Almost Famous Blu-ray Movie

Rating summary

Movie		5.0
Video		3.5
Audio		4.0
Extras		3.0
Overall		3.5

Almost Famous Blu-ray Movie Review

A great movie that needs a better Blu-ray release.

Reviewed by Martin Liebman January 24, 2011

One day, you'll be cool.

Ah, to be young and naïve again, not to dodge the responsibilities of adulthood but to once again enjoy that period of discovery; of burgeoning understanding; and to see the world as it appears in that innocent youthful bubble, as it should be, and as it really is as all three converge into some twisted uncertainty that doesn't make a whole lot of sense but sure is cool to see develop. And it's how they develop that is ultimately the driving force in one's own personal development on the way to adulthood. Almost Famous is a movie about youth, about seeing things as they really are, about learning what matters in life. It's a film about honesty, integrity, discovery, and the realities of the world colliding with the carefreeness of youth, that first taste of freedom, and that first hint of love. It's a rare movie that's as honest as it is sweet, as meaningful as it is fun, as funny as it is sad, a complete picture that's an unmistakable classic not of music but of life. And those are the best kinds of movies: movies about life. Life as it is, not as it should be or is not, but instead built around truths that might not be fair, might not be easy, or might not be obvious, but truths nonetheless where eyes are opened and the soul is fulfilled on a journey that teaches not what it means to exist but what it means to truly live.

Growing up.

William Miller was once a decidedly uncool genius who skipped a few grades and was the object of his derision by his more "mature" classmates who might outnumber and outgrow the diminutive boy, but they certainly don't outsmart him. William's home life is in a bit of turmoil, too. His sister Anita (Zooey Deschanel) is leaving home to find herself as she flies the friendly skies the world over, and she leaves her contraband record collection to young William. Their mother (Frances McDormand) disapproves of the pervasion that is then-modern-day Rock music, but that doesn't stop William from embracing the collection and becoming a walking encyclopedia of all things Rock. Now aged 15, William (Patrick Fugit) has landed a job as a writer for Creem magazine after impressing the jaded music critic Lester Bangs (Philip Seymour Hoffman) with his passion, writing style, and dedication to what Bangs calls a dying genre. On his first assignment for Creem (a 1,000 word article on Black Sabbath), William stumbles upon a group of "Band Aids" -- call them roadies, call them groupies, call them wandering souls -- led by the mysterious Penny Lane (Kate Hudson) while also immediately impressing a midlevel Rock band called Stillwater with his passionate and intelligent compliments. Though there's hints of conflict between the band's lead singer Jeff Bebe (Jason Lee) and lead guitarist Russell Hammond (Billy Crudup), the group as a whole takes a liking to William "The Enemy" Rock Journalist; he's invited to join the group on tour and also lands himself a juicy gig with none other than Rolling Stone magazine -- believing William to be an adult -- with the task of writing a lengthy article on Stillwater. As William tours the country, gets to know the band, find himself attracted to Penny Lane (who has her eye on Russell), worries his mother sick, struggles with deadlines, misses graduation, lies about his age, and experiences the ins and outs of life firsthand, he comes to realize that this multitude of experience -- for better or for worse -- will shape his life and define who he'll be as he leaps headfirst into adulthood.

Director Cameron Crowe's Almost Famous is a semi-autobiographical picture and the best in the director's short but impressive filmography, topping even his Best Picture-nominated Jerry Maguire maybe not in sheer popularity but certainly in heart and honesty. It's a picture that's constructed on several levels, each one integral both to the overreaching story and the broader themes buried underneath the façade of life on the road with a Rock band. Almost Famous is a movie that works entirely on its honesty. It's characters are far from perfect -- they mistreat one another, sometimes lack respect, lie about a myriad of things, and so forth -- but underneath the deceit is a sincerity to explore, to find out what this thing called life really means and what is it that really matters in it. The lies and the differences stem from the characters' belief that they need earn the "okay" from the outside world to be who they are or, at least, find out who they are. They live in a world of labels, where music is labeled as "filth" and fans are labeled as "groupies" and writers are labeled as "enemies." Maybe it's not outward labels but inward truths, not titles but honest souls that make men, and Almost Famous is about scraping off those labels to find out what's really underneath them. That's the whole point of the movie; discovery doesn't happen for everybody by adhering to societal norms or falling into a predetermined structure. Going on the road with a midlevel Rock band is not the one and only means of self-discovery, but for the characters of Almost Famous, it is, and that's why the movie works: they find the place they need to be and the people they need to be with to find themselves, souls that find their place in the world through the prism of Rock 'n' Roll. For some, that experience leads them elsewhere; others discover destiny, but all of them learn something about one another, themselves, and the world in which they live that becomes a little more revealing following their interpersonal and interconnected journies on the road to discovery in the guise of a fun, sometimes foolhardy, sometimes challenging, sometimes happy, sometimes sad, but unquestionably necessary Rock 'n' Roll tour that, for the core group of Almost Famous, is about far more than music.

