Absolutely the worst movie.

if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

The movie really just wants to entertain people.

I know who's the director, but not the actors. Maybe that's the reason the film did not do as expected at the box office. But still theirs performances are not forgettable. Every one of them was amazing, they are the real singers and so the jobs done easily. I mean the filmmaking who understood the story and its characters and delivered accordingly. You might have seen many similar biopics and this is almost the same, but still there's lots to inspire from what you see.Since this music genre is different compared to the todays trend in the music industry, this film quite clearly brings back the 50s, 60s eras for us. So that's how this story appeals to its viewers. It was about the four member music band and their journey through the success and struggles for decades. What inspires is that, they are nothing like we see in todays musicians like drugs and sex stuffs. But the story had its share in those things, which might have been a huge for that time.The family, friends and music, the films very beautifully defines the differences. Between professional and personal life, how they lose grips is what obviously we see regularly in all the musician's biopics, but I'm talking about 50 years ago society and lifestyle. The things are different and how they managed or did they is the film to reveal. I really liked it and I wanted to rate higher, but I was bored a bit because it was a very long film. The pace was okay, so I managed and I think it is worth a watch, but only for the selected audience.7/10

The stage production of "Jersey Boys" was highly entertaining because it was slick, well-written and full of humour but its sensational music and fascinating story is what made it a cut above most other jukebox musicals. The well-researched rags-to-riches tale of "The Four Seasons" not only provided an interesting account of the struggles, conflicts and personal problems that the group experienced but also threw a light on their links with the mob, their involvement in petty crime and their on-going respect for the values that they'd learned in the tough neighbourhood where they grew up.The action begins in the early 1950s in Belleville, New Jersey, where small-time hood Tommy DeVito (Vincent Piazza) recruits barber's son Frankie Castelluccio (John Lloyd Young) into his group, "The Variety Trio". DeVito's pop group plays local bars and also includes his brother Nicky (Johnny Cannizzaro) and his friend Nick Massi (Michael Lomenda). Frankie's exceptional falsetto voice is appreciated by everyone who sees the group (now called "The Four Lovers") and draws a particularly emotional reaction from local mobster Gyp DeCarlo (Christopher Walken) who's moved to tears by Frankie's rendition of "My Mother's Eyes".When Nicky leaves the group, Tommy's friend Joe Pesci (Joey Russo) recommends singer/songwriter Bob Gaudio (Erich Bergen) as a replacement and Bob, who'd already had some success with his song "Short Shorts", is impressed by lead singer Frankie (who has, by this time, changed his surname to "Valli"). After a period of struggling to get a recording contract, the group (now known as "The Four Seasons") are signed by producer Bob Crewe (Mike Doyle) and have to go through a frustrating period of singing back-up for other artists before finally being able to make their debut single "Sherry" which became the first of three consecutive number one hits. A major problem arises, however, when it's revealed that Tommy owes a huge amount of money to notorious loan shark Norm Waxman (Donnie Kehr) and this heralds the eventual disintegration of the group.It was vital to the credibility of this movie to have performers who could properly replicate the highly distinctive sound of "The Four Seasons" and to this end, using original Broadway cast members (Lloyd Young, Lomenda and Bergen) was a great decision. They're all convincing in their roles and Christopher Walken was an inspired choice to play the sentimental mobster who provided the boys with some invaluable help when they hit a crisis. Vincent Piazza also adds a lot of spark to the proceedings as the self-destructive group-leader whose attitude to women and propensity to needlessly involve himself in crime are symptoms of his inability to outgrow the values he'd learned during his upbringing.The script by Marshall Brickman and Rick Elice (who wrote the Broadway production) sounds virtually identical to that used in the stage show, so it's puzzling why the impact of the comedy seems more muted and less effective in the movie. Similarly, the musical numbers don't carry the same excitement and energy as they did on stage.Even with the screen version's flaws, "Jersey Boys" still provides a lot of fun, enjoyable music and drama and the insight it provides into the inspiration for "Big Girls Don't Cry" and the role played by Joe Pesci in forming the group are really interesting (as is the artistic cross-pollination that saw Pesci's character in Martin Scorsese's "Goodfellas" being named Tommy DeVito).

JERSEY BOYS is another winner from director Clint Eastwood and an adaptation of the popular stage musical about the life and times of Frankie Valli and the Four Seasons. It's a lengthy and often slow-moving biopic that takes a long time to get to the fame and fortune of the group in their heyday, yet there's something engrossing about it all the same. It helps immeasurably that Eastwood is an assured direction who brings a sheen of class and professionalism to all of his films, making this a delight to watch.Most of the cast members are taken straight from the musical, so their singing is quite wonderful. Their renditions of all the popular hits are quite amazing, particularly the power house climax which is incredibly moving and perfectly performed. The ending credits, in which the whole cast provide an encore in the classic musical tradition, could easily have been completely cheesy in the hands of a less experienced director but Eastwood makes it work, and then some.Acting stand-outs are John Lloyd Young as family man Frankie, whose turbulent private life is in contrast to his serene presence on the stage, and Vincent Piazza, delivering a variant on his edgy presence in BOARDWALK EMPIRE. I was delighted to see Christopher Walken cast in support as well. As musicals go, I'm not a massive fan of the genre, but JERSEY BOYS is good enough even for non-fans. Check it out.

Mr. Emotion himself, Clint Eastwood, the dude who learned about screen love at the hands of Carol Channing and sung his way into the hearts of dozens in "Paint Your Wagon", has joined an elite group. William Wyler, Sidney Lumet, John Huston and Richard Attenborough were all brilliant directors who tried their hands at helming a musical, and of the five, only William Wyler (with "Funny Girl") was successful. The remainder of them all had critical disappointments and even disasters with their efforts, and Eastwood is the latest. If his film version of "Jersey Boys" isn't a disaster, it certainly ranks as a missed opportunity.Perfect in period detail, this is proof that not all Broadway smash hits can be transferred to the screen. Seen around the world after becoming a smash hit during the time when juke box musicals were frequently bombing, this was the musical for straight men who didn't want good and bad witches or big haired housewives from Baltimore. It's "The Sopranos" meets "American Bandstand", and that's a large target audience. In its 10th year on Broadway, it still packs em' in although not at full price anymore. The movie has a tele-feature feeling about it, and something tells me that this could have made a great T.V. mini-series with all the music intact rather than abbreviated as it is here.This isn't as much a musical film rather than a showbiz drama with musical interludes. The story of Frankie Valli and the Four Seasons is older than "Grease" (the movie title sing introduced by Valli himself), and John Lloyd Young seems to be filled with Valli's young spirit. The typical rise to success story is "Dream girls" with three of "West Side Story's" surviving Jets getting outta da hood and into the big time. Had this been introduced to film rather than stage, it might have gotten a better reception, but purists were mildly disappointed even though there are some wonderful moments.Where this is successful is in its use of nostalgia, and that's what raises its impact for me. Eastwood wisely choose brassy colors to represent the era, and as the story develops, the color photography takes on a life of its own, almost becoming the fifth season. The gimmick of certain characters narrating directly to the camera is a bit off putting. For me, it is a valentine to a by-gone era that continues to create new fans among young audiences who get to see that the older generations were not as square as they seemed.