we just know it's a dystopian future. Music has taken over the way of life to live and thrive, as well as status for literal power. So it does live up to it's name, Rock and Rule after all.

The characters being mutants were an interesting venture, to find out humans were gone, but the animals developed and evolved into sub-humans. In a way it was like a second evolution. I have to say, it is a smart movie in it's premise, it would sound weird, but it's a smart weird. Even as the movie begins, it almost feels like an animated Blade Runner; the colors, the technology. The whole city looks like Blade Runner, but it's still unique and original in the designs.

However, with the open narration and layout of the world we are about to see-

-The little fickle problems begin.

Now this is going to be weird to explain but it's kind of slow. Not in the sense of plot (but I'll explain that later), there are delays in the motions of the characters. They are sort of like robots if they were buffering. It's the equivalent to the loss and regain of spotty internet. I did read that 200 newly graduated animators so it does make sense that some of the animation is a little choppy because the animators just graduated and they are still finding their grounding. However, the writing wasn't complete, which made it harder on the animator's part to KNOW what the heck they had to animate. For a positive point, despite the fact that the movement is a little spotty, the animators did do a good job in presenting these characters expressions and fluid movement appropriate for their personality. Omar has a rough but lax personality which makes his movement shift from still and brooding to fast and mischievous. The fact that he's based off James Dean is pretty interesting to work his mannerisms into the character.

The characters comprised in the band look like they don't belong together, and strangely that's OK, I like the fact that they don't have the same look. I like that they are all unique in their own way, it does make them all likeable and individual. Bands usually follow 'a look', I'm glad this band didn't.

The writing is a little spotty for the development between Omar and Angel. As it was mentioned earlier the writing was rushed. But, at the same time with these characters being musicians, and musicians being known for flings and lustful reckless relationships. It could be hinted that Omar and Angel have an on again/off again relationship.

I won't lie, I do like the fact that Angel is different then most female leads, she takes the reins to do what Omar won't let her do in the band. She took the risk, even though that risk does lead to the weird plot that she was the chosen one for the main villain, still, she took the risk. Besides being a firece musician, she's a woman with a strong sense of justice. She's one of the best characters in the movie that has the best character development. For a movie in 1983, that's pretty progressive.

Again, with what I said about Omar and Angel having minimal development. Or I should say it has a direction that isn't clear on what exactly was going on. The whole conversation and confrontation between Omar and Angel was confusing, was Omar mad the whole time? Is Omar not OK with what happened but he'll move on? He seems sort of indifferent to the situations and has weird reactions to it. His whole reaction and explanation isn't concave. But I guess it doesn't matter because they end up making out in a car after all. I wish I could be surprised by that, because like I said, they are musicians, it makes sense.

When the reveal of the character Mok comes on, my first thought was, "oh my god he looks like David Bowie and Mick Jaggar fused together." Now remember what I said earlier about Mick Jaggar being a suggestion? Turns out the character name, Mok, was going to be a play on Jaggar's name, but writers didn't want to be in troubled waters for that so they opted to keep it out. However it's still mentioned that Swaggar is his last name on most wiki fan pages. But if you look at Mok, he looks looks a lot like David Bowie from Life on Mars. The blue eyes, the outfit, the hair! Look at him and tell me what doesn't look like it took inspiration from David Bowie.

When Mok does his grand plan to have Angel for his "contract". It is very leery and eerie, the buildup for what will happen to Angel is pretty concrete in the plot. It's known already that Angel will be taken, but there is an intrigue to see how it will happen. The way Mok says Angel's name would have been alarming if it wasn't for the moment in Hot Fuzz where Bill Nighy says 'Angel' came to mind. No matter what, saying the name 'Angel' just won't be terrifying for a villain.

But that whole set up, the buildup, it's breathtaking and visually striking.

After Mok takes Angel, and his mansion turns into something before Castle In the Sky was a thought to be made (seriously it's scary how similar the ideas look despite being completely different concepts). It takes a creative comedic turn with Dizzy. After his companions are unconscious from holograms. He has to drive a car he can't drive. The car is in neutral going into town, despite the danger he's in, he commentates the whole way. The car almost hits a dog, and he yells at the dog for being stupid, the car almost hits a couple and I won't dare ruin to talk about that moment, you'll have to see it for yourself. Then after the car hits a cop they know, the car goes over the railing he says , "We're not gonna die, yes we are". the icing on the cake as the car crashes, it comedically times with a homeless woman nearby that drops all of her stuff, and then her clothes at the bumps of the crash. For a movie that is about music, it does a great job in comedic moments.

