In another combination theatrical and home day-and-date release, the third film in the Bill & Ted franchise, Bill & Ted Face the Music, dropped this past Friday (August 28)—29 years after the second film, Bill & Ted’s Bogus Journey, and 31 years after the original Bill & Ted’s Excellent Adventure, making it one of the longest gaps between film sequels ever. Available for rental or purchase through a variety of streaming outlets, you can purchase Face the Music for download from Kaleidescape for $39.99, where it is available at Ultra HD resolution (not HDR) with a DTS-HD 5.1-channel audio mix.
I was 19 when Excellent Adventure came out and saw both it and the Bogus Journey sequel in the theater. It had been years since I’d watched either movie, so I prepped for Face the Music by watching Excellent Adventure again. Unquestionably a
cheesy, schlocky B movie, what really drives the film is the fun of watching these two likable idiots bumbling through time in an attempt to fulfill their musical destiny by first acing a high-school history presentation so they can graduate. While often described as a “stoner comedy,” there is never any evidence of the duo getting high; rather, they are just a wildly optimistic pair that look for the best in situations and get by on dumb luck and the help of a telephone-booth time machine.
My memories of the second film are far less fond, with the ridiculousness of evil doppelgängers sent from the future, trips to the afterworld to beat Death in a variety of games, and Bill and Ted building robot versions of themselves to win a “battle of the bands” competition playing along with Death and some aliens called Station. It just didn’t have the fun of the original, and the proclamations of, “Dude!” “Excellent!” and “Righteous!” wore thin.
So, the real question here is: After 29 years, did the world
FACE THE MUSIC AT A GLANCE
Arriving a scant 31 years after Excellent Adventure, with Keanu Reeves displaying questionable judgment returning as Ted, this sequel will likely appeal mainly to GenXers but isn’t such a bad way to spend your time with so few other new releases out there.
The 4K transfer is clean and sharp, with plenty of detail, but the absence of HDR results in the images looking flat, without pop or depth.
The DTS-HD 5.1 mix is room-filling when appropriate, with surprisingly potent bass.
really need or even want another episode in this franchise? And, perhaps even more curious, why would Keanu Reeves want to return to playing valley guy Ted while in the midst of a career high point with the insane success of polar-opposite character John Wick? And will another 90-minutes of his “Whoa! Dude!” surfer-Ted persona somehow diminish the Wick franchise?
I was skeptical going into viewing Face the Music, and likely would not have watched it if not for Cineluxe. And I wonder if the film will actually find more financial success because of the current theatrical shutdown, giving content-starved viewers something new to watch at home that they otherwise would have taken a pass on.
With Reeve’s current popularity, I was thinking Face the Music’s real hook would be some incredible cameos sprinkled throughout to add another element of fun to the adventure, but that was not the case. (Though we do get one scene with a rather famous musician who pops in to play himself.) Also, I hoped director Dean Parisot would bring some of the same fun and understanding of the genre that he did with Galaxy Quest. While the film has a surprisingly high Rotten Tomatoes critics rating of 81% and an 82% audience score (both franchise highs), I think it will mostly appeal to Gen-Xers who will give a lot of its shortcomings a pass by playing the nostalgia card and appreciating the fan service. (When I asked my 13-year-old daughter, who had never seen either of the other films, how many more times she’d watch Face the Music, she said, “Negative one. I wish I’d never seen it the first time.” Ouch!)
The movie begins with Bill S. Preston, Esquire (Alex Winter) and Ted Theodore Logan, the sole remaining members of their once super-band Wyld Stallyns, who have gone from playing concerts viewed all over the world to playing empty bars on Taco Tuesday, still struggling to write the one super-hit song destined to unite mankind around the world.
Besides the leads, Face the Music manages to get other members of the band back together, including Hal Landon Jr. returning as Ted’s dad, Chief Logan, Amy Stoch as Missy-mom (now marrying Ted’s younger brother after divorcing both Bill and Ted’s dads), and William Sadler as bass-shredding Death. The wife-princesses, Joanna and Elizabeth, are still here but have been once again recast. (These two characters have now been played by six different actresses.)
New to the cast are Thea Preston (Samara Weaving) and Billie Logan (Brigette Lundy-Paine), Bill and Ted’s music-loving daughters, who play a major role in the plot and do their best to maintain the mouth-agape bewildered expression and mannerisms of their respective parents, as well as the always-delightful Kristen Schaal as Kelly, daughter of Rufus (George Carlin) from the first two films, and the time-traveling Terminator-esque self-aware robot, Dennis Caleb McCoy (Anthony Carrigan).
Without the benefit of a universe-uniting song, things are unraveling throughout time, with people and landmarks transporting to different times and places, and Bill and Ted are up against a deadline with which to create and perform the song or risk the irreversible collapse of reality.
With the clock ticking—and with a time-traveling phone booth once again at their disposal—the boys decide to visit themselves at different points in the future after they’ve already written the song so they can just steal it and bring it back. Billie and Thea decide to help out by gathering some of the greatest musicians throughout history—Jimi Hendrix, Louis Armstrong, Mozart—to help perform the song.
Watching the various incarnations of Bill and Ted—whose lives get progressively worse the further they go into the future—brought some of the film’s funnier moments, and the girls’ quest to get famous musicians was certainly reminiscent of Excellent Adventure (as well as the musical number from the talent show of Revenge of the Nerds). But my family and I all thought one of the film’s highlights was the song and video over the beginning of the closing credits, which feels like the
cameo-filled moments (we spotted “Weird” Al Yankovic and Guillermo Rodriguez, but it seems like there were many others we just didn’t recognize) I hoped the film would have. Also, stick around for a final post-credits scene, which will likely be the last we see of Bill and Ted.
As mentioned, this is a non-HDR 4K transfer (at least for now) and the opening Orion logo offers a throwback to ‘80s-era VHS-level picture quality, but rest assured things quickly improve. Shot in ArriRaw at 2.8 and 3.4K resolutions, images are clean and sharp, with enough detail to reveal how much our leads have aged as well as the fabric detail in clothes and outfits throughout time. But the picture quality doesn’t have that razor-sharp look of many modern transfers, and backgrounds are often a bit soft.
Most noticeable—especially after watching so many modern films—is the lack of HDR grading. Without it, images just look a bit flat, and lack pop and depth, especially in scenes with bright images in the background such as in the therapist’s office or when talking to Death in his office. Also, you can see where images would benefit from the wider color gamut, such as the bright flashes of color as Bill and Ted are traveling through time.
Even without an immersive audio mix, the sound is entertaining, and room-filling when appropriate, such as the time-unraveling scenes and the big musical performance. Bass is also surprisingly potent, with the time-traveling phone booth slamming into the ground with room-shaking authority. Scenes also have a nice bit of spaciousness, such as the background wails in Hell or the reverb of Jimi’s guitar. Dialogue is also clearly presented and easily understood throughout.
If this is the last we see of Bill and Ted, this was certainly a better sendoff than their Bogus Journey. And their message to “Be excellent to each other!” and “Party on, dudes!” isn’t such a bad thing for these crazy times.
Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as Residential Systems and Sound & Vision. Follow him on Twitter at
@SciaccaTweets and at johnsciacca.com.