Apr 26, 2014
"We don't need no education, we don't need no thought control!" I know that's the tagline of the film, but seriously, it's just too hard to not think of that when thinking of this film, even though Pink Floyd's earlier, more abstract tracks fit Richard Linklater's filmmaking tastes at this time more. Ah, yes, ladies and gentlemen, from the mind of "Slacker", "Before Sunrise", "Waking Life" and "Tape" comes yet another artistic triumph in filmmaking, a study on the flaws of a rock star's life and of university-preparatory education, starring acclaimed thespian Jack Black. This may have come out about two years after "Waking Life" and "Tape", but it's still weird how big of a transition Linklater made, not from art drama to commercial comedy, but to something actually entertaining. Hey, people, I can kind of respect Linklater for trying to get all philosophical and stuff, but sometimes the only serious you need is a serious dose of Jack Black, and if you think that makes me sound like a philistine or something, maybe you should look up Linklater on Rotten Tomatoes, because plenty seem to prefer all of this fluff to Linklater's abuse of artistic license, ostensibly because you can at least give this film credit for not being pretentious. It's so what you'd expect that it stars Jack Black as a deadbeat wannabe rocker, naturally, although, the casting is otherwise not that great, because even though Black isn't great-looking, even a pseudo-rocker ought to be able to flirt with a chick better than Joan Cusack, if you want to call her a chick. According to this film, rock star stereotypes as well as non-public education systems can betray you, but that's not to say that the film lets you down when it comes to entertainment, despite issues extending beyond the cast (Seriously, Jack, I've seen worse-looking rockers get much better-looking women).
A comedy that is, of course, of limited meat, this film surely tries patience as it finds itself flirting with a two-hour runtime, or at least seems to, due to many scenes of filler, if not material, running together, until the film becomes rather aimless, with a certain blandness that the final product probably shouldn't have, even with a director who is well-known for subdued momentum. With this film, Richard Linklater certainly ups the pacing and tries not to take things as seriously as he has in previous films, including less commercial comedic ones, resulting in a pretty entertaining pace, until Linklater lightens up atmosphere a touch too much, slowing down a sense of fun that is often compensates for a little too much at times by noisy comic set pieces that are more obnoxious than anything. The film has difficulty in deciding whether it should be more relaxed as a comedy or boisterous, and yet, its narrative is rarely less than a little over the top, following an improbable story that, while fun, is a little too hard to buy at times, possibly because of Linklater's sometimes taking the project a smidge too seriously. The film isn't quite absurdist enough for you to run with the questionable narrative elements in their context, and it's not like it's any easier to get invested in a problematic lead with problematic intentions, for although this is ultimately a film about redemption and liberation more than rebellion, the immaturity of Jack Black's Dewey Flinn character and the overt deconstruction of education sticks around a little too long for you to not feel a little uncomfortable, even though it's not too difficult to predict where things are heading. As much as I point out the film's at least trying hard at keeping fluffy, there's plenty of effort backing the feel of this respectably done comedy, and that makes it all the more frustrating when it devolves into conventions, being not too much more than something of a garden variety comedy of its type with a trope-heavy narrative, and even a little tonal familiarity that further laze out the momentum of a film that, really, should never be taken too seriously. Despite his best efforts, Linklater is handed a fluffy project, and there's only so much material to work with when it comes to films like that, and it's harder to deny that the more Linklater tries to give this effort the feel of a less inconsequential flick. I don't suppose the final product ever stood a chance of rewarding all that thoroughly, but for what it is, it does try harder than other comedies of its nature as a fun affair and portrait on rocking, complete with a quality soundtrack.
Trying to keep a lighter atmosphere than other comedies like it, the film doesn't utilize much in the way of musical liveliness, but when it does, it delivers on plenty classic and not too clichéd tunes that range from AC/DC and The Ramones to Led Zeppelin, entertain, and compliment the edgy feel of the comedy, and even on delightful original performances, anchored by Jack Black's passionate vocals and enthusiastic energy, and highlighted by a killer final live performance of the titular song that stands as a substantial payoff. Richard Linklater has a playful side as a director that, when showcased, proves to be pretty fun, although that's not to say that Linklater doesn't entertain consistently, as his less frantic approach to storytelling, while not exactly compatible with somewhat absurdist subject matter, keeps a controlled pace that sort of allows you to take the film reasonably seriously, as though it's not talking down to commercial audiences who can, through the more subdued feel can embrace the story, at least up to a point. This story of some bum impersonating his sub teacher roommate and secretly training students to learn the art of hard rock is improbable, maybe a little unnerving to those sensitive to unlikable characters with problematic goals, and it isn't even as unique as it probably should be, but it sure is interesting as a fluffy, if shallow narrative with fun potential that Linklater handles with a sense of realization, much like Mike White. White's script is barely anything new, and it's certainly a little uneven in pace, if not tone, but its material is tight enough to keep momentum slick, despite Linklater's steadiness, and its humor is certainly sharp, alternating between wit and sheer color smoothly enough to feel smarter than you might expect when looking at its absurdities, and about as much fun as you might hope. I mean, it's still difficult to make much out of this film of limited consequence, but White's script remains sharp enough to hold your interest, without the impact of Linklater's tight storytelling, and quite the talented cast of charmers. What it ultimately comes down to is the sharpness of the cast working with sharp material, and sure enough, just about everyone delivers, and that particularly goes for the youths, whose distinguished charm and sense of evolution from awkwardness to coolness is about as much of treat to be exposed to as leading man Jack Black's formulaic and slightly obnoxious, but consistently colorful performance which carries the film almost as much as Black's chemistry with his young peers. The real delight in this film is watching the interactions between Black and the students' promising portrayers, but the fun doesn't quite end there, because even though this isn't quite the heavy stuff that one might be used to with Linklater, entertainment value and a sense of wit stand firm enough to make the final product a perfectly decent and memorable one, at least about as much as it can be.
At the end of class, the film fails to keep tight, consistent, probable, original and altogether heavy enough to exceed the underwhelmingness that it tries to transcend through a soundtrack that is killer enough, direction that is realized enough, a script that is sharp enough, and a cast that is colorful enough to make "School of Rock" a plenty entertaining and often reasonably respectable, commercial comedy twist for Richard Linklater.
2.5/5 - Fair
Verified