User reviews

I saw the stage play 27x in Chicago and 1x on Broadway. I was fully prepared to hate The movie. But, I thoroughly enjoyed it. It's not easy to take a stage production and make a good movie. Some reviewers say it started out slow but so did the musical. Jeez, you have to get the beginning of their story! Eastwood kept the same premise by letting each member tell their story...you know there's each person's perception and then there's the real story. You can watch this movie and tap your feet and clap with the music. There was no one behind me so I got up and danced in my seat a couple times!! There was applause a few times in the theater just like at a stage production. There were a few things Clint changed that I wish he had left alone. There were a few things he expounded upon that I enjoyed. I will be going back over and over and over again. This is a good time to be had by all. I'd like to slap some professional critics who panned it. They are way off base.

There's a reason why the 1960s is widely known as the "Golden Era" of music, specifically, the birth of what is now called Rock n Roll. Comprising of four British teenagers from Liverpool, The Beatles produced their first album (Please Please Me) in 1963 and went on to be regarded as the greatest rock and roll band of all time. But just a year earlier, in 1962, four boys from New Jersey made heads turn and girls swoon with a unique 'sound' to their music. Jersey Boys is the phenomenal true story of a 'sound' that took four boys from New Jersey's mob controlled suburbs and made them into the icons they are today – legends whose music is still celebrated more than five decades on!

Produced and directed by another living legend – Clint Eastwood – Jersey Boys is a Tony Award winning Broadway and West End musical adaptation of the same name. Scripted by Woody Allen's Oscar winning collaborate Marshall Brickman (Anne Hall and Manhattan), the story benefits from a deeply dramatized account of the stage production, thus making it a biopic rather than just a musical. This is why the audience has to wait a good hour before Frankie Valli (John Lloyd Young) makes our feet tap to the film's first real track: Sherry. But before we get to hear Young's remarkable rendition of Valli's incredible falsetto pitch, Brickman's story takes us through New Jersey's underworld circa. Valli is a good Italian-American kid but his friend Tommy DeVito (Vincent Piazza) is just the opposite. They are both connected to local mobster Gyp DeCarlo (Christopher Walken). Taking Valli under his wing, Tommy puts together a small time band but only manages mediocre returns while also moonlighting as juvenile delinquents. This changes with the arrival of Bob Gaudio (Erich Bergen), a golden goose of a singer- song writer whose epiphany changes the band's name from The Four Lovers to The Four Seasons. Then, with the addition of bass guitarist and singer Nick Massi (Michael Lomenda), Sherry, their first song as a band, becomes a hit and the group is instantly catapulted into nationwide fame.

By the time we get to the band's all-time number one hit single, Can't Take My Eyes Off You, there's trouble brewing. Domestic heartbreak and tragedy, ego trips and quarrels, financial crises and mob intervention turns cracks into fissures. Reminding us that this is in fact a stage show adaptation, Eastwood creates individual perceptions by allowing each member of the band to narrate his story directly to the camera. While this might seem like a theatre-cinema blending technique (ala Moulin Rouge!), it adds wholesome dimensions as a biography made for the discerning cinema audience. Adding on to that dimension is the juxtaposition of organized crime with the evolution of Doo-wop into rock and pop. In fact, there is a brief reference to Frank Sinatra, who as legendary as himself, was known to have ties with Chicago's notorious mobster Al Capone. To this effect, the story also includes real life actor Joe Pesci (Joey Russo) as a talent scout who recommends Bob to the band. Synonymous with mobster roles in previous films, Walken himself might seem like a cliché, but instead is entrusted with the film's humour and he delivers. Characterization from the rest leaves more to be desired. Young as front man Valli and Piazza as Tommy are more theatrical than expected in a film. It's a different matter when we get to see them perform as musicians – simply astonishing!

That there is no reference to era specific bands like The Beach Boys or the Bee Gees can be another letdown. Instead, Brickman's script remains parallel to the stage production with emphasis on an underdog rags-to-riches plot arc. Even so, as Eastwood's first musical adaptation, Jersey Boys has more hits than misses (excuse the pun). Like the Academy Award winning Walk The Line, a lot of focus has gone into the back story by dramatizing the true cost of fame and fortune. Above all, it is a brilliant narration on how pain and loss can conceive everlasting music. And judging from the need to make this film, it's no surprise that the music of Frankie Valli and The Four Seasons will always remain evergreen.

