Miles Ahead

Miles Ahead (2016) 1hr. 40 min.

Miles Davis is one of the best jazz musicians of all time. Davis was one of those musicians that really conveyed great talented passion and emotion in his trumpet playing. Miles made a great album in particular his 1959 masterpiece" Kind of Blue". Which Rolling Stone magazine voted it as one of the best albums of all time, regardless of genre of music. His life should've been made ages ago, unfortunately it took 2016 for a Davis film to be made, with Don Cheadle playing the great musician and also making his directorial debut.

The film takes place in 1980, where Davis hasn't made an album in five years and has recorded on but does not want the album released without his permission. He would prefer to snort his new drug of choice, cocaine than work on any releasable music. He is also hates to do interviews but a persistent one from Rolling Stone writer Dave (Ewan McGregor) who wants desperately to interview the legend and follows him to his record company at Columbia records and talks to a the President of Columbia, Harper (Michael Stahlberg) whose ethics are not honorable and demands Dave to coax Davis to send his most recent work to work with a talented musician (Keith Stansfield), who is also a junkie heroin addict. The one drug that Davis was once addicted to. Miles has no desire to give his boss anything and threatens his boss with a gun to leave him the hell alone.

Dave decides to take matters into his own hands with questionable ethics, to get his dream of an interview with a legend and says he know someone who can give him good coke. On the basis of drug use they become good friends. The first part of the movie is about a cat and mouse game of Davis music recording becomes of tug of war of who has the upper hand in who will eventually get Davis most recent recording. Another main subplot is more interesting is the relationship between Davis and his greatest love and muse Frances Taylor (Emayatzy Corlneaidi) which takes place in the 1950's. The film deals with their courtship, marriage and Davis wanting Frances to give up her career as a dancer when they marry. To all of the predictable, nonetheless interesting because it is well acted are the relationships of Davis girlfriends and his infidelity and his addiction to a drug that makes him paranoid. The film contends that the relationship with Frances gave him the greatest creative musical prowess and his music was at its great peak when Davis dated and married Frances.

The film other subplot is also not very original but the car chase sequences back and forth between Davis and Dave vs. Harper and is crooked associate's is not very interesting and lacking in energy. Miles Davis deserved a better treatment in a subplot that is right out of the many car chases we have seen in the movies since the standard of car chases in the great 1971 action cop movie The French Connection. A car chase still can be entertaining if those scenes can offer something thrilling, this film action scenes are rather dull and pointless. The other love story is predictable but well-acted with Corlnealdi a standout as Davis's greatest love. Don Cheadle is very good as the great trumpeter, I just wish it was in a movie that dealt with a more interesting story of Davis life, maybe coming to terms with his coke addiction and his marriage to the great actress Cicely Tyson. Cheadle does a very good job of directing his first feature, but as it stands, more should have been made of his personal struggles with addiction and more of the great jazz that people love with great intensity.

'MILES AHEAD': Four Stars (Out of Five)

A mostly fictional biopic on jazz music legend Miles Davis, starring Don Cheadle as Davis. Cheadle also directed the movie (marking his feature film directorial debut), and he co-wrote the script as well; with Steven Baigelman (who also wrote the recent James Brown music biopic 'GET ON UP'), Stephen J. Rivele and Christopher Wilkinson (Rivele and Wilkinson have also co-written other hit biopics, like 'NIXON', 'ALI' and 'PAWN SACRIFICE'). The film also costars Ewan McGregor, Emayatzy Corinealdi and Michael Stuhlbarg. It received a limited indie theatrical release in theaters, and it's gotten mostly positive reviews from critics (although not that positive). I enjoyed it more than I thought I would.

The story takes place at multiple different times in Miles Davis's (Cheadle) life, and it jumps around between them. The bulk of the film takes place in the 70s, and it revolves around a fictional adventure that Davis goes on, in an attempt to get a stolen tape recording back (of his recent music) from a greedy record producer (Stuhlbarg). He has help from an ambitious music reporter (McGregor). The movie also heavily focuses on Davis's troubled relationship with his wife (Corinealdi).

I'm not a big fan of biopics (because of how aimless, long and boring they often are) but I enjoyed this movie, because it's not a traditional biopic. A lot of the film is more like a fictional caper flick, with Miles Davis in it, and I think that makes for a much more entertaining movie (as a result). Cheadle is also fantastic in the lead, and he shows a lot of talent as a director here. I think the film is definitely worth seeing, whether you're a big Miles Davis fan or not.

