![]() By this token, the music is played out as if almost lifeless, the presentation of gigs and concerts being totally underwhelming, the spectacle of seeing such a noteworthy rock band being completely lost to the lifeless use of the frame. ![]() Not every film has to be down and dirty however (even one with “dirt” in its title), and despite this clearly not being the intention behind The Dirt, there are rarely moments where the excitement, enthusiasm and spectacle of the real-life Mötley Crüe come to fruition either, the film languishing in a middle ground that makes even snorting cocaine from backsides look incredibly boring. It seems that Tremaine and the team behind him simply wanted to tell a story of the band’s want to “rock, man”. It’s a moment that proves the poorly thought out conception of the piece – one that looks to celebrate the brotherhood and “good times” that the band created – placing this as a central moment in the midst of explaining tantalisingly more interesting stories revolving around overdoses, band splits and even the death of a child. Indeed to this point, a central story beat in the second act sees arguably the band’s most iconic member Nikki Sixx, played by a dour and frankly charisma-less Douglas Booth ( The Riot Club), retrieve the rights to the band’s music, though it’s played as if a moment of triumph on behalf of the artistry behind the band’s releases when we have yet to be shown any inch of blood, sweat or pain in the making of any of their songs. ![]() Relying heavily on a perceived enthusiasm for the film’s central characters, the band members of Mötley Crüe , as well as their music, The Dirt offers little by way of an access point to the characters unto themselves, almost impressively presenting each man as a silhouette of their real-life, tragically more problematic and subsequently more interesting counterparts to offer a watered down butchering of a perceived legacy that did its very best to avoid offending anyone linked to the band or the money it still makes from record sales. So, if you’re looking for unfiltered access to the wacky world of late 80s rock ‘n’ roll through the eyes of self-delusion, you should beware that you’re in for a pretty bad trip as even what little The Dirt does offer in this (or any) regard comes with a price: some of the most testing dialogue you’re likely to see this year and a yawn-worthy collection of the genre’s most overused tropes. Starring: Machine Gun Kelly, Douglas Booth, Daniel Webber, Iwan Rheon, Anthony Cavalero, Pete Davidson, David Costabileįrom the director of Jackass and Bad Grandpa comes the latest in a spate of recent biopics that are self-conscious of their own questionable testimonies, in this case the members of the band Mötley Crüe in their respective autobiographies, though The Dirt features little by the way of clever wit or deep thematic exploration unlike earlier genre releases The Wolf of Wall Street and I, Tonya. Screenwriter: Amanda Adelson, Rich Wilkes
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