3 out of 4 stars.

I was really excited for this movie. I saw the play in Chicago about 5 years ago and loved it. Clint Eastwood is one of my favorite directors and I thought "Jersey Boys" would be one of my favorite films of this year, but I was disappointed by Eastwood's adaptation of the hit Broadway play. Maybe I set my expectations too high. It's hard not to compare it to the play.

The acting is top notch (particularly John Lloyd Young, who won a Tony for the play), the sets are authentic, and the music is great. However, I felt Eastwood decided to add more talking moments and put the music to the side. The music becomes more background noise and not the driving force of the film. The film becomes more of a standard music biopic than the musical on Broadway. I understand why they made some of the choices and some of them work very well, but I would have liked to have seen more musical moments.

A lot of time is placed on the exposition and I thought it kind of slowed the film down. The actors break the fourth wall throughout the film, but I don't think Eastwood's style worked as well with it. Films that break the fourth wall and talk directly to the camera (like Woody Allen's "Annie Hall" or Martin Scorsese's "Goodfellas) have a particular energy that drives the film. Eastwood, though, has a slower and more patient style and I'm not sure if breaking the fourth wall always went well with the film. The actors are good enough to make it work though.

The movie is at its best when the music comes to the forefront. Eastwood does a good job of showing the fun the band has creating music and the audiences' reaction to the music. It shows the power of their music. One of my favorite moments is when the band plays "Cry for Me" for the first time. It's music being created so naturally and shows why Frankie Valli & The Four Seasons are great. Other great song moments include "My Eyes Adored You" and the tear jerking rendition of "Can't Take My Eyes Off Of You."

Eastwood's "Jersey Boys" has its faults, but the sheer power of the music and the acting makes it a treat worth seeing.

My wife and I were extremely and pleasantly surprised. I've never been into musicals...ever...my favorite up to this point was "The Sound of Music," which inspired me to get into the film industry in the first place, yet, we found ourselves seat dancing and bopping in our seats. We really enjoyed the interpersonal approach of having the characters each expressing their takes and their understanding of each situation, which brought a lot of comedic character moments to the storyline and subplots.

But the the thing that impressed us the most, was the decision to make the film NOT feel like a musical. No-one busted out in song at the wrong time...and the singing moments felt completely unforced. It was like watching a living biographical film. Great Directing job by Clint Eastwood.

Lastly, we didn't realize how many great hits Frankie Valli & the Four Seasons had. We thoroughly loved this movie....and can't wait to buy the soundtrack.

The theater was pack...and it was the biggest theater in the Tampa Bay area.

JERSEY BOYS is another winner from director Clint Eastwood and an adaptation of the popular stage musical about the life and times of Frankie Valli and the Four Seasons. It's a lengthy and often slow-moving biopic that takes a long time to get to the fame and fortune of the group in their heyday, yet there's something engrossing about it all the same. It helps immeasurably that Eastwood is an assured direction who brings a sheen of class and professionalism to all of his films, making this a delight to watch.

Most of the cast members are taken straight from the musical, so their singing is quite wonderful. Their renditions of all the popular hits are quite amazing, particularly the power house climax which is incredibly moving and perfectly performed. The ending credits, in which the whole cast provide an encore in the classic musical tradition, could easily have been completely cheesy in the hands of a less experienced director but Eastwood makes it work, and then some.

Acting stand-outs are John Lloyd Young as family man Frankie, whose turbulent private life is in contrast to his serene presence on the stage, and Vincent Piazza, delivering a variant on his edgy presence in BOARDWALK EMPIRE. I was delighted to see Christopher Walken cast in support as well. As musicals go, I'm not a massive fan of the genre, but JERSEY BOYS is good enough even for non-fans. Check it out.

Greetings again from the darkness. Two upfront disclosures are in order. I have never seen the mega-smash Broadway show, and I've always been a huge fan of The Four Seasons' music. These are pertinent because they impact one's reaction to the film version.

Director Clint Eastwood knew immediately he wanted to bring the Broadway show to the movies. In fact, his decision to cast 3 of the 4 main stage actors proved crucial in this successful transition. The rags-to-riches story of four guys from New Jersey is not only true, but it's believable because they scrap and battle just like we would expect. The mob ties are on full display, as is the struggle to maintain any semblance of normal family life while on the rocket ship to stardom.

