Bill & Ted Face the Music
OrionTouted about as a possibility for almost three decades, the long-awaited and anticipated sequel and trilogy capping feature Bill & Ted Face the Music has finally dropped for fans to watch. Perhaps not released in the cinematic medium it arguably deserved. Nevertheless, Bill & Ted Face the Music is a real, living and breathing entity that, against all odds, is not only a refreshing feature and what audiences need right now but is a great effort in ending the story of the iconic duo.
Director Dean Parisot's film is in no doubt ever going to be applauded for its filmmaking technicalities. The production design is on occasion cheap, especially the futuristic sequences, and the cinematography itself is never particularly engaging or visually appealing. However, it is nevertheless competently made and when has any Bill and Ted feature ever been applauded for its filmmaking prowess?
What fans have repeatedly come and stayed for over the past thirty years is that of Keanu Reeves and Alex Winter as Ted Logan and Bill S. Preston. Interestingly, it is in fact Winter who stands out. The actor-turned-incredibly-underrated-director has reportedly undertaken acting lessons to feel more comfortable in front of the camera and his charisma, engagement and passion burn so brightly as this character; a key moment being a parody inspired performance akin to The Rolling Stones.
Winter takes command in the double act with Reeves, with the latter taking a step back here both in involvement and engagement. It doesn’t come across that Reeves does not want to be involved, but it is clear that he has moved on from this material. That being said, the duo most definitely has charisma and charm, as well as small, subtle character moments that self-homage the series.
The same can be said, for the most part, of their children within the film who are played by Samara Weaving and Brigette Lundy-Paine as Thea Preston and Billie Logan, respectively. The latter, in particular, is nothing short of outstanding. Lundy-Paine puts forward not only what feels like the most authentic mirroring and charming performance within the film, but also understands the material in its wacky airhead magnetism.
Weaving, on the other hand, feels slightly miscast. The performance often feels overly stale and lifeless with a poor injection of charisma or character presented. Granted, standing out next to the performance from Lundy-Paine is no easy step, but Weaving's performance feels like it is coasting along rather than being in any way interesting.
Another slight problem the feature has is its pacing. It is far too fast for its own good. The film has barely five or six minutes to showcase the lives and problems both titular characters are facing before the plot zooms on. For a film that is essentially about the characters having to understand their predicament in this world, the film has no time to stop and ponder anything at all; only until the very last few minutes, which is convicted far too hastily.
Nevertheless, to see this duo back on screen in such a heartwarming fashion negates all the small nitpicks the film entails. Yes, it is cheap and doesn't ever want to slow down and explore itself, but makes up for that with a poignant message, strong performances from both Winter and Lundy-Paine, as well as a glorified cameo from the ever-brilliant William Sadler as Death.