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Absolutely stunning! Attended the world premiere at the NewYork film festival this past weekend. As the film ended, my mind felt entranced. The film's rapid clip style and dramatic ending made me film as if I had viewed one of Mile's mind blowing paintings. Somehow, it all seemed to come together as one mental image at the end. An ingenious portrayal of both Miles music and painting style. Along with the fabulous music throughout, the movie even included a clip of miles working on one of his paintings, as if the cue us in on the films approach.

The music of Miles Davis provides the background for many of the scenes and it is performed in many scenes. As Miles was also an accomplished abstract painter, he is also featured creating some of his artwork. His challenges, triumphs and failures in love, the music industry, music composition, health, etc. compose a collage that comes together like one of his abstract paintings. At the end, a stunning scene brings it all together and emphasizes the phenomenal impact of the Miles music through today, for all time, and across many genres.

As the reviews of Miles Ahead amass on the Internet I'll be interested to read all the different ways people will have to describe Don Cheadle's electrifying performance as jazz great Miles Davis. Or should I say "social music" great, a term Mr. Davis preferred to jazz, according to this biopic. I'd never heard this term before, looked it up online after the movie ended, but couldn't find any definition that fit what I thought Mr. Davis might have meant. What it meant to me though, after being treated to a sumptuous sampling of Miles Davis music in the film, is that there's no better musical expression of the human soul than jazz if done right. In Miles Ahead, Don Cheadle seems to be able to relate to that. As for his portrayal of Miles Davis in general, he plays a man who lays everything on the line in everything he does. Total honesty. Total this feels right so I'm going to do it. No-bs, no-putting-up-with-bs attitude. From violence and crudeness to stunning beauty - this is humanity unadulterated. The movie's high points, to me, are the stunning beauty scenes - when Mr. Davis plays the horn. That is the culmination of everything.

Still, it's ironic that while Don Cheadle seems to get not only jazz, but the concept of creativity - starting off the movie with the Miles Davis quote "When you're creating your own sh**, man, even the sky ain't the limit" - Miles Ahead is limited by being formulaic. In other words, the movie itself is not jazz, though at times it tries to be and wants you to think it is. For example, there is too much clichéd man/woman relationship drama in the film, and while I get that Miles' love of women is necessary to portray for the all-important character development, Miles Ahead gets a little schmaltzy at times, if only because I'd seen the same kind of drama scenes more or less so many times before in so many Hollywood movies.

Overall, Miles Ahead is a passionate tribute, beautifully done, and the love that Don Cheadle had for the project and for Miles Davis really shines through.

Miles Ahead: the Film's Ending Saves Davis

Miles Ahead is an interesting take on the life of the jazz master. It's not a standard biopic telling a tale of the rise, then fall, then rebirth of an artist. Miles Ahead starts toward the end of his career when he is 'taking a break' from performing and recording. We learn that Davis has a deal with Colombia Records to start recording again, but he has yet to follow up when the film starts.

Several plot lines run throughout the film. However, the only one that is fully explored is his marriage. It runs the standard arc of plots with an introduction, conflict, plot points and resolution. The other stories within this film are not so successfully explored.

We have an idea why Davis took time off, but we don't get the full picture of his talents and his method for writing. More time spent on his work and less time with his interactions with the record label and the Rolling Stone magazine writer would have made this film more profound and enjoyable.

Don Cheadle is excellent at embodying the conflicts of the artist. It is not a salute to an idol, it is a full exposé, the talent, his influence, his trouble working with others, his addictions, and his struggle with fame. Davis at once hates his fame and desires to focus on the music while also uses it to get what he wants and to manipulate others. It's his love-hate relationship with his stardom that is the crux of the film in like of his past. However, the film doesn't go deep enough to satisfy your regular audience member that knows little about the man.

A major problem with the film is that while is does well in presenting the marriage and his conflicts with his fame, it also stupidly tries to be an action film. The relationship with the Rolling Stone writer just distracts from the heart of the story and plays out like a Three Stooges bit. Ewan McGregor is out of place as writer Dave Brill and can't bring enough charisma to the screen to make it work. The plot line with the writer is an annoying distraction from the acting of Cheadle and the struggles of an artist.

Thus, for all its good, and it has a lot of good, I only recommend two-thirds of the film. Fortunately, the ending is so well done that it salvages the good in the film.

Rating: Matinée

Cheadle is excellent at playing Davis, but his poor writing and directing decisions detract from what is an otherwise interesting film about a master musician.

Peace, Tex Shelters