{"id":2018,"date":"2025-01-31T11:17:11","date_gmt":"2025-01-31T11:17:11","guid":{"rendered":"https:\/\/flatplanplus.io\/mojo\/?p=2018"},"modified":"2025-01-31T11:32:05","modified_gmt":"2025-01-31T11:32:05","slug":"the-10-best-rock-biopics-ever","status":"publish","type":"post","link":"https:\/\/flatplanplus.io\/mojo\/2025\/01\/31\/the-10-best-rock-biopics-ever\/","title":{"rendered":"The 10 Best Rock Biopics Ever"},"content":{"rendered":"<p>[et_pb_section fb_built=&#8221;1&#8243; _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_row _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;4_4&#8243; _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_code module_class=&#8221;custom-cat&#8221; _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<div class=\"fp-mojo-presents\"><!-- [et_pb_line_break_holder] -->\t<\/p>\n<div class=\"fp-col-1\"><!-- [et_pb_line_break_holder] -->\t\t<pee class=\"tac text-white bold\">Mojo<\/pee><!-- [et_pb_line_break_holder] -->\t<\/div>\n<p><!-- [et_pb_line_break_holder] -->\t<\/p>\n<div class=\"fp-col-2\"><!-- [et_pb_line_break_holder] -->\t\t<pee class=\"tac text-grey bold\">The List<\/pee><!-- [et_pb_line_break_holder] -->\t<\/div>\n<p><!-- [et_pb_line_break_holder] --><\/div>\n<p>[\/et_pb_code][et_pb_text module_class=&#8221;article-title&#8221; _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; header_font=&#8221;||||||||&#8221; header_text_align=&#8221;center&#8221; header_text_color=&#8221;#111111&#8243; header_font_size=&#8221;68px&#8221; custom_margin=&#8221;40px||||false|false&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<h1 class=\"title_h1__SREzS undefined\" data-test=\"title\">The 10 Best Rock Biopics Ever<\/h1>\n<p>[\/et_pb_text][et_pb_text module_class=&#8221;intro-text&#8221; _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; text_orientation=&#8221;center&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p class=\"p1\">In the wake of Timoth\u00e9e Chalamet\u2019s portrayal of Bob Dylan in A Complete Unknown, MOJO selects the greatest music biopics of all-time.<\/p>\n<p>[\/et_pb_text][et_pb_text module_class=&#8221;credit-main&#8221; _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; text_font=&#8221;||||||||&#8221; text_font_size=&#8221;16px&#8221; text_orientation=&#8221;center&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p class=\"p1\"><span class=\"s1\">Compiled by <span style=\"color: #999999\">Chris Catchpole, Fred Dellar, Danny Eccleston, Andrew Male<\/span><\/span><\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=&#8221;1&#8243; _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_row _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;4_4&#8243; _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_image src=&#8221;https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2025\/01\/Timothee-Chalamet-Dylan-lead.jpg&#8221; title_text=&#8221;Timothee-Chalamet-Dylan-lead&#8221; _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_image][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p>The music biopic is a notoriously difficult cinematic genre to nail. For every acclaimed portrayal of a music legend there\u2019s a dozen tone deaf misrepresentations that fall way short of the mark.<\/p>\n<p>To be fair, using one medium to capture the magic of another isn\u2019t an easy task. The in-the-moment excitement of a live concert is incredibly hard to translate on screen (Baz Luhrmann did an excellent job in 2022\u2019s otherwise fanciful Elvis), and the pitfalls of clich\u00e9 are everywhere. Indeed, the moment Val Kilmer and co. pull a fully formed Light My Fire out of thin air in Oliver Stone\u2019s ponderous Doors film should have been enough to warn any film-maker off ever trying to depict the art of songwriting.