Elvis Presley plays rock singer and racecar driver Mike McCoy in the typical musical romp Spinout, directed by Norman Taurog. His band includes Curly Jack Mullaney, Larry Jimmy Hawkins and the female tomboy drummer Les Deborah Walley. Mike is coveted by a bevy of beauties that include the intellectual journalist Diana St. Clair Diane McBain, Susan Dodie Marshall and the spoiled rich girl Cynthia Foxhugh Shelley Fabares. Cynthia's millionaire father Howard Carl Betz wants Mike to race his newly built auto. All the girls want Mike, but he manages to marry them off to different paramours and in the end falls for his replacement drummer Susan. The 12-song album of the same title contained a musical curiosity, Bob Dylan's Tomorrow Is A Long Time. It was the only Dylan song ever recorded by Presley - and the longest, at over five minutes in length~Dan Pavlides
Music video director Hype Williams made his feature film debut with this visually inventive urban drama. Tommy Brown (DMX) and his friend Sincere (Nas) are gangsters who have learned how to make a good living by dealing drugs and pulling armed robberies. Tommy and Sincere have been able to move out of the ghetto in Queens where they were raised and relocate to an upscale section of Manhattan; they would seem to have it made, but both realize that their lives are headed toward a dead end. Sincere begins getting in touch with his African roots and tries to convince his girlfriend Tionne (Tionne "T-Boz" Watkins) that they should emigrate to the Motherland, while Tommy has a religious awakening and joins the Nation of Islam. Along with top-selling rappers DMX and Nas, hip-hop artist Method Man and R & B singer Taral Hicks also appear~Mark Deming
"It's showtime!" In this part film à clef, part musical phantasmagoria, director/choreographer Bob Fosse takes a Felliniesque look at the life of a driven entertainer. Joe Gideon (Roy Scheider, channeling Fosse) is the ultimate work (and pleasure)-aholic, as he knocks back a daily dose of amphetamines to juggle a new Broadway production while editing his new movie, not to mention ex-wife Audrey (Leland Palmer), steady girlfriend Kate (Ann Reinking), a young daughter, and various conquests. Joe cannot, however, avoid intimations of mortality from white-clad vision Angelique (Jessica Lange) that lead him to look back at his life as he heads for a near-inevitable coronary and his departure from this mortal coil with the appropriate razzle-dazzle. Taking his cue from Federico Fellini's 8 1/2 (1963), Fosse moves from realistic dance numbers to extravagant flights of cinematic fancy, as Joe meditates on his life, his women, and his death. Following a similarly dark revisionist vein as Martin Scorsese's New York, New York (1977), Fosse shows the stiff price that entertaining exacts on entertainers (among other things, he intercuts graphic footage of open-heart surgery with a song and dance), mercilessly reversing the feel-good mood of classical movie musicals. Critics praised Fosse's daring even as they damned his self-indulgence, while Scheider was lauded for giving the best performance of his career. Though not a disastrous failure, All That Jazz came nowhere near the popularity of 1978's Grease, as late '70s audiences increasingly turned away from "difficult" movies. For all its excesses, Fosse's fiercely personal approach turned All That Jazz into another striking work from one of the few directors able to make, and experiment with, movie musicals after the 1960s~Lucia Bozzola"