‘Danny Collins’ is predictable and sentimental but occasionally manages to pull at the audience’s heart.

I don’t think that Al Pacino has made a good film in years and with the release of Danny Collins, this proves that if he continues this way, we might even forget the masterpieces he once was apart of.

And I know this probably doesn’t help add to the argument but I was always more of a McCartney fan then Lennon.

In the early 70′s, British folk musician Steve Tilston gave an interview in which he worried if money would affect his career as a songwriter. Beatles member John Lennon read the article and sent Tilston a letter telling him not to worry while also giving him his phone number, inviting the songwriter to to call. Tilston would never interact with Lennon as the letter was sent care of the journalist and the author of the article kept the letter only to sell it to a private collector. Thirty-four years too late, Tilston eventually received the letter but was unable to do anything about it.

Writer//Director Dan Fogelman, in which he makes his directorial debut withDanny Collins, uses this story to add to an ageing musician played by Pacino, whose debut album back in the 70s featured songs in the likes of Cat Stevens. The one fictional hit that we hear throughout the film is “Hey, Baby Doll” (which is annoyingly catchy) and is something that his large fanbase constantly requests of him.

It all starts to get a bit awry when Collins suddenly tells his manager, played by the not-so-believable Christopher Plummer, that he’s cancelling the rest of his national tour to clean up his act and connect with his son that he’s never known. What is a little hard to believe is that the mother of Collins’ son was more concerned with her integrity, which can be considered as fair if the mother wanted to raise the child away from “sex, drugs, and rock n’ roll” scene Collins was apart of, rather than ensuring that she and her newborn son would be handsomely taken care of. In cases like this, it would be common to see the mother being insistent about making the celebrity pay for child support until said child turns eighteen. But like mother like son, he follows in his mother’s footsteps and vows to have nothing to do with the father and the material possessions Collins tries to woo the family with.

Danny Collins wasn’t all bad, however, but it was let down in its storytelling and predictability despite its heartwarming moments about family and finding yourself in a materialistic world. This film was also let down by the attempts to “cover up” the nudity of Collins’ fiance while she was in the shower and emerged to only have covered up her lower parts with shaving cream and revealing her breasts. I know have complained about nudity before (see the Ex Machina review) but is it truly necessary to tell a story?

The film was rather predictable and sentimental but occasionally manages to pull at the audience’s heart.

Film-O-Meter: 6/10.

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