When Omar and Stretch finally wake up after the crash, and discover that Angel is with Mok (not knowing it was against her will) Omar acts indifferent, the motive isn't really shown if he wants to get Angel. Dizzy had more of a show of emotion for their safety as well as Angel's. Stretch made a dramatic plea of love for his car, and yet Omar is sort of indifferent even when he opts to go with them to get Angel in, get this, Nuke York...Of course it's called that.

There is a dime a dozen for music montage road trip scenes, never did I think that Cheap Trick's I'm The Man would be the song that perfectly fit in every way. Why isn't this song in other road trip montages? Like I said, the music choices that the movie had, it's on point. Cheap Trick fit with the movie's themes and vibes of music.

Angel gets a plan of escape through a newly introduced character, the sister of the henchman named Cinderella, or as I like to call her, 'Elanor from the Chipettes on steroids'. Angel ends up finding out from hiding in the vents that Mok plans to use her voice as " the Armageddon key". She must sing a certain chord progression and it creates a doorway to another dimension. Listening to that makes the think it's some strange crossover between the plot line to Ursula's contract from The Little Mermaid and the Gozer plot from Ghostbusters.

In the transition, the exposition is given from a radio broadcast talking about Mok's return from a hiatus to give a concert, as it's been hinted he hasn't had one in years nor success. In a way that is another convenient way of his character. Considering most musicians do fade in time, and sometimes the new music they put out doesn't fare very well. So in a way Mok's motives are similar to that example, with the sci fi twists and all.

When the band takes refuge at Dizzy's aunt's tattoo parlor. His aunt explains the exposition of what just happened to the band after being apprehended and what she had to do for them. Then explains exactly what they are getting into. Omar says he wants the help to save Angel, but again, it doesn't look like he cares, he still animated in his facial expressions to care less.

I have to say, the aunt's sudden insert in the story is kind of awesome, she's a eye-patch wearing, tattoo artist. Between Cinderella's spazzy, sweet nature and Aunt Edith's spunky, maternal, take-no-shit attitude. All of the characters set up is great. Everyone is individually intriguing and entertaining, it's sad that the plot and dialogue can be so muddled that it gets smeared.

Cinderella and Angel end up going to a club where the animation gets weirder like a Ralph Bakshi movie of vulgar drawings the female anatomy and sexual humor. It's not entirely shocking considering the movie would have moments like this with that kind of animation, strangely it fits here then any other movie. Probably because it wasn't littered here and there, so seeing the crude humor part is timed well.

At the moment where Angel is found by the bandmates, but then the henchman of Mok take the bandmates, in that moment it's transitioned well. The strobe lights in the club fits with the tense moment of Stretch being taken, then Angel, and as soon as Omar and Dizzy go outside, Dizzy is taken. Omar is looking for Angel (finally he has a motive and somewhat increased worry).

Omar is lured to an abandoned building where he finds Mok with Angel. Then to Omar's horror, Angel is in love with Mok, it freaks him out, only to the dramatic irony of finding out that it isn't really angel it's one of the women of Mok that Cinderella mentioned earlier in the movie. I can't even begin to describe how that Scooby-Doo-like reveal of a woman wearing a mask to resemble Angel and to see how disfigured she is, it had me freaked out.

Back at the lair for Mok and his henchman, Mok begins his process for the dimension opening, but Angel refuses to co-operate because she's worried about her band. Mok shows her where her bandmates are, they are contained in a pink bubble with lasers inflicting them. She screams for him to stop and realizes the trouble she's in.

So far, Mok is a great villain, I am shockingly impressed. With a performance by Don Francks that could rival Jeremy Irons as Scar. A chilling look and diabolical motives. He's charming even though there is nothing charming about him at all. It's the way smooth way he talks with suave and sophistication. How this villian isn't mentioned frequently is a crime. The design and the performance truly make this a great villian.

Angel finds her bandmates on a bus going back to Ohmtown, but something is off about them. Their voices are slurred, and they all seem to be hypnotized. Angel vows to help them and tried to plea to Omar that she's being forced to sing but a hypnotized Omar is numb to the plea.

I do have to say that was a change in plot that is rarely seen, Omar is supposed to be our protagonist, yet he's failed, and he's barely shown any signs to care. With the willing care of his bandmates, they still end up failing in the mission to get her. There is more of a focus on Angel throughout the whole movie even though she will eventually be saved, she isn't too much of a damsel in distress and does care for Omar.

To the climax of the film, it's a bit rushed in plot. Mok sends the bandmates home to Ohmtown, we look at a concert poster in promotion for Mok's return to the stage. The whole plot that had been building up, was in blurred snippets. We see this "demon", Angel is bound to the stage to sing, chaos ensues. Then it transitions to explain the rest of the exposition by news. At first it was clever to be introduced by the radio, then by the news? It was just weird and lackluster, surprising, but lackluster. The news explains that a power-outage happened which made Mok's plans temporary fail. Mok finds out from his computer that 'the being' has stopped his plans.