<\/p>\n<p>A compelling and believable central performance is key (honourable mentions to Jamie Foxx\u2019s Oscar-winning turn as Ray Charles in Ray and Andy Serkis\u2019s Ian Dury in 2010\u2019s Sex &amp; Drugs &amp; Rock And Roll). And while superfans might baulk at any liberties taken with the slightest of details (yes, we know that the fabled \u201cJudas\u201d heckle happened at Bob Dylan\u2019s concert at Manchester\u2019s Free Trade Hall in May 1966, not at the Newport Folk Festival in 1965 as shown in A Complete Unknown), films such as Gus Van Sant\u2019s not-quite-Kurt Cobain character study in 2005\u2019s Last Days show that an unconventional approach to the subject matter can sometimes uncover a truth more effectively than a run of the mill rags to riches yarn. Let\u2019s not forget that these are movies after all, not documentaries.<\/p>\n<p>Baring all of that in mind, MOJO have selected what we believe are 10 of the best music biopics out there\u2026<\/p>\n<p>[\/et_pb_text][et_pb_divider color=&#8221;#111111&#8243; module_class=&#8221;custom-divider&#8221; _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; custom_margin=&#8221;||0px||false|false&#8221; custom_padding=&#8221;||0px||false|false&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_divider][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><iframe loading=\"lazy\" title=\"Bohemian Rhapsody | Official Trailer [HD] | 20th Century FOX\" width=\"1080\" height=\"608\" src=\"https:\/\/www.youtube.com\/embed\/mP0VHJYFOAU?feature=oembed\"  allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><strong>10. Bohemian Rhapsody<\/strong><\/p>\n<p>(Brian Singer, 2018)<\/p>\n<p><strong>As larger than life as its subject.<\/strong><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p>Everything about this biopic threatened disaster \u2013 a central character of inimitable charisma; a history of script and casting snafus; the replacement of director Singer with Dexter Fletcher \u2013 and 20th Century Fox\u2019s stinginess with screenings set off alarms. Then the critics panned it. But like Queen themselves, Bohemian Rhapsody proved critic-proof. This was all about Rami Malek\u2019s Oscar-winning performance as Mercury \u2013 mischief, melancholy and madness glisten in those Gollum eyes \u2013 the seductive power of the set-pieces, plus the pacing and delivery of the tunes. Against which the crap wigs and plot liberties are, ultimately, bagatelles.<\/p>\n<p><strong>Best Bit:<\/strong> The electrifying first seconds, as the viewer is led onstage at Live Aid, sets the tone. <\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_column type=&#8221;4_4&#8243; _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><iframe loading=\"lazy\" title=\"The Buddy Holly Story (1978) ORIGINAL TRAILER [HD 1080p]\" width=\"1080\" height=\"608\" src=\"https:\/\/www.youtube.com\/embed\/FSzLTG5qkj4?feature=oembed\"  allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><strong>9. The Buddy Holly Story<\/strong><\/p>\n<p>(Steve Rash, 1979)<\/p>\n<p><strong>The jukebox wore glasses.<\/strong><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p>Gary Busey, who\u2019d attempted to portray Buddy Holly before but had to settle for the role of Crickets\u2019 drummer Jerry Allison in a cancelled production, proved a ringer for the bespectacled rocker from Lubbock, gaining an Oscar nomination in the process. Nothing was lip-synched, the music was recorded live, and the feel of the whole film benefited as a result, creating not only that rare thing &#8211; a genuinely fine rock movie, but also a template for a long-running stage musical that would set the standard for jukebox musicals set to flourish in its wake.<\/p>\n<p><strong>Best bit:<\/strong> The Rave On jam at the Apollo, Harlem.<\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><iframe loading=\"lazy\" title=\"Bound for Glory (1976) - HD Trailer [1080p]\" width=\"1080\" height=\"608\" src=\"https:\/\/www.youtube.com\/embed\/kGgW1k9swkE?feature=oembed\"  allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><strong>8. Bound For Glory<\/strong><\/p>\n<p>(Hal Ashby, 1976)<\/p>\n<p><strong>Three chords and the truth. And some chronological slippage.