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| Scene from Oasis: Supersonic |
In case you didn't know, A24 is one of the great purveyors of modern cinema. Since 2013, the studio has found a way to innovate independent cinema by turning each release into an event. As a result, A24 A-to-Z will be an ongoing series that looks at every release from the studio by analyzing its production history, release, criticisms, and any awards attention that it might've received. Join me on a quest to explore the modern heroes of cinema by exploring every hit and miss that comes with that magnificent logo. They may not all be great, but they more than make A24 what it is and what it will hopefully continue to be for ears to come.
Released: October 26, 2016
Release Number: 43
Directed By: Mat Whitecross
Starring: Paul Arthurs, Christine Biller, Mark Coyle
Plot: An in-depth look at the life and music of Manchester-based rock band, Oasis.
While it had yet to be confirmed, the critical acclaim of Moonlight made it A24's big awards contender for 2016. With the year almost over, it would be difficult to follow it up with anything as significant, though the studio wasn't squeamish about trying. In this case, they return to the world of documentaries to once again tackle a figure who is a compelling myth. Director Mat Whitecross, with partnership from executive producer Asif Kapada (Amy), set out to take the band Oasis and understand what it was like for them to be the biggest band in the world during the 90's. Using their own words and some new interviews, Whitecross created a candid experience in which two eccentric forces battle for narrative control and produce another compelling documentary, even if it lacks the substantial appeal of Amy and De Palma.
To summarize, Oasis was a British band best known for their first two albums "Definitely Maybe"and "What's the Story Morning Glory," which lead to record sales and incredible demand for them at concerts that sold out in astounding numbers. Their songs "Wonderwall" and "Champagne Supernova" remain two of the decade's most iconic songs, and they're only outdone by the larger-than-life personality of two figures: brothers Noel and Liam Gallagher (singer and guitarist respectively), whose public feuds were notorious to the point of creating a single based on one conversation regarding a ferry. The band would continue to operate in some capacity for the next decade or so, but for Whitecross it was that brief era that interests him most. It is in large part because of how much they were part of his life during the time.
The documentary compiled old interviews and clips of the band during this time and was the starting point for Whitecross and Kapada. The biggest issue however was getting Noel and Liam Gallagher to be in the same room for interviews. Whitecross eventually was convinced that they were inauthentic this way and chose to interview them separately. He discovered that they were reverent towards each other as musicians, but were dysfunctional as brothers. As a whole, Whitecross wasn't particular about continuity in between the stories, but instead let everyone tell their sides of the story to convey just how crazy the journey was. He chose to center the entire thing around the Knebworth concert, of which had a record turnout and was the height of their popularity.
It is noted that the Gallagher brothers predominantly appear on screen in archival footage, with new interviews not featuring used video. When compiling the structure of the story, Whitecross had every Oasis song, including b-sides, written on a board. The goal was to have the used songs tell a story relevant to the bigger narrative. When suggesting an example, he noted that he wanted to discover their interest with The Beatles, of whom has been often compared to Oasis' style. Whitecross wanted to find the "I Am the Walrus" stories, which were absurd or confusing and had depth to them. As a result, not every song was used. Even then, it still managed to feature all of the major hits in videos of recording sessions and various live performances throughout the years. As a whole, it created a vision of a band who believed in their own ego and was backing it up with results.
When the first cut was finished, Whitecross showed Liam a rough cut. He believed that the result was "biblical," which was a nice form of endorsement. There was some backlash over its premiere in London when Liam suggested that it should've been in Oasis' hometown of Manchester. A24 would decide to release the film for a "one night only" screening on October 26, 2016 in the United States. The turnout convinced them to expand the release, which lead many to hope that this documentary "reunion" would lead to something more permanent. The band, having been broken up officially since 2009, would be blunt in their public response to this. While they found the footage to be heartwarming and reflective of their ability to make great music, the Gallaghers believed that a reunion was never going to happen. Whitecross continued to hold out hope, though as of July of 2018 it hasn't happened.
Much like the general support of Oasis fans at the screenings, the film would also be criticallyl acclaimed. On critics aggregate website Rotten Tomatoes, it would receive an 82%, making it the lowest rated A24 documentary to date. Jeff Albertson of Seattle Times would highlight what the film did best, noting that "Offers a nostalgic glimpse back at a band that made lasting music and enjoyed massive success despite its own drug abuse and malfunction." Even as the brothers were dysfunctional, the documentary was upbeat, as John McShane of Under the Radar suggested that "You can't help but root for these belligerent, confrontational delinquents to make good." While that was a feature of the documentary, others like Dennis Harvey of 48 Hills saw it as a negative "Ultimately, it's rather like Oasis themselves: Too bloody much of a just-pretty-good thing. Of course, diehard Britpop devotees may feel otherwise." While the film didn't have much presence at awards time, NME would name it the best film of 2016.
