in director michael cummings�* affectionate and insightful documentary king rocker, comedian and friend draws a parallel between lloyd and nicholas monro�*s giant statue of king kong, both of which were rejected and then later reclaimed by the city of birmingham and the wider world. i thought, "right, i'll make a song out of that," which i did... capturing lloyd in his natural surroundings — be it a pub, a curry house, ora gig, king rocker does a brilliant job of exploring what makes lloyd so special and why his music is beloved by die—hard fans while still remaining unknown to so many. but i begin to worry that what if i peg it and they still don't buy the record! now, i have said many times that the true test of a documentary is whether it engages you in a subject in which you had no previous interest. but for me, the idea of a documentary about rob lloyd presented by stewart lee was always going to be a slam dunk. but the real triumph of cummings' anti—rockumentary is that even if you've never heard of lloyd, i guarantee you'll come out of this wanting to track down his back catalogu

while the recent doc king rocker had had the advantage of being about a musician i really like, namely he did with beefheart, but not much else. so it�*s a credit to winter that zappa had me gripped, told me stuff i didn�*t know, and even convinced me to track down some of frank�*s classical compositions — not something i ever thought i�*d do. i think if you shoot any lower than that, you're gonna wind up with something sleazy. making inventive use of graphics and animations to augment the interviews, concert footage and home movie reportage, this is a thorough and thoroughly engaging account of a prolific artist, a film that william s preston esquire would doubtless hail as "excellent." you can find it at altitude. film. from the glades of california�*s laurel canyon to the suburbs of rome with bad tales, the berlin award—winning second feature from the d�*innocenzo brothers. despite the directors�* family name there�*s precious little innocence on display in this visually stylish yet morally dyspeptic tale which invites us to share its fashionably cynical worldview. narrated by a man

while the recent doc, king rocker had had the advantage of being about a musician i really like, namely, i enjoy the stuff he did with beefheart, but not much else. so it's a credit to winter that zappa had me gripped, told me stuff i didn't know, and even convinced me to track down some of frank's classical compositions — not something i ever thought i do. i think if you shoot any lower than that, you're gonna wind up with something sleazy. making inventive use of graphics and animations to augment the interviews, concert footage, and home movie reportage, this is a thorough and thoroughly engaging account of a prolific artist, a film that william s preston esquire would doubtless hail as, "excellent." you can find it at altitude. film. from the glades of california's laurel canyon to the suburbs of rome with bad tales, the berlin award—winning second feature from the d'innocenzo brothers. despite the directors' family name there's precious little innocence on display in this visually stylish yet morally dyspeptic tale which invites us to share its fashionably cynical worldview. speaki

in director michael cummings' documentary king rocker, comedian and fan stewart lee draws a parallel t even if you've never heard of lloyd, i guarantee you'll come out of this wanting to track down his back catalogue. eschewing the talking heads clips and interviews format, king rocker is closer to an andrew cotting—style collage, finding moments of truth and apparently chaotic happenstance making connections that are more intuitive and emotional than factual and historical. then you go, "no, that's not true! "who told you that?" you did at an earlier date. it helps that both lloyd and lee are masters of witheringly self—deprecating humour. neither seem set on winning any popularity contests, a quality that simply makes this doc all the more likeable. like the real—life tragi—comedy anvil: the story of anvil, king rocker has its spinal tap moments, not least when lee takes his subject to visit some standing stones with which lloyd is impressively unimpressed. you seem to want the nightingales to be remembered in some way — maybe not unlike this! i hope they're remembered more fondly t

in director michael cummings' affectionate and insightful documentary king rocker, comedian and friendlater reclaimed by the city of birmingham and the wider world. i thought, "right, i'll make a song out of that," which i did... capturing lloyd in his natural surroundings — be it a pub, a curry house, ora gig, king rocker does a brilliant job of exploring what makes lloyd so special and why his music is beloved by die—hard fans while still remaining unknown to so many. but i begin to worry that what if i peg it and they still don't buy the record! now, i have said many times that the true test of a documentary is whether it engages you in a subject in which you had no previous interest. but for me, the idea of a documentary about rob lloyd presented by stewart lee was always going to be a slam dunk. but the real triumph of cummings' anti—rockumentary is that even if you've never heard of lloyd, i guarantee you'll come out of this wanting to track down his back catalogue. eschewing the talking heads clips and interviews format, king rocker is closer to an andrew cotting—style collage,

while the recent doc, king rocker had had the advantage of being about a musician i really like, namelyd me to track down some of frank's classical compositions, not something i ever thought i do. i think if we shoot any lower than that, you're gonna wind up with something sleazy. making inventive use of graphics and animations to augment the interviews, concert footage, and home movie reportage, this is a thorough and thoroughly engaging account of a prolific artist. a film that william esquire would undoubtedly hail as excellent. you can find it at altitude film. from the glades of california's laurel canyon to the suburbs of rome with bad tales. despite the directors family name there's precious little innocence on display in this visually stylish yet morally dyspeptic tale that invites us to share its fashionably cynical worldview. narrated by a man writing in a young girl's diary, the story is declared to be inspired by a true story that was inspired by a false story that is not very inspired. a phrase which seems to provide its own review of the film. what follows is a collage of

while the recent doc, king rocker had had the advantage of being about a musician i really like, namelyy lower than that, you're gonna wind up with something sleazy. making inventive use of graphics and animations to augment the interviews, concert footage, and home movie reportage, this is a thorough and thoroughly engaging account of a prolific artist, a film that william s preston esquire would doubtless hail as, "excellent". you can find it at altitude. film. from the glades of california's laurel canyon to the suburbs of rome with bad tales, the berlin award—winning second feature from the d'innocenzo brothers. speaking italian despite the directors' family name, there's precious little innocence on display in this visually stylish yet morally dyspeptic tale which invites us to share its fashionably cynical worldview. narrated by a man writing in a young girl's diary, the story is declared to be "inspired by a true story that was inspired by a false story that is not very inspired" — a phrase which seems to provide its own review of the film. what follows is a collage of adults beh