Which that is the other problem I have point out. It's mentioned that someone can stop Mok, it's coined as 'the being'. We don't even know what it is and heck, even the movie doesn't even know what it is. The supercomputer explains that it can't explain it. Kind of a cop of out of plot point. It's shrouded in mystery, but it's not even that great of a coverup for alternative ideas. It is hinted that it leads up to Omar, but even that option isn't great to predict. Because of Omar's lack of motive, it doesn't even make me want to root for him to be the savior. It's directionless, what if that happened in Aladdin? What if the Cave of Wonders told Jafar, "Sorry I don't know who the diamond in the rough is, your on your own pal." That would be a letdown of a gradual plot. It's a cop out in plot worse then Alien 3.

Twenty minutes left in the plot from that point.

Mok finds out the power source he needs to get the demon out is in Ohmtown. Which is weird that a whole town and it's energy was the source, so again, it's a lackluster cop out.

As he travels to Ohmtown, another great animated music segment comes up and despite my disappointment with that last part. 'My Name is Mok' is actually pretty catchy, and the fact that its performed by Lou Reed is even better. Mok is hailed as a great musician, and the music should show for it and it does.

On arriving to Ohmtown, Angel makes a plea to Mok that she wants to be with him wherever he goes, trying to convince him to protect the world from his madness. But unfortunately Mok catches onto her plan and proceeds to start the plan for concert in Ohmtown.

Going back to Omar (yeah back to him again after not having much of him in the movie to begin with). He now has a trio band with Stretch and Dizzy. The manager of the club complains that not having Angel has made the band go bad. It still appears that Omar, Dizzy, and Stretch are still hypnotized.

The concert begins and Mok makes Angel sing against her will with a contraption strapped to her neck in order to make her sing the exact notes. Mok's henchman summons more of the power in the area of Ohmtown, shattering all the lights, in turn the shock of the instruments zapped from the electrocution, it snaps the band out of the trance. Strangely, that also sounds like a plotline from The Little Mermaid (even though this movie was out years before The Little Mermaid).

They all see the Mok poster with Angel on the front, Omar is angered that Angel just wanted fame. Again, Omar's motives are a little muddled and unclear, he goes from caring to not caring. Dizzy is able to convince Omar that Angel loves him (Though really, Dizzy should be the one saving her, not Omar since he's put more effort the whole film).

Omar goes to Angel, and bandmates steal a police cruiser to catch up to Angel only to find it's too late, the demon has been released. The demon's release is actually pretty freakin' cool. It's a different style of animation to present it with some strange, horrific imagery. From that point, it became a horror movie, I have to give it that credit, when it goes somewhere in an element, it goes all the way.

Before the demon tries to take Angel, Omar finally comes to save the day by using guitar to fight the demon and free Angel from her restraints. I wasn't even mad at that part because it's an odd movie, of course a guitar is used as a lethal weapon to fight.

In a sad moment, one of the henchmen, Zip, blocks the blow from the demon to protect Omar and Angel. His brother Toad, comes to find his critical condition and explains he wants to be good because he realized they were evil. That scene went into 'Of Mice and Men' territory I wasn't ready for.

To protect Omar and save the world, Angel goes to sing the demon back to the dimension. Strong and sure, Angel's voice echoes throughout and begins to fend off the demon. Omar then joins in to help her. So in a full-circle to a plot I've been nitpicking at, it was enjoyable to see this spec of development. In the beginning of the movie, Angel and Omar constantly argued that one of them wanted to a song, but they never did one together as a duet. Even earlier in the trance Omar revealed that he wanted to sing a song with her, now that moment is here. All it took was a demon being released to make that happen, who would have thought that?

To Mok's disappointment that his plan has failed, his demise happens through vengence. To Avenge Zip's death, Toad drops Mok into the dimension to be trapped with the demon.

The portal closes, Omar and Angel embrace, and there's a happily ever after as the song continues in the credits.

And that was Rock & Rule. A weird film with some flaws, but as a music movie it was excellent.

It's sad that this film was a box failure and it was the first film from animated film company, Nelvana. But there's no denying that it's far from a failure. It combined an amazing soundtrack to include Lou Reed, Iggy Pop, Debbie Harry, and Cheap Trick. It's remembered fondly by many who watched it. It had a rough couple of patches from rushed work on writing and the beginning had some problems, but then again what film doesn't have problems? If it ever gets the chance to be remade, I don't know if that would be possible since despite the problems the film has, it is still an untouchable film.