<\/strong><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p>The early years of Woody Guthrie, with David Carradine perfect as the train-hoppin\u2019, slow-talkin\u2019 father of protest song. Haskell Wexler\u2019s photography, accurately mirroring the drought-ridden years of the Depression, won him an Oscar nomination, while the lax chronology \u2013 allowing the use of all of Guthrie\u2019s best-known songs, many of which were written at a later period than that depicted in the film: a precedent built on by Bohemian Rhapsody \u2013 feels more than forgiveable. Odetta, Arlo Guthrie, Judy Collins, The Weavers, Country Joe McDonald and Guthrie himself also contribute to a high-quality soundtrack.<\/p>\n<p><strong>Best Bit:<\/strong> The awesome approach of the life-draining dust storm.<\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p>https:\/\/www.youtube.com\/watch?v=5_dgKHVIHeo<\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><strong>7. The Hours And The Times<\/strong><\/p>\n<p>(Christopher M\u00fcnch, 1991)<\/p>\n<p><strong>Lennon: in his own right.<\/strong><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p>The mistake many music biopics make is to concentrate on the music. Replicating a landmark concert or, worse still, the creation of a classic song, almost always results in disappointment and clich\u00e9. The genius of M\u00fcnch\u2019s black-and-white character study is the way it inhabits the quiet sad edges. A fictionalized account of the Beatle\u2019s Barcelona weekend with Brian Epstein in 1963 uses Lennon\u2019s downtime to zone in on his fears, flaws and insecurities. Ian Hart has never been better, in a role he\u2019d reprise in 1994\u2019s inferior Backbeat, and the film conveys more in pauses and glances than Sam Taylor-Johnson\u2019s Nowhere Boy does in 90 minutes of stodgy biog.<\/p>\n<p><strong>Best bit:<\/strong> Lennon and an air stewardess dance to Little Richard\u2019s I\u2019m in Love Again in their hotel room.<\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><iframe loading=\"lazy\" title=\"The karen Carpenter Story (1989). Trailer. Subtitulado al espa\u00f1ol..avi\" width=\"1080\" height=\"810\" src=\"https:\/\/www.youtube.com\/embed\/AT2bnmJF_YQ?feature=oembed\"  allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><strong>6. Superstar: The Karen Carpenter Story<\/strong><\/p>\n<p>(Todd Haynes, 1987)<\/p>\n<p><strong>Plastic fantastic!<\/strong><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p>For this 1987 student film, Todd Haynes cast Barbara Millicent Roberts as the Carpenters\u2019 singer, songwriter and drummer. Roberts, aka Mattel \u201cdressing-up\u201d doll, Barbie, is used by Haynes as a symbol of both the American feminine ideal and the anorexia Carpenter battled with throughout her life. Moving between meticulous puppet shows, and hysterical montages of post-war America (Vietnam, Watergate, etc.), the film becomes a nightmare of oppressed womanhood, Barbie\u2019s always-smiling plastic face whittled away by Haynes as Carpenter grows ever sicker. Withdrawn from circulation in 1990 following a lawsuit from Karen\u2019s brother Richard, suitably degraded copies can still be found online.<\/p>\n<p><strong>Best bit:<\/strong> A medical documentary about the false \u201chighs\u201d of anorexia, fades into The Carpenters singing Top Of The World, accompanied by grotesque snippets of \u201960s food adverts.