The comparatively small but — in musical terms — hugely important geographical area called Laurel Canyon in Los Angeles is profiled in the documentary, “Echo in the Canyon.”
Directed by Andrew Slater, the film details how the Byrds, the Beach Boys, Buffalo Springfield, and the Mamas and the Papas birthed the still influential “California sound” there in the mid-1960s.
The film features contributions from Brian Wilson, Michelle Phillips, Ringo Starr, Eric Clapton, Stephen Stills, Roger McGuinn, Graham Nash, David Crosby, Jackson Browne, and the late Tom Petty in his final on-camera interview.
“Echo in the Canyon” opens in Los Angeles on May 24 and New York City on May 31.
Liam Gallagher is no stranger to baring his soul, and the former Oasis member is continuing his quest to be the most outspoken man in rock and roll with the upcoming documentary, “Liam Gallagher: As It Was.”
Altitude Films has released the first trailer for the film, which showcases Gallagher preparing to perform a solo show in Manchester, England.
In February, Gallagher confirmed the completion of the film, directed by Charlie Lightening and Gavin Fitzgerald, calling it “mega well done.”
Altitude describes the documentary as an “honest and emotional story of how one of the most electrifying rock ’n’ roll frontmen went from the dizzying heights of his champagne supernova years in Oasis to living on the edge, ostracized and lost in the musical wilderness of booze, notoriety and bitter legal battles.”
“As It Was” is set for release in the U.K. and Ireland on June 7, but has yet to receive a U.S. release date.
When Lil Peep ingested a lethal amount of fentanyl and Xanax on the back of his tour bus last year, the music world lost one of the most innovative and exciting young artists to emerge from the SoundCloud rap generation.
In 2015, Peep (born Gus Åhr) set himself apart from other performers within the genre through his innovative fusing of 2000s emo and pop punk with underground Memphis hip-hop.
At SXSW for the world premiere of “Everybody’s Everything” (a reference to Peep’s final Instagram post) sat directors Sebastian Jones and Ramez Silyan, as well as executive producers Terrence Malick and Liza Womack (Peep’s mother), flanked by other members of Peep’s family.
What unfolded for the next two hours was a film that was both tragic and beautiful, perfectly encapsulating the life and rise of the young troubled rapper.
Filmmaker Aaron Kunkel fashions an absorbing true-crime narrative with a danceable beat from the testimonies of exploited pop celebrities, bilked investors, criminal investigators, and not-so-quietly aghast onlookers in “The Boy Band Con: The Lou Pearlman Story.”
Briskly efficient in its construction and execution, the film focuses on the high times and low dealings of the Orlando, Florida-based music impresario and Ponzi scheme swindler, Lou Pearlman, who famously launched the groups *NSYNC and Backstreet Boys.
Pearlman infamously used the boy bands’ success to provide a patina of legitimacy for his complex web of bank and investor fraud.
“The Boy Band Con: The Lou Pearlman Story” will be premiere April 3 on YouTube Premium.
It’s remarkable what happens when you take Michael Jackson out of the latest Michael Jackson scandal. Remove the usual King of Pop soundtrack and all that glitters, and things get so much clearer.
The details are still appalling, but what we see and hear in Dan Reed’s riveting and sharply convincing four-hour documentary, “Leaving Neverland” (airing in two parts tonight and tomorrow on HBO), supplies the viewer with an unexpected measure of calm.
Even the outrage feels at last like the real deal, instead of the manufactured byproduct of tabloids and TMZ.
Already the talk of this year’s Sundance Film Festival, “Leaving Neverland” is the story of two men — noted pop choreographer Wade Robson, 36, and James “Jimmy” Safechuck, 41 — who each tell us, with the resolute certainty that they lacked as younger witnesses deposed and questioned in other cases, that Jackson sexually molested them when they were boys, starting in the late 1980s and early 1990s and continuing into their teenage years.
The unbelievable strangeness inherent in truth has made for some incredibly destabilizing documentaries about the blurred lines of fact and fiction.
Films like “Dear Zachary,” “Catfish,” “Exit Through The Gift Shop,”’ and “The Imposter” all blow themselves up in the middle featuring twists so disarming, so surprising that they make one question the very reality and existence of what you’ve been watching.
So prepare to be fooled, thrilled, and surprised with a new classic of this upending subgenre with “Untitled Amazing Johnathan Documentary,” a doc that uses the integral subject of magic and artifice to create a riveting meta-story about the illusory nature of truth, trust, and the self-examining questioning of what you thought to be real.
Directed by Ben Berman, who has worked on some crazy shows as an editor and director like “Tim and Eric,”and the gonzo “Lady Dynamite,” his film is wild too, a discombobulating rabbit hole within rabbit holes, but likely in a way he never ever imagined.
It’s the story of magician Amazing Johnathan (real name John Szeles). Johnathan has been given a devastating diagnosis; he has a terminal heart condition and is going to die.
But as Berman goes out to follow Jonathan on a comeback tour, nothing is quite what it seems, and soon the director finds himself at the center of his own documentary, unintentionally having to Michael Moore himself into the story.
Hulu recently acquired “Untitled Amazing Johnathan Documentary” at the Sundance Film Festival. A premiere date has not been announced.