Perhaps, or perhaps even indisputably-the spirit of a film more than any ideal quality target. You can not inject a soul into a film in the editing room; is one get one or not. There are people who have waited almost 30 years for the face Bill & Ted music, the follow-up to Bill & Ted’s Excellent Adventure (1989) and Bill & Ted’s Excellent Adventure (1991), and there are people who have not been to wait that all. But what people want from Bill & Ted is a face, the music is much less than it actually is, a crazy, flawed but deeply rewarding in the end broke the optimism of what was, unquestionably-a terrible summer, his seriousness in distress, her certainty about all that we need to get as people around the fact our act together, it is its great strength. Alex Winter and Keanu Reeves were in their mid-twenties, when before Billy Preston and Ted Logan, a silly duo, but the mentality Teenage guitar open in possession of San Dimas, Calif., The Changing World and overcome a history class dress for a time machine, such as a phone booth. In the first film, it meets the princesses 15th century to be their wives, Joanna and Elizabeth; Second, outsmart death in a game of Twister. At the outset, it was said that they pretty lame band, Wyld Stallyns would do such great music at the end that would promote a future utopian society. But as Bill & Ted’s face the music opens, Bill and Ted, into middle age and even with their guitar noodling around, not game-changing product for my food. And even if their loved princesses (here played by Erinn Hayes and Jayma Mays) are married, there is a bit ‘of problems in a suburb of Paradise: Both couples have signed up for counseling, and why Bill and Ted can do Envision anything independently make it a group affair. Their identities are intertwined, although pushing 50 who are not really understood how adults. Read: Why did it take Keanu Reeves 30 years overnight stay is Sensation They and their wives, however, have produced two beautiful teenage daughters, Billie (Brigette Lundy-Paine) and Thea (Samara Weaving) are named after their fathers, and take them later too. Thea has a casual gear and a curtain of dark hair floppy; Billie is blond and shower, nervous energy rolled spring in it. Young women are best friends, they are like their fathers. And they are angry, they are their fathers get in trouble: A messenger from another world, Kelly (Kristen Schaal), has touched a low egg giant to clean Bill and Ted in what must be a me not-so – the future utopian. She is the daughter of Rufus, the emissary who travels through time in the previous films of the late, great George Carlin played (which appears briefly in the form of a hologram). And it turns out that his mother, a widow, Rufus’ played by Holland Taylor in a sparkling fabulously imperious cape-has some bad news for Bill and Ted: because they have not produced the song that will change the world, reality as we know it will end in 77 minutes and 25 seconds. That’s much better, at this point, the remaining term film. How do they pull it off? The answer involves a trip through time, of course, but also Louis Armstrong, a killer robot Caleb Dennis McCoy, the Chinese mythological flutist named Ling Lun, and death (played once again by the magnificent William Sadler) Jimi Hendrix. The princess women and, in particular, Billie and Thea play a key role: the girls so they believe wholeheartedly in their fathers, including their capacity not entirely proven to make music jumping for help, which shows that the next generation is ready and able to take the reins. Bill & Ted’s face the music has a cosmic vortex of a movie as unapologetically ridiculous as his predecessors were. The script is by Chris Matheson and Ed Solomon, who wrote the first two films and created the Bill and Ted characters; scenarios that grow here amateur cooked by the minute, which is part of the fun. The director Dean Parisot, and what it has, its writers and actors have pulled out nutso here is so positive, and completely so sweet that he deserves his statue in a future utopian film. Parisot also directed the exceptional 1999 science fiction / fantasy spoof Galaxy Quest, which was a basically a cult classic. Bill & Ted’s face the music does not, although it has the same glorious comic ebb and flow of this film such a generous heart that beats. And this in turn can forge something no film. The Bill & Ted films, including this one, because winter and Reeves have always taken the job, are not seriously serious signs. As a teenager, Bill and Ted were Daffy and cheerful, innocent horny, but gallantly infallible, but a kind of silent intuitively in all the ways that count. Bill Winter still has that goofball electricity; Ted Reeves is more relaxed and more philosophical. Yet there is something penetrating about them to be seen as middle-aged guys who will not be able to pull all I heard about that-aged dreamed well, physically, but even so, their joy of living list is, it ‘almost hit each. Still, things could be worse. The plot of Bill & Ted’s face the music takes us into the future aspiring versions of Bill and Ted, I am not so good: In a scene are prisoners swelled up-tattooed and angry; in another, they bellied rock star who believed fake British accents in Madonna style. These acids versions of Bill and Ted are so implausible that run exhilarating winter and Reeves with them, revel in them. The imagination journey of Bill & Ted’s face the music can reflect these characters in a minor fact, it could have been, had they and their families did not intervene. And shaping the future with memory contributions that the best of the past. Bill & Ted’s face the music has the feel-good movie of this endless cycle time, and the next. And although it is pure fantasy, but also an act of faith, we must take all ready. Even without time travel telephone booths, people have the power.
Bill & Ted’s face the music is that we need the Lunacy trip dose in time now