John Lloyd Young is spectacular as the great Frankie Valli. While I fully anticipated cringing during the songs, his voice never once faltered. He is clearly the main reason the Broadway show (he won a Tony award) and the movie work. Erich Bergen plays songwriter Bob Gaudio and Michael Lomenda plays bassist Nick Massi ... both are solid. The only crack was in the casting of Vincent Piazza as Tommy DeVito. Piazza is well known from "Boardwalk Empire", but he is just a bit too slick as the guy who scammed the other band members, digging a massive hole of debt - mostly to a mob loan shark named Norm Waxman (played by Donnie Kehr in an excellent performance).

Other support work is provided by Mike Doyle as record producer and all-around flamboyant guy, Bob Crewe; Renee Marino starts strong as Mary (Frankie's future wife) but is given little to do as the story progresses; Joseph Russo captures the quirks of a young Joe Pesci, who introduces Gaudio to the band; and the always entertaining Christopher Walken slightly underplays local made guy Gyp DeCarlo who is instrumental in protecting Frankie in those early years. It should also be noted that the band's accountant is played by Barry Livingston, who you might remember as Ernie from "My Three Son's".

Eastwood is now 84 years old and he wisely takes a pretty conventional route with the film version. In fact, the argument could be made that taming the language could have resulted in a PG-13 rating, making it more accessible to families. It doesn't have the edge that most R movies possess. This movie has not been popular with critics and it's probably because of this relatively safe approach to an entertaining and fun story. It's not cutting edge cinema, but if you enjoy the music, you will enjoy the movie.

Great movie...great music...great actors...what more could you ask for. I knew Eastwood began his life as a musician, but I didn't think he would do such a great job with a pseudo-musical. Great job Mr. Eastwood!

I've never seen the musical, but I gotta tell you, if you love 60's, 70's & 80's Frankie Valli songs, your eyes too will adore this movie... and your ears... and your heart... and the entire rest of your body.

It was heartbreaking at times...and I got chills several times while finding out how they came-up with some of their songs...like the death of his daughter. But, it was also very insightful into the lives of kids with dreams and how committed one has to be to make it in the music industry.

If I could give this movie a higher score I would. Our theater was packed-full and everyone clapped afterwards like we were watching a living bio-pic. I even saw a few people with tears in their eyes from being so deeply affected by the beautiful music and memories in this movie....so many great memories...that the songs take you back to.

So here's the thing: Saw Jersey Boys tonight. Now I've never been interested in the stage version (I think musicals should have original music) and I didn't really trust in Clint Eastwood directing a musical; in short - I was ready to hate it (I've been called snob and pretentious more than a few times). But let me tell you, I was dead wrong.

It was AWESOME!!! The actors are stellar, the music is fantastic and the film completely engrossing. I had a big goofy smile plastered across my face from beginning to end. The audience clapped twice during the movie (it was that good). It would not be hyperbolic of me to say that this WILL get Oscar nominations.

I will be seeing this movie again and again when it comes out June 20th. Do yourself a favour and do the same.

"I remember thinking there was something off with this guy. This was 1959, people thought Liberace was just theatrical."

With films like Mystic River, Million Dollar Baby, Unforgiven, and Gran Torino you'd never guess Clint Eastwood would direct a musical biography like this one. It is unlike any other film directed by him in the past couple of decades. Jersey Boys tells the true story of the musical quartet formed by a group of kids growing up in the streets of New Jersey who influenced rock and roll during the 60's. Eastwood explores their trials and triumphs during these decades and balances the rather dull story with their great music. The film was adapted from the successful Broadway musical, but unfortunately it fails to capture some of that energy. My biggest issue with this film was the pacing which became tedious at times. It tried to cover so many years that it felt like some characters that were introduced early in the film were never really explored at all. At times the movie also feels like it's playing it safe by following most conventions of the musical biopic genre. It tries to be different by breaking the fourth wall, but it never works. However, I did enjoy this film because of the music. It was great. The film succeeds when we get to see how they come up with the songs and then hear them perform them, but it fails when it tries to explore their relationships outside of the group. Eastwood's film could've been so much better if the unnecessary subplots were cut out because the pacing becomes tedious at times.