Almost Famous is also built around a sense of reality that speaks the language of music but also communicates straight with the heart and soul. It's a genuine picture that transcends its setting -- its music, even -- in favor of a greater message about truth, whether that's truth in living, truth in music, truth in writing, or personal truth. Good, bad, or indifferent, truth is what matters in Almost Famous and, by extension, the world in which the characters live and explore. Reality is what comes from that truth and honesty; reality is the destination for that journey of discovery, the realization of what is and is not real for every individual. Music, obviously, plays a key factor in the film's journey towards reality. Is there reality in the music? Is there personal truth to it? Is the music about self-promotion, about landing a paying gig, about that old "sex, drugs, and rock 'n' roll" lifestyle, or is there something more to it? For those who can look beyond the superficial, there's plenty of truth and, ultimately, reality to be found. The music is a gateway to camaraderie and friendship, a key that unlocks the door to greater understanding not through notes and lyrics but, for these characters, their very essences as the experience of music shapes them, molds them into who they are and need to be. Almost Famous doesn't find the essence of music -- that's different for every individual listener -- but it instead finds the essence of life through music. It's a blueprint, of sorts, not written in stone but certainly serving as a demonstration on what it means to really live, to find oneself, to use those things in life that call out, that will become something important, that say "hey, listen to me! I'm part of your destiny!" For some that's music; for others, writing, sports, a call to serve. Whatever it may be, its essence is found in Almost Famous, a film that does indeed transcend what it seems to be in favor of what it really is: a fascinating journey of discovery on multiple levels for multiple characters that's as touching as it is because of its adherence to honesty, truth, and reality throughout.

Ultimately, though, beyond the meaning and soul-stirring themes lies a movie that's just sweet. Sure it's challenging at times, not always happy-go-lucky, but through the prism of its reality and honesty lies a movie with its heart in exactly the right place, a picture that blends meaning and a feel-good tenor perfectly. Better still, it's in no way a "cheesy" feel good movie. Almost Famous never panders and never feels forced; it instead feels good and right because it's so genuine, because it's characters are so true, and its purpose so multi-layered. Outside of Cameron Crowe's exceptional script, standout direction, and first-class soundtrack -- three elements that aren't getting their just due in this review but need to be mentioned -- the film's best technical asset lies in its acting. There's not a dud performance to be found in Almost Famous; the picture boasts a number of seamless efforts that immediately and without fail pull the audience into the world of 1970s Rock and Roll and the formative time of the characters' lives. The cast, to a player, understands the layers of the script and the themes it's aiming for, knowing that the characters are the glue that holds it together, that their journey is what matters beyond the excellent period setting, fantastic costumes, and killer soundtrack. There's a depth to every character -- there are few movies that have as many dynamic characters as there are here -- that helps shape the overall structure of the film and reinforce its primary themes of honesty and reality set against the backdrop of music. Frances McDormand is fantastic as the lovable, well-meaning "antagonist" who refuses to see the power not of music but of the soul to see beyond stereotypes and instead find the value in a journey of exploration that's not about the body or even the mind, but of the soul. Patrick Fugit excels as William "The Enemy," turning in an exceptional performance that conveys not only smarts but a sense of wonder and awe, at first at the position he's in and the people he meets but, ultimately, the world he discovers and the person within himself he finds. There are many other first-rate performances in Almost Famous, though none might be so good as Phillip Seymour Hoffman's turn as the grizzled music critic who's William's mentor of sorts, a sage who might be cynical about music but knows what it means to find oneself and a place in the world that's been shaped by a passion for music.

Almost Famous Blu-ray Movie, Video Quality 

Almost Famous almost looks good. Paramount's 1080p Blu-ray transfer is something of a disappointment, but it's still a step above any previously-released standard-definition presentation. The picture is plagued by a myriad of problems, none of which prove debilitating, but definitely amount to annoyances that together insert something negative into almost every frame to drag down the overall experience. Whether some blocky backgrounds, poor color gradations, slight edge halos, a subtle but nonetheless evident overly sharp look, grain that sometimes appears frozen in place, random white speckles, sloppy background noise, a generally flat appearance, or the occasional plastic-like texture, Almost Famous definitely won't be in the running for best catalogue transfer of 2011. It sports many of the same issues seen in another of Paramount's recent disappointing catalogue offerings, American Beauty, but this one lacks the "Sapphire Series" label to further complicate matters. Still, there's no doubting that Paramount's Blu-ray yields solid details and superior clarity and resolution as compared to other releases of Almost Famous. Colors are solid as well, as are blacks and flesh tones. In fact, the transfer's steady and accurate palette may be its best attribute. This is not a bad overall image by any stretch of the imagination, and fans will still want to splurge on the upgrade. Still, it probably should have been better than this, and a remaster somewhere down the road is necessary to give this wonderful film the release it deserves.