As a whole, Oasis: Supersonic was a loving ode to one of rock music's most successful bands. With plenty of catchy tunes and eccentric figures, Whitecross created a vision of how celebrity changes a person, and how it's not always the music that tears apart careers. It was a unique look into a band that had been taken for granted and given them more of a concrete story. What the documentary lacks in being avant garde, it makes up with some memorable and funny moments. Still, where does A24 go from here? The answer is just as unpredictable as everyone has come to expect from the studio. Up next was a dive from prestige films to something a little more rickety and scary. It was a film that in some ways mirrored the early half of 2016 with another scary movie meant to unnerve the audience.
Up Next: The Monster (2016)
While it had yet to be confirmed, the critical acclaim of Moonlight made it A24's big awards contender for 2016. With the year almost over, it would be difficult to follow it up with anything as significant, though the studio wasn't squeamish about trying. In this case, they return to the world of documentaries to once again tackle a figure who is a compelling myth. Director Mat Whitecross, with partnership from executive producer Asif Kapada (Amy), set out to take the band Oasis and understand what it was like for them to be the biggest band in the world during the 90's. Using their own words and some new interviews, Whitecross created a candid experience in which two eccentric forces battle for narrative control and produce another compelling documentary, even if it lacks the substantial appeal of Amy and De Palma.
To summarize, Oasis was a British band best known for their first two albums "Definitely Maybe"and "What's the Story Morning Glory," which lead to record sales and incredible demand for them at concerts that sold out in astounding numbers. Their songs "Wonderwall" and "Champagne Supernova" remain two of the decade's most iconic songs, and they're only outdone by the larger-than-life personality of two figures: brothers Noel and Liam Gallagher (singer and guitarist respectively), whose public feuds were notorious to the point of creating a single based on one conversation regarding a ferry. The band would continue to operate in some capacity for the next decade or so, but for Whitecross it was that brief era that interests him most. It is in large part because of how much they were part of his life during the time.
The documentary compiled old interviews and clips of the band during this time and was the starting point for Whitecross and Kapada. The biggest issue however was getting Noel and Liam Gallagher to be in the same room for interviews. Whitecross eventually was convinced that they were inauthentic this way and chose to interview them separately. He discovered that they were reverent towards each other as musicians, but were dysfunctional as brothers. As a whole, Whitecross wasn't particular about continuity in between the stories, but instead let everyone tell their sides of the story to convey just how crazy the journey was. He chose to center the entire thing around the Knebworth concert, of which had a record turnout and was the height of their popularity.
It is noted that the Gallagher brothers predominantly appear on screen in archival footage, with new interviews not featuring used video. When compiling the structure of the story, Whitecross had every Oasis song, including b-sides, written on a board. The goal was to have the used songs tell a story relevant to the bigger narrative. When suggesting an example, he noted that he wanted to discover their interest with The Beatles, of whom has been often compared to Oasis' style. Whitecross wanted to find the "I Am the Walrus" stories, which were absurd or confusing and had depth to them. As a result, not every song was used. Even then, it still managed to feature all of the major hits in videos of recording sessions and various live performances throughout the years. As a whole, it created a vision of a band who believed in their own ego and was backing it up with results.
When the first cut was finished, Whitecross showed Liam a rough cut. He believed that the result was "biblical," which was a nice form of endorsement. There was some backlash over its premiere in London when Liam suggested that it should've been in Oasis' hometown of Manchester. A24 would decide to release the film for a "one night only" screening on October 26, 2016 in the United States. The turnout convinced them to expand the release, which lead many to hope that this documentary "reunion" would lead to something more permanent. The band, having been broken up officially since 2009, would be blunt in their public response to this. While they found the footage to be heartwarming and reflective of their ability to make great music, the Gallaghers believed that a reunion was never going to happen. Whitecross continued to hold out hope, though as of July of 2018 it hasn't happened.
Much like the general support of Oasis fans at the screenings, the film would also be criticallyl acclaimed. On critics aggregate website Rotten Tomatoes, it would receive an 82%, making it the lowest rated A24 documentary to date. Jeff Albertson of Seattle Times would highlight what the film did best, noting that "Offers a nostalgic glimpse back at a band that made lasting music and enjoyed massive success despite its own drug abuse and malfunction." Even as the brothers were dysfunctional, the documentary was upbeat, as John McShane of Under the Radar suggested that "You can't help but root for these belligerent, confrontational delinquents to make good." While that was a feature of the documentary, others like Dennis Harvey of 48 Hills saw it as a negative "Ultimately, it's rather like Oasis themselves: Too bloody much of a just-pretty-good thing. Of course, diehard Britpop devotees may feel otherwise." While the film didn't have much presence at awards time, NME would name it the best film of 2016.
As a whole, Oasis: Supersonic was a loving ode to one of rock music's most successful bands. With plenty of catchy tunes and eccentric figures, Whitecross created a vision of how celebrity changes a person, and how it's not always the music that tears apart careers. It was a unique look into a band that had been taken for granted and given them more of a concrete story. What the documentary lacks in being avant garde, it makes up with some memorable and funny moments. Still, where does A24 go from here? The answer is just as unpredictable as everyone has come to expect from the studio. Up next was a dive from prestige films to something a little more rickety and scary. It was a film that in some ways mirrored the early half of 2016 with another scary movie meant to unnerve the audience.
Up Next: The Monster (2016)
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