Against all odds, this third installment (and 29 years later) is an artistic and intelligent period comedy that artistically justifies its existence. Maybe it’s my favorite in the trilogy.
Against all odds and expectations, Bill and Ted Face the Music is a perfectly fun sci-fi comedy. He surely plays for the enthusiasts of Bill and Ted’s two subsequent adventures without relying heavily on the replay of the prank, and his story turns out differently rather than (as feared) to be just a cowardly remake of the first film. Written through Chris Matheson and Ed Solomon, with a strict direction courtesy of Dean Parisot (Galaxy Quest), this light, airy and captivating 90-minute game fits perfectly into the subgenre of “young heroes become old.” I saw the first two movies when they were in the videos when I was a tween, I liked them without locating the time to see them again. After reviewing Excellent Adventure and Bogus Journey over the more than two days, I think Face the Music is my favorite of the band.
William S. Preston, Esq. (Alex Winter) and Theodore Logan (Keanu Reeves) begin the film at a crossroads, with middle-aged men still fulfilling their promise that music will be united to the world. However, the tone gives a refreshing replacement for the location of the now popular trope “the heroes of your training years have become a depressing chess”. Although they have not risen to their potential, they are still relatively happy. They are still married to Princess Joanna (Jayma Mays) and Princess Elizabeth (Erinn Hayes) and are unusually close to their now young daughters Thea (Samara Weaving) and Wihelmina (Brigette Lundy-Paine). To be fair, Bill and Ted continued to promote their musical dreams exactly because their past adventures proved their eventual success. They may not be the most sensible thing in the world, but they are not pity figures.
Since Bill and Ted never wrote the song that brings the world back to the world, the long term is on the verge of general annihilation. Then Rufus’ daughter (always welcome to Kristen Schaal) catches our heroes and takes them into the long run, where “The Great Leader” (Holland Taylor) informs them that they only have 77 minutes to write a song that will save the whole reality. So, instead of shrinking with fear and writing the song, Ted and Bill look at the long run, where they possibly wrote the song, to “steal from ourselves.” Meanwhile, “Thea” and “Billie” embark on an adventure in their own time, going back in time to borrow some of the most prominent musicians in history, in case they need to help the Wyld Stallyns succeed to their full potential. And that’s all you need.
What’s happening is a really fun and strangely intelligent sci-fi adventure that gives Reeves and Winter many opportunities to play as opposed to other versions of themselves. I don’t know if Reeves’ overly crazy English accessory is a joke for Bram Stoker’s Dracula enthusiasts or Much Ado About Nothing, but I laughed. Meanwhile, giving women a simultaneous adventure avoids repetition and redundancy while allowing the film to delve into music as an art form and ancient document. While the first two films used time and perception of good musical fortune as a seasoning for a generally sprouting character game, Bill and Ted Face the Music are committed to the price of art and the narrative perspective of time. softened enough not to be aggressively unpleasant.
Face the Music gives its passover egg percentage to fans, it stands out for both beginners and those who have noticed movies past decades ago. Of course, there’s a comedian price if you don’t forget William Sadler’s Grim Reaper turn on Bogus Journey, but Sadler is fun enough here without a nostalgic context to seal the deal. Anthony Carrigan is quite funny as a strangely confrontational and “nice” killer robot. In terms of production prices, it doesn’t seem as big and visually grand as Bogus Journey (which charged $20 million in 1991), however, the $25 million threequel doesn’t look like a reasonable income. It’s much more narrative and visually imaginative than the perfect $7 million adventure (certainly through the skin of teeth). Whether you pay $20 to rent at home or see it on the big screen, get the value of your money.
Bill and Ted Face the Music is a moment of laughter in smart company, with an avalanche of winning comic actors laughing with a winding time plot that really feels “about” some of the genre themes and concepts that the last two films have just used. for decoration. The film has some sophisticated reflections on heritage, the many other tactics to save the global and the price of handing over its sword to the next generation. It’s a lively, positive and positive adventure, remembering that Bill and Ted are too cool and (when the stage requires it) not as stupid as they look. He is also strangely intelligent as Bad Boys For Life and continues Keanu Reeves’ winning streak with sequels. I don’t know if the world needed any other Bill-Ted movies, but this one’s strangely smart.
I studied the film industry, both academically and informally, and with an analysis in the workplace, for almost 30 years. I’ve written a lot about everything
I studied the film industry, both academically and informally, and with an analysis in the workplace, for almost 30 years. I have written extensively on all these topics over the more than 11 years. My media for film reviews, workplace reviews and film bias scholarships have included The Huffington Post, Salon and Film Threat. Follow me on @ScottMendelson and like The Ticket Booth on Facebook.