I wasn't familiar with the four lead actors in Jersey Boys, but they all gave strong performances. Their voices were phenomenal and the music was a pleasure to hear. John Lloyd Young played the same role he did in the Broadway musical as Frankie Valli, and he captures that unique voice in the film. Vincent Piazza as Tommy DeVito also delivers, but it's Christopher Walken once gain who steals each scene he's in. Walken plays the mobster, Gyp DeCarlo, who first discovers Frankie's angelical voice. It's a role Walken could perform in his sleep, but there is no one who can pull it off better than he can. The film could've used a bit more of his character and humor, especially when the story began to drag. Clint Eastwood is a director that I've learned to admire over the years, but this is one of his weakest films which lacked some of that spark from his other films. Jersey Boys simply plays it too safe and never delivers the punch.

Going into the movie I knew and liked the Four Season's music, but was unsure if I would like the movie (it would not have been my first or second pick to go see). However, I was able to see an early viewing of the film and took advantage of it. I must say I LOVED it. It had all of the songs I loved. The film has the right amount of humor when needed. I have not seen the Broadway show version. If you like their music it is worth going just for that as it is a mix of recordings from the Four Seasons and also recordings from the cast. While it is rated R for language, I did not find it excessive. Erich Bergen's performance stood out for me.

I have never seen a Clint Eastwood film that he has been either a producer or director. I was wary about seeing the film, but must admit that I thoroughly enjoyed it. I would Recommend this film

Clint Eastwood and show-tunes. Who would have thought? Jersey Boys came and went in 2014. It's one of the lost films of the 2010's. Was it because it was so bad? It's not that bad. It's like a cross between Dreamgirls and A Bronx Tale. The music is fantastic, as you'd expect. The storyline, while corny and a bit disheveled in tone, is easy to follow and hits right home when it needs to. Hearing Frankie Valli's "My Eye's Adored You" at his daughter's funeral left me with a lump in my throat. That's a powerful moment that needed it's one-two punch for viewers, and thankfully, we get that. My biggest issue is it's acting. At times, the boys are way over the top. The climax in particular is a treasure trove of embarrassingly bad acting. It's not a masterpiece, but it's a nice little movie.

Jersey Boys is the latest film to come off the Clint Eastwood production line. Based on the Broadway musical the film is the story of four young men who would eventually go onto become The Four Seasons, one of the central doo-wop groups of the sixties. The film charts their rise from petty thievery in New Jersey to chart domination and so-on to the various fall outs that usually raise their head in such music biopics.

I say music biopic, but Jersey Boys gets lost in a chasm between being a music biopic and a musical. It has strong elements of both yet doesn't know which it wants to be. And this is one of Jersey Boys' many, many flaws.

The film contains the same four actors as the Broadway musical. Also, the screenplay was written by the same writers as the Broadway musical. You get the feeling they didn't know which they were going for, musical or biopic. I definitely didn't.

The first half hour or so introduces us to the two key characters, Frankie Valli (John Loyd Young) and Tommy DiVito, (Vincent Piazza) both young musicians trying to make it out of the 'neighborhood' and a supposed life of petty crime.

There are a few sequences around this time bizarrely involving a character that is supposed to be the young Joe Pesci, which is fair enough because apparently the Four Seasons did in fact know Pesci. What is not fair enough is the 'how am I funny?' reference shamelessly thrown in. As well as the fact that he's played as Pesci's persona in Goodfellas/Casino, not as a young Pesci himself. The whole thing is just peculiar.

Eastwood uses a piece to camera story telling technique whereby each of the four protagonists takes turns speaking directly to the audience and talking them through the plot in the style of Ferris Buelar's Day Off and Alfie and surely deriving from the play too. In all fairness we probably need the explanations to catch exactly what is supposed to be going on. But they're handled so poorly it just takes us totally out of any sense of illusion we might have had. Specifically look out for such an example where bassist Nick Massi (Michael Lomenda) attempts one of these monologues whilst he is supposed to be in the middle of a stage performance. Awful stuff.

