ThiefHott
Too much of everything
Sexyloutak
Absolutely the worst movie.
Beulah Bram
A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.
commander_zero
Making a jazz film is hard: the most sincere efforts, such as Clint Eastwood's Bird and Bertrand Tavernier's Round Midnight, tend to recast the music as a synonym for tragedy and victimhood, the exact opposite truth of an art that was crafted to constantly countermand and undermine tragedy and victimhood. Miles Ahead has been criticized for its crazy sub-plot, that culminates in fistfights and gunplay at a boxing match, where Miles Davis reclaims a Macguffin-like master tape that Columbia Records will evidently do anything to get. Of course, this is completely fiction, but it is worth bearing in mind that co-star Ewan MacGregor has called the film "less a Miles biopic than an attempt to cast Miles in a caper flick that he might like to have been part of." In this light, one might regard such excesses a good way of expanding on the "badass" image, that Miles so liked to project. Historically flawed as it might be, the film makes clear that badassness was in fact a useful survival tactic for Davis, in a music industry full of unctuous guys in suits calling him "Mr. Davis," stressing how honoured they were to meet him, and then exploiting him at every turn. The film bounces around chronologically from the late 1950s to the 1980s. The constant flashbacks are somewhat off-putting, but sometimes they do a very good job. At their centre is Davis' relationship with dancer Frances Taylor; years after she has walked out on him – or rather, run out, fearing for her life – Miles is still obsessed with her. There is a scene where, over the phone, he convinces her to leave the London production of West Side Story to be with him. Just as we start to feel sorry for the lovelorn Miles, Cheadle cuts to the drug-fuelled orgy with two young fans that Davis has interrupted in order to take Taylor's call. Another scene takes us back to the 1959 Sketches of Spain sessions; for a jazz fan, it is a delicious pleasure to see and hear these being recreated, although Cheadle gives the impression that arranger Gil Evans was a sort of conductor for the session who was there to follow Davis' instructions. Early in the film, Davis stops an interviewer from calling his music "jazz." What he plays, Davis insists, is social music. In the midst of current recastings and redefinitions of what "jazz" might be, this is a more important message than one expects to hear in a Hollywood biopic. In reading the many criticisms of Cheadle's film, it might be useful to remember that Davis' music from the '70s and '80s was also fiercely criticized at the time it was made, but as the years go by, and we rethink what the artist was doing, it seems increasingly to be right on. The way this film is regarded might also very well change for the better in the years to come.
ReneWirtz
Miles Ahead is a good movie (8 out of 10), as long as you understand as the viewer that this is not a biopic or biography. Nothing much but peripheral things are based on true events. However, this movie is to try to shine a light on the tight rope the eccentric genius Miles Davis had to walk: spotlight or recluse, fame or art, music or painting, love or lust. Don Cheadle is near perfect as Miles Davis and Emayatzy Corinealdi is a great counterbalance as Miles' muse. I'm unsure of Ewan McGregor's overall arc in this story, although he does play his dubious character with gusto. The music is great, still cool after more than half a century!
rzajac
Lots of user reviews saying "Miles Ahead" ("MA") attempts to elevate filmic cubistic hash to high art... and fails. I don't think he fails.Cheadle made his decisions, and stuck with 'em. He decided to go with a groundwork of a slice of Miles's life during a lost period, punctuated with flashbacks, and the whole thing riven with sudden, jarring, splintered, surreal touches. Worked for me.Other factors. Heard 5h1t said about McGregor, but I think he was pitch perfect... and I figure he took direction well from Cheadle. Though one never knows. Loved Cheadle's direction; warm, direct, honest; and yet also with a touch of caricature here and there.Technically, it's a delight. The colors are intentionally stark and bright, the camera-work is great, the music is great. By now, there's no excuse for the film representation of musicianship not to feel genuine, convincing, inspiring. The edits are expert, the pacing just fine.There are countless moments which showcase a view of Miles as a deeply feeling man. This is a wonderful counterpoint to pop, post-modern, swanky press representations of Davis as a guy with a lizard soul. I love that Cheadle did that. There's a moment when Miles lovingly caresses the shoulder of his pianist as he walks by (Evans?). The lovingness and respectfulness of that moment filled my own heart. It's kinda funny: I often hold myself back from movies that are trying to reach out to push my buttons. There was something about the way Cheadle manages the tone of his portrayal--and that's through the entire movie, not just moment-by-moment--that invited me to open up and feel those moments of connection *with* his Davis.Anyway... Great film product! Lots of fun to watch. Nice balance of menace and connection.Check it out
butthead-60250
This movie was really bad. If you enjoy watching a foul mouthed, chain smoking, violent, self important junkie, then you might find this enjoyable. I found it a revolting attack on the eyes and ears. And how did Ewan McGregor get roped into doing this? Roles must be getting mighty hard to come by these days. There were a LOT of better black musicians who would be worthy of a biopic. Like Robert Johnson, Blind Blake, Blind Willie McTell, Blind Lemon Jefferson, Big Bill Broozy or Blind Willie Johnson. But, no, Cheadle had to make one of an angry trumpet player who was mad at the world. And he wasn't even that great of a trumpet player. Herb Alpert is hands down a much more talented player.