Almost Famous Blu-ray Movie, Audio Quality 

Almost Famous' DTS-HD MA 5.1 lossless soundtrack is best described as "efficient." The track only finds a few spurts of energy, but then again, this isn't a music film or an Action flick, anyway. It's a dialogue-intense "think piece" at its center, so the lack of sonic fireworks is expected. Still, when Stillwater takes the stage in Cleveland, the track rises to the occasion no doubt as crowd noise swells all over the listening area and the track kicks into another gear of audible intensity and energy. As the band comes on stage and the first guitar licks spill out of the speakers, the power increases again and the listener suddenly feels right there in the middle of the excitement. The track finds another moment of hectic triumph in chapter 26 as bass booms in one of the film's most memorable scenes, but the film is primarily reserved and subtly delivered throughout. Minor sound effects and atmospherics are handled primarily across the front, and dialogue is delivered smoothly and efficiently through the center channel. Almost Famous does feature some soundtrack tunes that really impress in terms of clarity and space; whether the melancholic "Mona Lisas and Mad Hatters" or the uptempo beats of "One Way Out," the track does handle its diverse and electric soundtrack marvelously.

Almost Famous Blu-ray Movie, Special Features and Extras 

Camerson Crowe introduces viewers to the special features for Almost Famous via a short audio clip that plays when the special features tab is selected. He claims that what's included is "almost everything that's available," and there's certainly some good material here that's well worth watching, or listening to as the case may be. Though impressive in quantity, there's still not an awful lot here of substance when it comes right down to it. Clicking on the small microphone icon next to seven of the special features offers additional audio introductions for the piece by Director Cameron Crowe. Please note that this Blu-ray release does not include the theatrical cut of the film.

• Audio Commentary: Director Cameron Crowe is joined by Scott Martin and Andy Fisher from Vinyl Films, Crowe family friend Ivan Carona, DreamWorks' Mark Atkinson, and Cameron's mother Alice for an entertaining commentary track that's honest and forthright in discussions that not only revolve around the making of the film but also the true stories behind it. Crowe is the star here; he shares a world of knowledge that only serves to enhance the film, but his mother is an excellent addition as she's unafraid to comment on the family's personal history and how it relates to the film. A fantastic movie earns a top-notch commentary track; fans will definitely want to give this one a listen.
• Intro by Cameron Crowe: The same audio that plays when the special features tab is selected.
• The Making of Almost Famous (480p, 24:50): A solid studio piece that looks at the film and the parallels between Crowe's life and the finished movie. There's the requisite look at casting and the importance of music in the film. This is a good piece that excels beyond the normal behind-the-scenes supplement, but it's not quite as thorough as fans might want or as the movie deserves.
• Interview with Lester Bangs (480p, 1:55): A short vintage interview piece with the famed rock journalist.
• Cameron Crowe's Top Albums of 1973 (1080p, 3:52): The director speaks on his favorite albums of the year; the ten album covers are presented on-screen and viewers may click on each for a full-screen view of the cover and an audio clip by Cameron Crowe.
• Music Video (480p, 4:42): "Fever Dog" by Stillwater.
• Music Demo (480p, 3:53): "Love Comes and Goes," vocals by Nancy Wilson.
• Rolling Stone Articles (1080p): "The Alman Brothers" -- December 6, 1973; "Led Zeppelin" -- March 13, 1975; Neil Young -- August 14, 1975; Peter Frampton -- February 10, 1977; Fleetwood Mac -- March 24, 1977; Van Morrison -- May 19, 1977; and Joni Mitchell -- July 26, 1979.
• B-Sides (480p, 5:21): A short behind-the-scenes film by Cameron Crowe and Scott Martin, captured during the shoot of Almost Famous.
• Cleveland Concert (480p, 15:45): The full Stillwater concert.
• "Small Time Blues" (480p, 2:55).
• Stairway (480p, 12:13): The famous excised scene from the film; BYOS -- Bring Your Own Stairway.
• Script (1080p): A digital copy of the script for perusal on the television screen.
• Almost Famous Theatrical Trailer (1080p, 2:33).

Almost Famous Blu-ray Movie, Overall Score and Recommendation 

Almost Famous will mean something different to every viewer. For some it will be a picture of self-discovery; others will see in it a journey towards an understanding not of self but of life; and others still will find a film that's simply the best movie about Rock 'n' Roll ever made. No matter how the film is viewed -- and it's easy to see and appreciate all three -- Almost Famous is unquestionably one of the best of the 2000s. It's a picture that's so well-rounded in terms of its look, style, music, acting, and story, that it's easy to see why the film enjoys practically limitless replay value. There won't be too many movies released to Blu-ray this year that are better than Almost Famous, but Paramount's release probably won't find a spot in the top 10 thanks to a rather lackluster presentation. A flawed but sturdy 1080p transfer, a good lossless soundtrack, and a collection of extras that are lengthy but not particularly deep all make Almost Famous a release that's almost great. Fans are going to buy anyway -- and they should -- because the movie's worth the price of admission and the disc is an upgrade over standard DVD; it's just not up to the standards of the best releases.