Of the characters that the story revolves around the only one that appears to matter, for the first third of the film anyway, is Tommy DiVito. It appears to be his story; and he is unbearable. Tommy is a boring stereotype of the typical Italian–American mob underling and his character is insufferable. In each scene we hear him before we see him, barking a threat or applying tacky charm. It's only ever one of the two. His testosterone and ego are so over the top that I found him hilarious. He is a ridiculous and unbelievable character. Frankie Valli, to my eye, is given nothing; his character is not explored in any way until about two-thirds into the film, when there is an attempt made to give him some sort of back story regarding a relationship with his daughter. It seems a sub plot squeezed in because it needed to be and because the film makers realized how little his character is explored. It's haphazardly handled and neatly tied up before you know what's happening. However even if this aspect of the film had been handled well and unraveled in a way so that the audience could appreciate would was happening it's still at too late a stage to care about the guy or even want to get to know him.

The script seems disjointed and the dialogue weak. There's far too much time spent on the four protagonists attempts to 'make it' and again this all revolves around the Tommy DiVito character. The dialogue is filled with clichés to such a point that a lot of lines spoken by the characters sound as if they were the first thing that came into the writers head.

The cinematography for me seemed dull and appeared to give the film a somewhat flat and cold feeling. It's strange, when you notice cinematography it's usually because it's good, rich and vibrant or even stark, and cool. But on this occasion I noticed the cinematography because it seemed so washed out and plain. The photography on the film seemed to be trying to imitate the lighting on a Broadway show. Leave one to one and the other to the other would be my thinking.

It's meant to be a fairly light-hearted piece by what I can judge. That could be its only defense. That it's not meant to be taken too seriously. But even still, the weak characterizations and the clichéd dialogue is fairly unforgivable.

I'm not sold on this movie. I just found it to be a little lacklustre and a musical it is not. The Four Seasons had some really classic songs and their rise to fame has some interesting points but it seems like every other artist around the same time. Childhood friends create singing group, they struggle to make it, they finally make it, the group suffers from ego problems...and well you know the rest.

I never really knew the story behind the Four Seasons but I definitely love their music. But I'm not sure I cared to see it played out in the theatres. Besides no actor can do their music justice. The musical performances were OK but they were missing that spark. It's nice to watch but certainly not a masterpiece. Clint should stick to grittier genres from now on.

"Four guys under a street lamp, when it was all still ahead of us, the first time we made that sound — our sound." Frankie Valli (John Lloyd Young)

It's next to impossible to compare director Clint Eastwood's entertaining Jersey Boys with the popular juke-box stage hit without feeling that the live production is superior. It could be using some of the stage cast, including the excellent John Lloyd Young as Frankie, highlights the electricity of physical presence over the celluloid mimicry. Or maybe because it seemed like a fuller musical on stage, with complete songs and less family squabbling. Or maybe because Christopher Walken's mobster, Gyp DeCarlo, is underplayed.

But more to the point, this film is a story of rags to riches with the speed bumps large and disorientations many despite the transcendence of the music (Sherry Baby and Walk Like a Man are only two of the memorable hits by this unusually gifted group). Eastwood spends considerable opening capital on the home life of the Jersey boys with the overdone Sopranos accent and run-ins with local cops to the exclusion of the actual development of their famous songs.

With the emergence of the Four Seasons, the musical becomes vibrant. Eastwood deftly weaves the songs into the narrative without bringing attention to just the songs. Somehow after the death of Valli's beloved but troubled daughter, My Eyes Adored You fits the distancing that fame brought to the relationship and the sadness of the loss. As Frankie moves into performances without his original group in order to pay off mob debt for his partner, Tommy DeVito (Vincent Piazza), the songs still evidence the greatness of the falsetto and the humanity of the singer.

Eastwood builds the sentiment into the narrative arc, beginning roughly in the hood and ending sweetly at the Hall of Fame, where the reunion reminds us of their unique charm even though they are old but not out of tune. Jersey Boys may not be the fullest musical imaginable with its middlin' family life sequences, but when it breaks into song with tunes accurately fitting the times, the film becomes a testimony to Clint Eastwood's ability in any genre and the glorious sound of real humans trying to balance audience, mob, and songs.

