The unconvincing fictional storyline hits every meller cliche in the "self-destructive rock star" playbook.
Helmer-scripter-producer Scott Rosenbaum’s debut, “The Perfect Age of Rock ‘n’ Roll,” is an overblown tale of music, friendship and betrayal. Pic boasts an authentic soundtrack of old and new tunes, including an extended jam session that taps the talents of blues legends Pinetop Perkins and Hubert Sulmin. Unfortunately, the unconvincing fictional storyline Rosenbaum weaves around this solid musical base hits every meller cliche in the “self-destructive rock star” playbook. Even Peter Fonda, typecast as an over-the-hill road manager, rings true only intermittently. Pic opened Aug. 5 in Gotham; its lame dialogue, callow thesping and absurdly predictable plot make extended play unlikely.In a wraparound device, aging rocker Spyder (Kevin Zegers) is interviewed by a reporter (Lukas Haas) before the film flashes back to the ’80s and Spyder’s tension-filled return to his hometown and former best pal Eric (Jason Ritter), whose songs he stole for his megahit first album. Eric insists Spyder, his bandmates and his sexy agent (Taryn Manning) join him and ’60s relic Fonda on a folkloric trip down Route 66 to regain their spark, only to land in L.A., where sexual indiscretion, double-dealing and cocaine hold sway.