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It's a light weekend at the movies, unless you're a big fan of Frankie Valli.
"Jersey Boys" is a slow-paced adaptation of the hit Broadway musical that chronicles the ups and downs of Valli and his chart-topping group, The Four Seasons. John Lloyd Young, who won a Tony for playing Valli on Broadway, returns to the role with a perfect rendition of Valli's amazing voice. Alas, director Clint Eastwood doesn't integrate the music with the story in any interesting ways, and there's a stagebound quality to the story.
The only other studio movie opening this weekend is "Think Like a Man Too," the sequel to the 2012 relationship comedy inspired by Steve Harvey's self-help book. The sequel has the first movie's four couples going to Vegas for a wedding, with reportedly hilarious hijinks. The movie was not screened for local critics.
On the art-house side, the favorite this week is "We Are the Best!," an exuberant and lively comedy from Sweden that follows three middle-school girls, in Stockholm 1982, who form a punk band. Director Lukas Moodysson captures the joys and heartache of these girls as they grow up and rock out.
The performances of Guy Pearce and Robert Pattinson illuminate "The Rover," a bleak post-apocalyptic drama. Pearce plays a man grimly determined to get back his car, stolen by some thieves. Pattinson plays the brother of one of those thieves, whom Pearce kidnaps in an effort to get his car back.
The documentary "SuperMensch: The Legend of Shep Gordon" is a profile of a guy apparently everyone in Hollywood loves: Talent manager Shep Gordon, whose client list includes Alice Cooper and Emeril Lagasse but whose friends include Sylvester Stallone, Michael Douglas and the Dalai Lama. Another friend, Mike Myers, directs the loving but somewhat incomplete film.
Lastly, there's "The Double," a dark comedy about a nerdy cubicle worker (Jesse Eisenberg) who goes nuts when a charismatic lookalike (also played by Eisenberg) is hired by his company and starts taking over his life. Director Richard Ayoade ("Submarine") pours on the Kafka-esque atmosphere, in an effort to compensate for a slight story and thin characters.