Killing Bono (2011)

I like the storyline of this show,it attract me so much

Better Late Then Never

It's complicated... I really like the directing, acting and writing but, there are issues with the way it's shot that I just can't deny. As much as I love the storytelling and the fantastic performance but, there are also certain scenes that didn't need to exist.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

This film would probably be enjoyed more by people who are very into music or actual musicians that play in their local music scene. At times you'll witness musicians that are growing with you and you see that they're far greater than you and your band mates. Something simple as that can make for an incredible drama/comedy that deals with the downfall of an individual trying to beat a friend's band named "The Hype" in every way possible in terms of success. They all grow up in the same town and aspire to become rock stars, Neil McCormick makes his band with his brother while his schoolmate Paul Hewson starts up his own band. While still being friends Neil feels his band is as good if not greater than Paul's but he can clearly see that things are going much better for Paul's band. Things speed up even further when "The Hype" decides to change their name to "U2" and also adopt nicknames to have a different stage persona. From there on out, Neil's band "Shook Up!" spends the next few years trying to catch up to a band that has been destined to super stardom. The pathos created for the main character is so well executed you cringe at every missed opportunity and mess up he encounters, I almost started rooting for him even though I knew he was going to fail. The music is a big element to this film and it's done very well, it represents an early "U2" without going too much into what they're now more well-known for and showcases music by "Shook Up!" that sounds just as good as U2's. You can definitely hear the bands are starting to create their own sound with great execution and makes you love both bands so much. The acting is superb on everyone's part, not a single beat is missed which makes the comedic elements break the much needed tension from the character's failure. The environment accurately depicts living in the early 80's in an emerging European rock scene while the camera work is used to really bring out the energy in the concert scenes to great perfection making you feel like you missed a great show. Overall, I related to this movie in the sense that we all have dreams. Whether big or small you want to try everything in your power to achieve them even if it takes a lifetime. I felt that this character did have a gift but had so much bad luck from the beginning that he was destined for failure. The envy he felt for his friend could've been transformed into positive energy to maybe learn from him and even be greater than him, but we'll never know and never will.

Killing Bono reviewAs always, I'll start this review with info on the film. Killing Bono was a movie released in 2011 and was based on Neil McCormick's 2003 memoir 'Killing Bono: I Was Bono's Doppelgänger.' It was shot in Northern Ireland, funded by Northern Ireland Screen and was released by Paramount Pictures. Directed by Nick Hamm plus, the cast included some great young, upcoming talent in Ben Barnes and Robert Sheehan. In a nutshell, Killing Bono is a rock 'n' roll comedy about two Northern Irish brothers trying and struggling to forge their path through the 1980's music scene. At the same time, their old school friends successfully add their band name in the history of British rockers, their name being U2. Plunging the brothers' band deeper and deeper into the shadows, just like the thousands of other musicians that didn't make it. It has a great story: ambition, ego and the comedy of the 80's music scene all blended together. It's all told in an authentic, light-hearted way by director Hamm, who brings out the best in Barnes and Sheehan. The film overall is enjoyable and the main storyline- continuing dreams of stardom even when they remain out of reach-are hauntingly familiar for some. So it relates to many people well, but in my opinion it needs more funding to transform onto the big screen, although it does well considering the budget. If you're a British music fan or if you want an easy way to tell your kids it's not easy making it in the music industry I highly recommend this film, make sure your children have a working knowledge of U2 beforehand though. RATING: 7.3/10Best parts: The making of 'Bono' and 'The Edge' The "it's the Pope, or me" speech The ending-I won't spoil it