Maybe it's in the New Jersey water—someone ought to bottle it; otherwise never again will we enjoy the high-pitched romance of local boys making great music. A musical about that rarity has its challenge built into a narrative that must compete with the almost supernatural expression of music:

"After silence, that which comes nearest to expressing the inexpressible is music." Aldous Huxley

Clint Eastwood's movie version of the hit Broadway musical, "The Jersey Boys," a biographical spin on the '60's pop group Frankie Valli and the Four Seasons, is pure, old-fashioned entertainment in the best sense. One of the most endearing elements of the film (and the most revealing in terms of the tone the director wished to achieve) is its curtain call, after the story has concluded and before the credits pick up steam, a Broadway-ish foot-stomping sashay across the stage by all the characters as though taking a richly earned bow. The last time a film made such an audacious end-credit presentation was in Michael Todd's storied "Around the World in 80 Days" back in 1956, and that's a fur piece, as they say. It's clear from the git-go that Eastwood means to have fun with the story and not wallow in its more melancholy moments, although he hardly ignores them. I loved the stage play and thought it brilliantly captured the dramatic tension while expressing what went wrong with the group via its off-stage antics. Truth to tell, if Eastwood had spent more time on those moments, as some critics complain he should have, the music would have become secondary, and that really would have been a fatal mistake. For the 1950s and '60's in which Valli and his group flourished were a transition from the simpler, more bubble-gummish times to that of gritty realism, and Eastwood gets us there, thank you. As written by Marshall Brickman and Rick Elice, the film has, on the surface, a "Rashomon"-like approach in having each of the Seasons members sequentially telling different portions of the story from their perspective, each breaking the fourth wall at those points to address the audience. In "Rashomon," the 1950 Akira Kurosawa film, four characters tell the story of a rape and murder from four different perspectives, each different; the crime never gets solved, and neither does the mystery. But in "Jersey Boys," the technique clarifies rather than confuses, with the perceptions merely building on the other and enhancing an overall point of view. John Lloyd Young (an exact physical replica of the old movie tough guy Richard Conte if ever there were one) is just dandy in reprising his Tony-winning turn as Frankie (nee Castelluccio), capturing every nuance of Valli's high-pitched virtuosity in songs like "Big Girls Don't Cry," "Sherry," "Walk Like a Man" and "Can't Take My Eyes Off You." To those of a certain age, the sound is so accurate it will make you want to reach for your dashboard radio to turn the volume up. The Mob's role in the group's rise and fall is nicely depicted if a bit homogenized (thanks to the wonderfully egocentric mini-Godfather put-on by Christopher Walken as local gangster Gyp DeCarlo). Again, Eastwood makes the brave decision to play it this way, and he's right to do so; do we really need to be reminded of how horrible organized crime is? Erich Bergen is perfect as Bob Gaudio, who comes to the group as songwriter and singer in the nick of time thanks to the help of a mutual friend _ none other than the future movie star Joe Pesci (played to the hilt with disarming accuracy by Joseph Russo). Vincent Piazza's Cagney-ish Tommy DeVito, the flawed heart and soul of the group in its early days, is fun to watch and absolutely believable in every way, and Michael Lomenda has excellent moments as Nick Massi, a straight-shooter who finally gets fed up and has the nerve to tell off even Gyp as he speeds away (in a red Cadillac convertible). Mike Doyle's performance as the group's record producer, Bob Crewe, is over-the-top but effective, while Renee Marino as Frankie's sexy-stormy wife, Mary, is powerful and may elicit some supporting-actress nominations. This isn't a great movie, but it's a very, very good and enjoyable one. Eastwood obviously enjoys himself (right down to a tongue-in-cheek Alfred Hitchcock-like cameo via a clip from the old Western series, "Rawhide," which helped make Eastwood a star). So do we.

It was not my call to see this movie but so glad I went along for the ride! It has at least a little something for everyone and a LOT for Frankie Valli fans. Granted, the narration is a little distracting at first, but you quickly get so into the story and the characters; the good times and the bad, that you adapt to it quickly. I thought I was tired of their music but I couldn't get enough of it. After several of the songs, the entire audience clapped as though we were at the performance portrayed in the movie. Eastwood knows what moves us, what makes us laugh and how to get us on our feet. He delivers it all big time. Seriously, what more do you want from a movie?

Hardly an extra word spoken in this movie. Actors did portray the feeling of the 1960s. I know, I lived through them. You will see America in haircuts and fashions before America went long hair.

This movie with leave you with a good feeling when you leave. I love how they dressed, Classy.

This film will be especially poignant for Baby Boomers. They will be able to remember their 'teen days, before the long hair fashions appeared. Also, Baby Boomers will no doubt be amused as to how polite people are to one another oftentimes in this movie, which is another aspect of the 1950s. The 1950s were dominated by parents who taught their children to have respect.

