
This movie is an ensemble comedy in which the romance takes place between the young people of the 1960s and pop music. It's about a band of rogue DJs that captivated Britain, playing the music that defined a generation and standing up to a government that wanted classical music, and nothing else, on the airwaves. The Count (Philip Seymour Hoffman), a big, brash, American god of the airwaves; Quentin (Bill Nighy), the boss of Radio Rock - a pirate radio station in the middle o... (Full plot summary below)
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This movie is an ensemble comedy in which the romance takes place between the young people of the 1960s and pop music. It's about a band of rogue DJs that captivated Britain, playing the music that defined a generation and standing up to a government that wanted classical music, and nothing else, on the airwaves. The Count (Philip Seymour Hoffman), a big, brash, American god of the airwaves; Quentin (Bill Nighy), the boss of Radio Rock - a pirate radio station in the middle of the North Sea that's populated by an eclectic crew of rock and roll DJs; Gavin (Rhys Ifans), the greatest DJ in Britain who has just returned from his drug tour of America to reclaim his rightful position; Dave (Nick Frost), an ironic, intelligent, and cruelly funny co-broadcaster; and a fearsome British government official out for blood against the drug takers and lawbreakers of a once-great nation.
Leave your thoughts about The Boat That Rocked.
| San Francisco ChronicleMick LaSalleIf you want to know years in advance what old-age nostalgia is going to look like for Baby Boomers, look no further than Pirate Radio, in which the sun always shines, the music is great and the sex is available, guilt-free and glorious. |
| ReelViewsJames BerardinelliThe result, although uneven, is generally enjoyable, especially for those who attend with the right mindset. Character and narrative are secondary concerns for a movie primarily driven to provide a Valentine to '60s rock-and-roll. |
| Chicago Sun-TimesRoger EbertRichard Curtis is good at handling large casts, establishing all the characters and keeping them alive. |
| New York PostKyle SmithFor its wicked innocence, this is the finest rock movie since "Almost Famous." |
| Washington PostMichael O'SullivanA tale so raucous, raunchy and punch-drunk with love for the rebellious spirit of rawk -- and so disdainful of those who have tried to squelch it -- that it pretty much negates any claims to objectivity, let alone factuality. In other words, it's not a documentary. |
| Christian Science MonitorPeter RainerThe best of it has the comradely, free-swinging bawdiness of Robert Altman's "M*A*S*H." |
| USA TodayClaudia PuigClassic rock enthusiasts will want to stick around through the end credit sequence, which features an array of album covers. |
| Miami HeraldConnie OglePirate Radio does what it sets out to do. It rocks. |
| The New York TimesManohla DargisStuffed with playful character actors and carpeted with wall-to-wall tunes, the film makes for easy viewing and easier listening. |
| Wall Street JournalJoe MorgensternRichard Curtis's comedy is anchored only in exuberance, but that's more than you can say for most movies these days; it keeps you beaming with pleasure. |