<\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><iframe loading=\"lazy\" title=\"Walk The Line | #TBT Trailer | 20th Century FOX\" width=\"1080\" height=\"608\" src=\"https:\/\/www.youtube.com\/embed\/pbQ22zWPYbw?feature=oembed\"  allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><strong>5. Walk The Line<\/strong><\/p>\n<p>(James Mangold, 2005)<\/p>\n<p><strong>The man in black celluloid<\/strong><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p>How many disbelievers stayed to the end of the credits just to confirm that Joaquin Phoenix and Reese Witherspoon really did deliver those vocals in this tale of John R. Cash, country music\u2019s most distinctive (and self-destructive) superstar and June Carter, the onstage fire-cracker love of his ever-complex, pill-popping life. It follows the trail from Sun Records, through Cash\u2019s earlier marriage to Vivian Liberto and the unlikely triumph at Folsom Prison, concluding with that true-to-life onstage proposal. Both Phoenix and Witherspoon figured among the film\u2019s five Oscar nominations, with Witherspoon deservedly winning the Best Female Actor award.<\/p>\n<p><strong>Best bit:<\/strong> Cash kicking out the lights at the Opry in 1965.<\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><iframe loading=\"lazy\" title=\"Love &amp; Mercy | Official Trailer\" width=\"1080\" height=\"608\" src=\"https:\/\/www.youtube.com\/embed\/Xne-_S34T1c?feature=oembed\"  allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><strong>4. Love &amp; Mercy<\/strong><\/p>\n<p>(Bill Pohlad, 2014)<\/p>\n<p><strong>The man with two Brians.<\/strong><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p>Pohlad\u2019s masterly Brian Wilson biopic leaves you divided on purpose. The scenes where a bright-eyed Paul Dano plays the brilliant if fragile \u201cBrian-Past\u201d glow with authentic \u201960s west coast sunlight, while the specific moments in which he creates Pet Sounds in the studio, are, without a doubt, the only truly convincing \u201cmaking-of\u201d sequences in the history of the music biopic. Yet, the \u201cBrian-Future\u201d segments, in which John Cusack plays \u201980s Wilson with chilly disengagement, appear dormant, inert, vacant. Of course, it\u2019s intentional: Brian\u2019s future is a prisoner of Brian\u2019s past. Watched again, a good film starts to approach perfection.<\/p>\n<p><strong>Best bit:<\/strong> Brian in the United Western Recorders asking Chuck Berghofer \u201cHey, do you think we could get a horse in here?\u201d<\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><iframe loading=\"lazy\" title=\"A COMPLETE UNKNOWN | Final Trailer | Searchlight Pictures\" width=\"1080\" height=\"608\" src=\"https:\/\/www.youtube.com\/embed\/NO9hXSD5K4A?feature=oembed\"  allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><strong>3. A Complete Unknown<\/strong><\/p>\n<p>(James Mangold, 2025)<\/p>\n<p><strong>Are friends electric?<\/strong><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p>Director James Mangold had crafted a traditional rise, fall and resurrection rock biopic narrative with Walk The Line (a trope skewered by 2007 pastiche Walk Hard: The Dewey Cox Story), but by using Elijah Wald\u2019s 2015 book Dylan Goes Electric as the frame in which to tell the story, A Complete Unknown is all rise. And thanks in part to Mangold massaging a few facts here and there, it\u2019s a thrillingly breakneck one. Timoth\u00e9e Chalamet is fittingly electrifying as Dylan, capturing not only his hunger and intelligence, but impish sense of humour. However, it\u2019s as an ensemble piece that the film really sparkles: loose-cannon Cash, green-eyed Albert Grossman and in particular Edward Norton\u2019s note-perfect Pete Seeger, whose heartbreak at Dylan\u2019s perceived betrayal is gut-wrenching.<\/p>\n<p><strong>Best Bit:<\/strong> Newport \u201965. We know the moment Dylan goes electric is coming, but the tension leading up to it and the wreckage it leaves in its wake still manages to floor you.<\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><iframe loading=\"lazy\" title=\"Control, The Movie - Official Trailer\" width=\"1080\" height=\"608\" src=\"https:\/\/www.youtube.com\/embed\/xUz6y6ANIgE?feature=oembed\"  allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><strong>2. Control<\/strong><\/p>\n<p>(Anton Corbijn, 2007)<\/p>\n<p><strong>The rise and fall of Ian Curtis in beautiful black and white.