It is no surprise to me that women who are over 45 scored this movie the highest on IMDb of all other groups. This movie is a trip down lover's lane, holding hands, pony tails, poodle skirts, and Frankie Valle tunes about adoration, caring, walking like a man, and twist parties. This was the 50's as I knew it, too.

And one of the codes of the 1950s is that boys should "walk like a man". And men should adore their women. They should give their date attention and respect. Another "code" is that debts should be repaid. And friends should be loyal even during rough times; keep a clean appearance. Be respectful to authority. To a reviewer, this may make the movie ordinary, bland, uneventful. But to a Baby Boomer, these culture traits of the 1950s will be fondly remembered especially compared to the 60s, 70s, 80s, 90s.

Now, what makes this film more interesting is the understanding that the Four Seasons had connections to the mob. This fact makes their story a surprise. Note that there is minimal violence in this movie. Sexuality is muted, just as it was in movies of the 1950s. So, this movie will not titillate for this reason; rather it is a musical bringing back memories and scribing a history of the success of the musical singing group, "The Four Seasons."

This is not a movie for the modern man of 2014 who needs porn, burning cars, outrageous behavior, computer graphics, monsters, super heroes, toilet humor, and scenes with drug use to enjoy the movie. This movie has none of that.

There are some mild stereotypes used which simply add humor to this show. The language accents of the "Jersey Boys" may be of the 1950s, but not now. (Maybe New Jersey has had its accent diluted by Mid Westerners moving in over the years.)

These young men had beginnings as occasional thieves and burglars but at some point decided to capitalize on their talents so they went "straight". This story is not a "Goodfellas" story. They were never members of the mob. And they never did anything more serious than steal in their early years.

This is an adaptation of a Broadway musical by the same name. The same actors are used for this film that appeared on Broadway. And they sing in person without lip syncing on the film set. The tunes are sentimental, rock n' roll, happy tunes. A time or two the lighting is actually "stage set lighting". This type of lighting is not meant to create realism, rather it is used to simplify the scene and place the actors "on a stage" front and center. And this set=up can then be used for an actor to sing! Well, yes, they sing! So, IF YOU LIKE THESE TUNES THAT ARE SUNG, YOU WILL LIKE THIS MOVIE ALL THE MORE.

The direction of the movie is nearly flawless. I have directed stage, and I am a pro photographer. Everything he has stage blocked in this movie flows well. The timing was "on" for actor's movement every word of the way. Eastwood is a good director.

This movie has a "good message" about perseverance, being loyal to friends, honor, working hard towards success, becoming a more upstanding individual, and of course, enjoyment of romantic music. Now, how it does all this in a New Jersey "1950's culture format" is for yours to see.

The audiences I have been with are mostly gray haired Baby Boomers. I have enjoyed it equally the two times I have seen it, even after reading all of the critical reviews made by IMDb members. I wondered where these critical reviews and negative comments could come from. So, I have sorted out the comments and it seems that there are groups of people who: (1) Want a more unusual, freaky movie; (2) They cannot enjoy the movie because to them the Broadway musical is superior, (3) They are not familiar with the 1950's and have no fond memories of it to re-live, (4) They just wholesale write that everything is bad about the movie despite the fact that other people love it.

Do not have any high expectations before you go in. This is light entertainment which is funny in a clean manner. There is some disrespect thrown around. The dark side of the movie balances out the lighter parts. Eastwood did not want to make a "fluff piece". There are some serious moments of drama in the film. Do not be offended if the "f word" is used 3-4 times. This is the sole reason that it earned an "R" rating.

This is a date movie. The tunes are all "up"; good feeling music awaits you.

Now don't think about it. Just do it! Go see it!

In a theater packed with more people than I've seen attending a matinée in a long, long time, it would seem that each and every person in there enjoyed a toe-tapping, finger-snapping, head-bobbing, 'I-want-to-sing- along' experience during this dance down memory lane. And it wasn't only those who were there when all of this came down, but those too young to have been a part of that scene were having a great time. The casting and directing could not be more excellent than they are for this movie. And it isn't only the music, which is marvelous, but the look into the relationships of the people involved in this moment in time that is fascinating. A peek into their history, their character, the way their lives played out - this is a well put together film When a picture ends with people applauding, you know you've just seen a winner. When you walk out and hear folks saying, "I'm sure going to have to buy this when it comes out.", you really can appreciate the fact that you weren't the only one in there having a fun time. There are only a few directors whose films you know you can always count on for quality – Eastwood has most certainly proved he's one.