A few years ago there was an achingly trendy 'electro rock' band called Bono Must Die. It was sued out of existence by Bono himself who clearly didn't like the idea of young, hip people swinging their pants to tunes built on Bono-hatred. Now there's a new film out called Killing Bono, yet far from troubling the normally so sensitive singer, it has received his backing. It isn't hard to see why. It's like a creation myth for U2, depicting Bono as a long-suffering saint and his band as a punkish, rebel outfit rather than the Po-faced promoters of 'world music' they really were.The film is based on rock critic Neil McCormick's book, I Was Bono's Doppelgänger. It tells the true-ish story of Dublin-born Neil and his brother Ivan trying to make it in pop and/or rock while continually being overshadowed by their former schoolfriends Paul Hewson and Dave Evans – otherwise known as Bono and The Edge, whose band The Hype later becomes U2 and conquers the world, while Neil and Ivan scrape by in a dingy flat in London where their numerous record company rejection letters are pinned to the wall in the shape of the word 'WANKERS'.The trouble is that in turning U2 into the barometer by which he measures and gets miserable about his own rubbishness, McCormick's book and now celluloid life story make Bono a saintly, inscrutably good, otherworldly figure. Bono (Martin McCann) floats through the movie in a Christ-like fashion, always impeccably turned out, voice calm, never saying words like 'bollox' or 'shite' as his schoolmates and the McCormicks do. He does, however, eat chips at one point, which is a kind of shocking image.It is entirely feasible, of course, that Bono really was like this: aloof, pure, pompous. That would not come as a surprise to anyone who has seen footage of Bono performing in the Eighties, with his big hair, high heels, and breathy, strangely American-accented mini-speeches about uprisings in Soweto (good) or uprisings in Northern Ireland (bad). Yet in investing Bono with an ethereal quality, in making him the yin to McCormick's yang, the movie comes across less like a rock biopic than as a conservative morality tale stuffed with righteous seers and wayward scallywags. Bono effectively saves the McCormick brothers, with a speech in the back of a limousine about brotherly love, in a not dissimilar fashion to the way Christ rescued James and John from a life of fishery.The mythologising extends to the way U2's music is presented. They're depicted as the heirs to punk, bashing out Iggy Pop songs in a garage before going on to conquer and colonise a bland pop landscape with heartfelt music. In truth, far from being the punks of the Eighties, U2 were the equivalent of those Seventies Po-faced prog rock bands that punk eventually swept aside. U2's own comeuppance came towards the end of the Eighties when, after a decade of thrilling ageing rock critics and Americans but boring the rest of us rigid with their sweeping and serious guitar songs, they were elbowed aside by the rebirth of pop hedonism: rave, acid, baggy, whose adherents didn't go to gigs to learn about Nelson Mandela but to get smashed.U2's out-of-touchness was brilliantly illustrated by their release in 1988 of the film and album Rattle and Hum, their most worthy dose of blackish, bluesy, Elvisy Americana to date, at a time when the kidz were knocking back Es and dancing like mental patients. 'Bombastic and misguided', said one critic of Rattle and Hum. 'Pretentious', said the rest. And of course U2 only made things worse when they tried to recover by releasing the electronic dance-inspired Achtung, Baby! in 1991. It was as if Jethro Tull had tried to play 'Pretty Vacant'. Just as the punks cheered upon hearing of the death of the fat, bloated Elvis in 1977, so some young 'electro rockers' today wish for the death of Bono.It really is only a handful of serious rock critics who still treat U2 seriously, fantasising that they are 'real' where most others are fake. As a result, Killing Bono, the life and times of a rock critic in the making, ends up being deeply conservative. Part On The Buses, part Rattle and Hum, it combines slapstick humour with Bono sanctification to tell a pretty warped story about both U2 and the Eighties.

Ask anyone under 25 what U2 means to them and most likely they'll roll their eyes and state that they're a parody of a rock band , effectively an Irish Staus Quo who receive undeserved acclaim from music critics who should be put out to pasture . . This is disingenuous and misinformed . For people of a certain age U2 were as much the 1980s as The Beatles were to the 1960s and some of us were there right from the start . Whilst Duran Duran and Human League were selling millions of synth pop albums which became dated overnight Bono and the boys were strumming guitars making music that will never date . If you think U2 are a band built upon hype rather than talent then go to youtube and type in " U2 I Will Follow The Tube " and you'll see a performance that is almost messianic in its life affirming streamlined beauty . Music is the greatest , most moving type of art whilst the music of The The has possibly changed my life through outside factors U2 remain my all time favourite musical iconsKILLING BONO is based on the memoirs of Neil McCormack and tells the story of McCormack and his brother Ivan . Neil and Ivan want to start a band and when Paul Hewson front-man of a band called The Hype asks Neil if his younger brother wants to join The Hype Neil refuses because they're brothers and their band is going to be the biggest band in the world . Paul Hewson changed his name to Bono and The Hype to U2 and Neil spends the next eleven years becoming more and more bitter at the band's success as his own plans for fame and fortune hit dead ends There's a few good points to the movie . The incidental music does mirror that of U2 and there's a few performances worthy of mention such Peter Serafinowicz as coke head manager Hammond , . Pete Postlewaite in an under used role as the camp homosexual landlord Karl and Stanley Townsend as violent gangster Danny Machin though to be honest Townsend is often let down by the screenplay In fact the whole film is let down by the screenplay . It's very difficult to believe there's a lot of truth in it because Neil McCormack must be a real life inversion of Jamal Malik from SLUMDOG MILLIONIARE . Every plan he comes up with seems so cursed by bad luck that karma must have it in for him . Either that or he must be the most stupid person to have ever lived . Considering he has the intellect to write a memoir one can't help thinking there's a massive amount of artistic license involved . Take for example the scene in the Dublin toilet with Neil and Ivan where someone drops a gun only to have another character put two and two together verbally which is overheard by a third character leading ... well let's just say it's too contrived to be taken at face value if someone says it's true There's also the problem as to who the film will appeal to . My cinema visit had a small handful of people not much younger than me .who probably grew up with the band and therefore could get the in jokes . If they were die hard fans like me then they'd be able to spot massive anachronisms such as Boy being released at the same time as the Pope's visit . Boy was in fact released a year after the Pope's visit to Ireland . Likewise Dead And Alive's You Spin Me Round wouldn't be playing in a Bohemian nightclub at the time of release of War in March 1983 and who would have booked a concert for their band on the day of Live Aid in July 1985 ? A stupid person ? One suffering from bad karma ? Or most likely a person being economical with the truth . The truth is anyone who saw the concert live knew well in advance it was going to the legendary event it's remembered for KILLING BONO is a fair film . It isn't going to be a massive success and one wonders if it might have worked better if THE COMMITMENTS where quixotic plans of making it big in the music world still in the public consciousness . It also suffers from the feel that it's made for TV a major problem with many Brit movies and will probably be remembered for being the final movie of Pete Postlewaite