Girls Rock!

The act of picking up a guitar and making some noise becomes a life-changing experience in Girls Rock!, an irresistible new documentary from filmmakers Arne Johnson and Shane King that showcases the transformative power of rock ‘n’ roll. 

The film’s subject is the Rock ‘n’ Roll School for Girls; every girl between the ages of 8 and 18 should be required to check it out.  The weeklong summer sessions, which began in Portland, Ore., and now are offered nationwide, give girls the chance to learn an instrument, form a band, write a song and perform before an audience. 

The deeper motive, however, is to help girls work on confidence and self-esteem issues.  As the camp’s assistant director, Jen Agosta, explains, the camp is a place where “it is 100 percent OK to be exactly who you are.” 

Of the 100 girls attending the camp, four are profiled in detail.  None is a Britney Spears wannabee.  Instead, they look up to bands such as Sleater-Kinney, Arcade Fire, Sonic Youth and the Breeders. 

There’s a lot going on with these girls, and the filmmakers do a fine job of capturing their individual hopes, dreams and fears.  Laura is obsessed with death metal; Misty is trying to leave behind a life of drug addiction and homelessness; little Palace has a sweet smile and a scream worthy of Courtney Love; and determined Amelia is writing a 14-part song cycle about her dog Pippi. 

Much has been written about the bewildering challenges facing girls struggling with their self-image.  The filmmakers use creative animation to present the startling research that lists the challenges young girls face when trying to form their own unique identities.  As one young girl laments, “There are so many things to worry about.” 

The rock school is a place where the girls can talk about their feelings and let them out in the music.  There’s nothing like a little empowering rock to set a girl and her self-esteem on the right track.  As one camper says, “I want to be more up front instead of receding into the background, which I’m pretty good at.” 

The four girls, all well-spoken, funny and sincere in interviews, come away with positive experiences.  Ebullient, hard-rockin’ Laura is the most forthright: “I’ve been waiting so long to admit to myself that I’m amazing,” she says. “People here think I’m interesting and funny.  That’s pretty cool.” 

The final scenes, as the bands perform before a large audience, are as thrilling as any professional rock show.  These young musicians may not be as polished, but a week of hard work and sisterhood has given them a hold on a future that, while it may continue to be challenging, now has the advantage of a new self-confidence built around that old saving grace — a defiant rock ‘n’ roll attitude.  — Mary Houlihan

Girls Rock!

Thrre-and-a-half stars

Directors: Shane King and Arne Johnson

Rated: PG for thematic elements and language.

Run Fatboy Run

The only “fatboy” in Run Fatboy Run is the landlord character, Mr. Ghoshdashtidar, but the title does not refer to him; it refers to his tenant, Dennis, who frequently locks himself out—and that joke, like every joke in this formulaic, unfunny and forgettable romantic comedy, becomes stale the first time it’s rolled out. But just in case you didn’t get it, you’ll experience it again later.



David Schwimmer makes his feature film directorial debut with this movie, which originally was set in New York, but then the project was relocated to London, where Simon Pegg (Hot Fuzz, Shaun of the Dead) got his hands on the script. You’d think this would be the point at which a run-of-the-mill rom-com might at least turn into something a bit offbeat. Not so. The only thing offbeat is that the couple at the center of the story—Dennis (Pegg) and Libby (Thandie Newton, in a throwaway role) -- are not nearly in the same league.



The opening scene puts us at Dennis and Libby’s wedding. She’s in late-term pregnancy; he’s having last-minute jitters, so much so that he literally runs away while Libby and the rest of the wedding party watch in dumbfounded disbelief.

Five years later, Dennis is living in a basement flat and working a dead-end security job at a women’s clothing store. Libby is still single, raising their son, Jake, supporting herself by working in her own bakery—the locale for the requisite prolonged conversation in front of strangers where Dennis tries to convince her of his worthiness. Wouldn’t you know it, just as Dennis figures out he really does want to be with Libby, she’s got herself another boyfriend—a rich, handsome, confident, athletic American who likes to run marathons for charity.

Naturally, Dennis decides the way back into Libby’s heart is to complete a task (“You’ve never finished anything in your entire life!” she laments). Hey, why not run a marathon, too, one that’s three weeks away? This so-crazy-it’s-crazy idea sets Dennis up to be one-upped and humiliated by the boyfriend, Whit (Hank Azaria), at every turn. Whit, of course, is cordial, even helpful. Too good to be true? Of course!



And, as with every sports-related film with an amateur/loser/underdog-comes-from-behind-to- win theme, we get the training montage. See Dennis run (in canvas deck shoes, tighter-than-tight swim trunks and a David Bowie T-shirt), smoke, run some more, run farther, lift weights, quit smoking, run up stairs and finally, the defining moment: look down on the city, out of breath but full of accomplishment a la Rocky Balboa.



For every nice moment—there are a few, featuring Dennis interacting with his son—there are twice as many cliche-riddled scenes and three times as many sight gags and disgusting, didn’t-need-to-see-that moments. Let’s just say that watching Whit slap powder on his genitals while having a locker-room conversation was preferable to witnessing Dennis’ buddy Gordon (Dylan Moran) pop a silver-dollar-sized blister on Dennis’ foot. Ew and double-ew.



Schwimmer has done some fine directing work at Chicago’s Lookingglass Theatre, a company known for its innovative interpretations of classics, among other things, so you’d think he’d have a better eye for good material and hold out for something more substantial than a third-rate romantic comedy for his film directorial debut. Even “Friends,” the TV sitcom for which Schwimmer is best known, was smarter than Run Fatboy Run.



One thing Schwimmer does do right is keep the story moving swiftly. You’re in, you’re out, no harm done—unless you want that hour and a half back. — Teresa Budasi

Run, Fatboy Run

One-and-half stars

Stars: Simon Pegg, Thandie Newton and Hank Azaria

Director: David Sxhwimmer

Rated: PG-13 for some rude and sexual humor, nudity, language and smoking.