Okay, having not seen the original Broadway musical version of this, I had really wanted to watch this movie version of this group of men who rise to stardom despite a couple of them spending some time in bars previously. I didn't know how much of this story of The Four Seasons with lead singer Frankie Valli was true but it was quite intriguing seeing it depicted the way it was even with the abrupt time jump near the end. Maybe some scenes or lines could have been cut, but still, I was glad to see what was on screen and I was especially enamored of the songs the group made famous being done live on film even though none of the performances could touch the classic recordings of TFS. I felt Clint Eastwood did well enough with the direction and I especially liked the final number done for the end credits. My movie theatre-working friend was okay with it as well. So on that note, Jersey Boys gets a recommendation from me.

I was born in 1964 so I wanted to see the costumes, hair, make up and set the most. My daughter is a musical theater kid, so the fact that it was based on the musical production I have yet to see was an added bonus. I did not expect too much, maybe a little drama from the clips I had seen. Probably sex, drugs, violence and swearing.

Boy was I in for a surprise. I absolutely LOVED every minute of "Jersey Boys" I laughed and cried and was in awe with the sets, makeup, costumes, hair and the characters chosen. The music brought me back to my youth and so many memories from early life and my surroundings then. The sound was exceptional.

And guess what NO explicit SEX, no drugs except alcohol. There was very little violence and only a few F bombs. How refreshing! Imagine that! So much talent I did not even realize all that is missing until I thought about it later. I only realized the movie runs a little long after it was over.

The audience LOVED it. Not once (finally) did I feel a strong urge to shout "SHUT UP" to my co-movie goers because they were all too busy watching the movie and enjoying it. Young and older generations alike!

Never before have I watched a movie that skipped over time so flawlessly that your imagination was all that was needed to fill the gaps. Brilliant.

I am not a movie buff, I only go a hand full of times a year maybe. There was not one thing I did not like about this movie. Not one. I could see owning this and seeing it many times over!

See Jersey Boys!

A film based on the rock and roll musical band of the 60s- Jersey Boys has a great pace to it, with the iconic music of Frankie Valli and the era woven in appropriately and well. Where Eastwood falls short however, is in his creation of female characters. Characters that are initially extremely strong and seem to be a large part of Frankie's early life seem to disappear, reappearing only as plot devices. Other female characters that are supposedly to have a large impact on Valli's life (as told through the narration) debut and disappear as well, living out their time on the screen only as background characters that suddenly make impacts on the plot that are larger than the emotional investment that they solicit from the viewer. If you like musicals this is for you. If you have seen the play and know what to expect you will get more. Credit goes to Clint Eastwood for taking the play and adding cinematic elements to take the story to a higher level. The muted cinematography and editing are noteworthy.

Review: You can tell that this movie is based on the musical, because it doesn't really go into much depth about the individual band members and I found the storyline pretty sketchy. Clint Eastwood would start an important part of the film, like when Frankie Valli met his wife and then in the next scene they are married without much explanation. That type of thing happens throughout the movie but it is stated that it is based on the musical so I can't really fault the director. I guess that he was trying to stay true to the musical, which is why he added the dance scene at the end with the whole cast but from a viewing point of view, I was left feeling pretty empty because I'm was sure that there is a deeper story to tell about there life's. Apart from that, it does show how they come up with some of there popular hits and it touches on how the group got together but it lacked emotion and intense drama. Watchable!

Round-Up: As I haven't seen any of the main cast in any other movies, I can't really compare the performances with anything else that they have done, but they did do quite a good job in this movie. Christopher Walken was the only recognisable face throughout the movie and he put in his usual great performance as a mafia boss. He even took to the dance floor at the end, which was quite impressive for a 71 year old. I must admit, this movie really didn't feel like it was made by Clint Eastwood because of it's lack of in depth drama which I have got used to seeing from this veteran actor/director. On the whole, it's a watchable movie because you do see some of the trouble that Tommy DeVito caused the individual band members but it did drag after a while.  

Budget: $40million Worldwide Gross: $67million

I recommend this movie to people who are into their biopic's about the difficult route to fame for Frankie Valli and the Four Seasons. 4/10