I like the storyline of this show,it attract me so much

Your blood may run cold, but you now find yourself pinioned to the story.

One of the worst ways to make a cult movie is to set out to make a cult movie.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

This is a soundtrack, not a film. It doesn't ask any questions, lay out any arguments, or challenge any taboos. It's got a stonking lead performance and it looks period correct when not depending on stock imagery. It's got loads of minor pop music - a good mixtape, the sort of themed selection you'd find cover mounted on Uncut or Mojo magazine. It could have been a blast. Or, with some genuine insight to the personal relationships only vaguely sketched in the script, it could have been a more substantial drama.But it's a cheap shot to prop up Terri Hooley's self hype with endless stock footage of the troubles - especially the Miami showband material. As if the scene where Terri and his little band of gullible, fame seeking youths being stopped by the Brits and discovered to be the true cross-community ideal was somehow related (what an awkward scene that was).Truth is, punk didn't do much in or for Northern Ireland and after its brief bubble burst, Hooley never found another "wave" to incompetently exploit - except perhaps the trendy "hagiography of failures in popular culture" that passes for biography in too many recent films. (Next: The Gary Glitter Story...?).Where it really struggles to even entertain is in constantly trying to raise the minimal narrative above a basic "let's put on a show in the barn" story, by co-opting historical sectarian division and political oppositions as contextual justification for a bunch of people who were essentially running away, rather than confronting it.The fawning climax, a clumsy collage of wet eyed forgiveness and self-justification during a concert in the Ulster Hall ("It holds 2000 people!") is downright creepy.And if PUNK meant anything, anywhere, then surely Hooley's apocryphal shout "New York has the hair, London has the trousers, but Belfast has the reason." is its betrayal.

The film looks back nostalgically at the seventies. Those like the movies lead, Terry, who hoped that Punk Rock would prove more than a passing fad were to be disappointed. By the late seventies disco was the dominant element in popular music in Belfast, especially among the young, bringing thousands of kids together. Punk was a minority interest. However the film can still be seen as a celebration of punk, a time which saw the birth of a new, small but exuberant youth culture as young people asserted their tastes in music and fashion which were quite different to those of their elders/peers. In that sense at least, the punks of the late seventies had "never had it so good". But in the end the punks ran out of steam and melted back into the greyness of Belfast leaving no legacy what-so-ever. What is particularly disappointing is that the film makes a virtue out of failure.

GOOD VIBRATIONS-IN THE LAND OF THE BLIND…I suppose the first two questions that occur when thinking about a biopic review are "Does the subject deserve a biopic?" and "Can it be told in such a fashion that it has a universal appeal?". In the case of Good Vibrations, the second feature from directorial team Glenn Leyburn and Lisa Barros D'Sa, the answer is a resounding "Yes!!". Telling the story of record shop/label owner Terri Hooley, Good Vibrations starts with the young Hooley losing an eye at the business end of an arrow. His world changes instantly. The first song he hears on the way to the hospital is Hank Williams' "I Saw The Light". The film continues to follow an equally dark and humorous tone. At the height of the troubles in Belfast, Hooley decides to open a record shop in what was The Most Bombed Street In Belfast. There was some stiff competition for that title at the time. It is at this point that the film, and indeed its subject, really takes flight. Hooley had seen his myriad of friends separate and divide into two sides. He felt part of neither. On seeing the punk band Rudi performing at the Pound bar in Belfast, he realised that the emerging Punk scene was as oblivious to religious divide as he was. This was his calling. As the film documents his grand business plan, love and marriage, fatherhood and Teenage Kicks in an ever increasing round of brandies and Guinness, Hooley appears to be on the cusp on greatness. But ultimately, snatching defeat from the jaws of victory is a trait of the one- eyed anarchist.Good Vibrations succeeds on a number of levels. The script, by writers Glenn Patterson and Colin Carberry, is pacey, natural and expresses the humour of Belfast and its inhabitants where others have tried and failed. David Holmes soundtrack is dizzying as it careers from Girl-groups, through Reggae and of course, to Punk, and is as biographical as the film itself. The music is the man and vice versa. But top credit must surely go to Richard Dormer as Hooley. Already familiar with playing complex and arguably insane characters (he portrayed Alex Higgins in his self-penned one- man-show, the brilliant Hurricane), he inhabits the role with convincing ease, from Hooleys unusual gait to the mild campness of many Northern Irish men, a product of too many hours at the mothers apron strings while their fathers worked to provide.The look of the film is worth mentioning. The colour palette is spot-on. Not in a 'cinema 1970s' fashion but the earthy browns and greens add a realistic quality to the film. And yes, the Undertones really did dress like their mothers still bought their clothes for them. There are so many scenes that will remain with me forever. Hooleys epiphanic Rudi gig, the beautifully played scene when he slips on the headphones to hear *that* song for the first time and the very subtle hint at his "I punched John Lennon" story. But its not all larks and laughs. The central story of his marriage to Ruth, played with a deft touch by Attack The Block's Jodie Whittaker, is such a tragedy of circumstance that it could get a tear out of a stone. And it did with me

The Good Vibrations movie is presented as a biopic about the life of an Irish music scene veteran Terri Hooley. The movie tells the story of the record store-owner, who opened up shop at the height of the Belfast civil rights conflict in the 1970's and the latter stages of the punk scene. Actor Richard Dormer plays the role of Hooley in the Glenn Patterson and Colin Carberry-written movie. The movie might be worth seeing as an anthropological curiosity, but, as a fully-formed feature film, it's lacking in all key categories. Plot is ignored in favour of chunks of key moments in Hooleys life which is presented as legendary. Yet for the most part the portrayal is unremarkable - and legendary only in terms of the myths he propagated around himself, so the whole biopic promotion seems pointless. His life long association with the music industry was only as a fan and amateur protagonist. Yet the film hangs his legendary status not only on the myths but also on the fact that he stumbled upon a band (the Undertones) and passed them on to a U.S. record major whereby they achieved moderate success. Attributing the success to Hooley rather undermines the ability of the band themselves. I am not accusing the Directors Lisa Barros D'Sa and Glenn Leyburn of being socially irresponsible, because, as filmmakers, their responsibility is to present their vision, not to teach a history lesson. However, by adopting this approach, they rob the movie of potential dramatic tension. Good Vibrations becomes a sporadically interesting glimpse into the rather tame and parochial world of music nerds. Those wishing for a full-on, comprehensive look at the Punk era will be disappointed. The Directors do have some good ideas that result in a few inspired scenes, but the story - at least what there is of a story - is flaccid, and the characters are porously presented and developed. The directors may sympathize with them, but they never get the audience to that point. There is also some lazy film making, the flying scene sequences stir memories of similarly bizarre moments in The Big Labowsky. It's possible that Good Vibrations' target audience (old punks and hippies now in their 50's to 70's) will adore this movie. David Holmes' music supervision is likely to give the film short-lived cult status among record collecting nerds and may be seen as an interesting but embarrassing period piece.