Bill S. Preston, Esq. (Alex Winter) and Theodore Logan (Keanu Reeves) aren’t stoners, but they seem like they can and maybe should be, which is why Reeves felt compelled to clarify that point in a recent interview. Pot seems such a helpful explanation for the characters’ indomitable state of stunned good humor, even in the face of time travel and the afterlife, that the association continued even though the couple never smoke anything. Bill and Ted are the healthiest in a series of dirty late ’80s to early’ 90s duets like Beavis and Butthead and Wayne and Garth, but they’re also relics of a time when Californian stereotypes alone could. do it. equivalent to half of a premise for a movie or TV show. The joke at the heart of the Bill & Ted franchise is that two genius doofus from the San Gabriel Valley turn out to be the most important people in all mankind and, for that reason, the highlights of history and of metaphysics are filtered through the lack of cultural outline of a sunny suburb of SoCal.
It’s a joke that has held up incredibly well over the years.
The pleasures of Bill & Ted’s great adventure and Bill & Ted’s fake journey have endured, aside from a few homophobic slurs being thrown, due to the sheer stupidity of the films. It’s about saving the world, but they have so little urgency that the way Bill and Ted treat music was born almost three decades later proves to be quite appropriate. The new film, from director Dean Parisot and returning writers Chris Matheson and Ed Solomon, picks up with Bill and Ted in San Dimas, where they became fathers and husbands living side by side in a serene ass. -bag. They exchanged concerns of young people about overcoming history lessons and winning a group battle with middle age groups like precarious marriages and fear of failure. But Bill and Ted Face the Music don’t use the years as an excuse to stray into more raw territory. Instead, he emphasizes the sweetness at the heart of his primary relationship. Bill and Ted are two guys who love hard rock, the word “friend” and each other’s company, something that hasn’t changed just because times have changed.
What has remained a constant is also their dubious talent.
The film opens with the most recent wedding of Missy (Amy Stock-Poynton), who was Bill’s young stepmother first and then Ted’s, where the two play a song that isn’t even not at an appropriate distance for the first dance, but involving the enthusiasm of the theremin and throat singing. Most people put aside the desire to become a rock celebrity after a few years of struggle, but Bill and Ted were assured that their band, Wyld Stallyns, was about to usher in a global utopia with their music. 29 years and an explanatory montage later, they’re still floundering, as time and space begin to fall apart in the absence of a unifying bop of the universe. When Kristen Schaal teleports from the future as Kelly – daughter of Rufus, the character played by the late George Carlin in the first two films – Bill and Ted soon find themselves in the phone booth, advancing in hopes of getting a copy. of the song. assassin that they should have invented from their old self, which they suppose already written.
The couple’s ex-wives of the medieval princess, now played by Erinn Hayes.
Jayma Mays, are starting to bounce back on some of their most often-off-screen adventures. And then their daughters, Wilhelmina “Billie” Logan (Brigette Lundy-Paine) and Theodora “Thea” Preston (Samara Weaving), embark on a quest that is more essential to the growing crisis. Billie and Thea, a happy failed twenties whose friendship rivals that of their fathers, are clearly not drawn as characters beyond obvious parallels, although Lundy-Paine handles the incredible trick of meeting Reeves more like Reeves. in the original movies than in today’s Reeves does. These are the two men who remain at the heart of this successful and haphazard attempt, and they give their best, meeting several Bill’s and Ted’s over the years and, as would probably be the case with all of us, they didn’t. not always get along. with them.
Bill & Ted Face the Music features celebrity cameos and familiar faces:
William Sadler in parody of the death of the Seventh Seal remains an absurd and wonderful creation. Nostalgia is a staple part of the film’s allure, though it mostly manages to avoid the thrilling indulgences. The film’s most successful quality is how close it is to the spirit and laid-back style of the first two episodes, and how
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