<\/strong><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p>Director Corbijn\u2019s note-perfect feel for the aesthetics of Joy Division, which he had helped define as a photographer nearly 30 years before, could have been predicted, but the tautness of the storytelling and Sam Riley\u2019s uncanny and magnetic central performance as Ian Curtis came as thrilling shocks. That bane of the rock biopic \u2013 the failure of recreated gigs to live up to the legend \u2013 is also haughtily dispatched: the Something Else performance of Transmission is spine-tingling, the more so as Corbijn cuts to Samantha Morton as Deborah Curtis, watching in growing wonder and disquiet at home.<\/p>\n<p><strong>Best Bit:<\/strong> Riley\/Curtis heads to work at the employment exchange, to the strains of JD\u2019s No Love Lost. In white on the back of his donkey jacket: the word HATE.<\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><iframe loading=\"lazy\" title=\"COAL MINER&#039;S DAUGHTER (1980) FULL LENGTH TRAILER\" width=\"1080\" height=\"810\" src=\"https:\/\/www.youtube.com\/embed\/V8I2cF51Npc?feature=oembed\"  allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p><strong>1. Coal Miner\u2019s Daughter<\/strong><\/p>\n<p>(Michael Apted, 1980)<\/p>\n<p><strong>Forget M\u00f6tley Cr\u00fc, this is the real dirt.<\/strong><\/p>\n<p>[\/et_pb_text][et_pb_text _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; global_colors_info=&#8221;{}&#8221;]<\/p>\n<p>If one thing obscures the complete brilliance of Apted\u2019s Loretta Lynn biopic, it\u2019s Sissy Spacek. Picked for the role by Ms Lynn herself, the 30-year-old brings a feral beauty and windblown strength to her portrayal of the teenage Kentucky-born country-singer. It\u2019s a performance that can easily overshadow the film\u2019s other strengths, but from the rusted Kentucky landscapes, to the cast\u2019s careworn Dorothea Lange faces (including The Band\u2019s Levon Helm as Lynn\u2019s father), this is a biopic that exhales coal-dust authenticity and sparkles with rhinestone melancholy. It influenced a wealth of formulaic rags-to-riches music biopics, but don\u2019t hold that against it.<\/p>\n<p><strong>Best bit:<\/strong> Lynn and her husband Doo (a terrifying Tommy Lee Jones) fighting in a car-park in front of Patsy Cline.<\/p>\n<p>[\/et_pb_text][et_pb_divider color=&#8221;#111111&#8243; module_class=&#8221;custom-divider&#8221; _builder_version=&#8221;4.20.4&#8243; _module_preset=&#8221;default&#8221; custom_margin=&#8221;||0px||false|false&#8221; custom_padding=&#8221;||0px||false|false&#8221; global_colors_info=&#8221;{}&#8221;][\/et_pb_divider][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The 10 Best Rock Biopics EverIn the wake of Timoth\u00e9e Chalamet\u2019s portrayal of Bob Dylan in A Complete Unknown, MOJO selects the greatest music biopics of all-time.Compiled by Chris Catchpole, Fred Dellar, Danny Eccleston, Andrew MaleThe music biopic is a notoriously difficult cinematic genre to nail. For every acclaimed portrayal of a music legend there\u2019s [&hellip;]<\/p>\n","protected":false},"author":13,"featured_media":1980,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[7],"tags":[],"class_list":["post-2018","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-mojo-presents"],"acf":[],"modified_by":"akindell","_links":{"self":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts\/2018","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/comments?post=2018"}],"version-history":[{"count":5,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts\/2018\/revisions"}],"predecessor-version":[{"id":2036,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts\/2018\/revisions\/2036"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/media\/1980"}],"wp:attachment":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/media?parent=2018"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/categories?post=2018"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/tags?post=2018"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}