Quiet Muffin This movie tries so hard to be funny, yet it falls flat every time. Just another example of recycled ideas repackaged with women in an attempt to appeal to a certain audience.

Juana what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Skyler Great movie. Not sure what people expected but I found it highly entertaining.

drmidi I must say that this documentary is a rather poor tribute both to Robert Moog and the Moog synthesizer for a myriad of reasons. Perhaps you might watch this (as it is being aired this month, December, 2007 on The Movie Channel (HD) for the same reason that I did (and that is to see what this documentary had to say about the man and his instrument, philosophy and some of the history behind the Moog synthesizer's and company's development), however the total impact of this piece greatly suffers both from what was included in the film and what was left out.Granted, it is obvious that this film was not intended to be a complete historical review of the Moog's development. The same applies to the music, musicians, interviews and other footage including Robert Moog's own comments about himself, his instrument, and those who used the instrument commercially or in performance. The soundtrack is also quite disappointing, especially in of what was chosen as representative examples of Moog performances over the years. I suppose you would have to be well-versed in the history of the synthesizer (as I am) to fully understand this.I agree with other reviewers in that Walter/Wendy Carlos was only briefly mentioned during this documentary, especially when it applies to the Moog modular system (as recorded on Switched-On Bach, The Well-Tempered Synthesizer, Switched-On Brandenburgs, Tron and others) which were perhaps the first and most influential recordings of the Moog synthesizer of all time. Also missing were such artists as: Isao Tomita, Dick Hyman, Herbie Hancock, Tony Banks (Genesis), and many more who recorded and performed with the Moog synthesizer during its early years. Instead, the focus of the piece centered around Keith Emerson, Rick Wakeman, Bernie Worrell and some of the early partners and friends who worked with Moog towards its development (Herbert Deutsch and other contemporaries and personal friends of the late Dr. Moog). The interview with Wakeman and Worrell was taped in a noisy hallway and could have been more effective (at the very least) by being taped in a quieter setting.The commercial use of the Moog synthesizer centered around a rather dated beer commercial. I was expecting perhaps an interview with Suzanne A. Ciani who was infinitely more prominent in this area. In other cases, the interview location (city) was titled, but not the name of the person speaking with Bob Moog and that was also disappointing.I also agree that certain comments were repeated, especially Bob's comment on having a feel of what was going on within the Moog's circuitry when he played it. Since he also discussed the Theremin (which seemed to be a major portion of this documentary) it would have nice to included some commentary about Miklos Rozsa and the role the Theremin played as the only recognized synthesizer as an "orchestral instrument." I am referring to many film score recordings which featured the Theremin, such as Hitchcock's Spellbound and many others in the suspense and Sci-Fi genres. There was little discussion about the other Moog synthesizer models outside of the modular system and the MiniMoog (such as the PolyMoog, MemoryMoog, and others).The in-between footage, music and performances were rather disappointing and disted. I think the director could have planned a better tribute to a wonderful person, inventor, instrument, social and historically-significant musical technology. I think to really do justice to both the man and his machine, you would have to present, at the very least, about a 2 to 3-hour-long documentary.On the plus side, it was interesting to see the Moog in production and some of the performance and interview footage, but not all. Actually, much of the footage is somewhat comical in nature when you look back at how it was presented, back in the early days of synthesis.

jonathan-577 This is the kind of movie that makes this exercise of writing up every feature I see kind of redundant, because it's not much of a movie. (at 60 minutes it's not much of a feature either) Bob Moog invented, you know, the Moog synthesizer, which as the movie illustrates has been the source of lots of directions in music, some legendary (Bernie Worrell), lots fun (Stereolab), and lots of atrocities against the ear (Rick Wakeman, Keith Emerson). The common thread between these musicians is nonexistent, and the movie doesn't even try - it just plods from point to point, with Bob in tow to look on like a proud papa. I think the reason there's no cross-cutting is that there's no content - some lawyer clearly wouldn't let them talk about Moog's battles with the company that bears his name (don't ask me for more detail), and all that's left is a sequence of short arbitrary rambles - still life with Gershon Kingsley, still life with DJ Spooky (who is a pompous ass), Moog picking bell peppers, et cetera, plus some wan recitations of the word 'spirituality.' The only breakout moment is when Worrell tells Wakeman that he thinks of a keyboard as a woman that he's having sex with and Wakeman responds, 'I tried that but I found that the songs became very short.' To which Worrell replies, 'Play slower!' THERE is a cultural frisson to die for.

tubmyk2-1 I feel a little bad giving this a 6, only because the film quality was very good for 16mm and I did like the cinematography, but I guess I was expecting a more traditional approach to the Moog story; not only the views and lifestyle of Bob Moog. I then realized that this was entirely the idea behind this documentary, and the director did not want to compile a history of the Moog synth, but had he added in some extra footage and talked about the many different synthesizers that Moog produced through the years, this would have been a much fuller documentary. All in all though, it was nice to have a real up close interview with the creator.I didn't care for the experimental music, even though experimental music was largely influenced by the Moog. I find that type of music to be scattered and annoying. I also refuse to listen to the classical approach to the Moog. What Rick Wakeman and Keith Emerson do on the moog are what impresses me. All the other stuff just didn't seem in place. Still, this DVD is a nice addition to the collection and as a Moog lover, an enjoyable reference overall.

paulsoulsby The film was reasonably well filmed and reasonably edited and it's great that there is now a film out there about a synth pioneer.However my first thoughts on watching this film are: It repeats itself far too many times. It only needed to mention that Moog synths were first used for experimental music and adverts once. It only needed to show Bob Moog with his garden once! And there only needed to be one section on his philosophies on life and synthesisers.There were massive sections of the Moog story missing. What about the first fall of Moog Music in the early 80s and the Moog Liberation (the first guitar synth - only problem was it was too heavy to hold!) He only touched on his feelings about digital synthesisers. What about the 80s and the DX7 and Moog synths falling massively out of favour. What about the comeback in the 90s - initially selling his analogue circuit designs to other companies, who produced synths like the MIDI Moog and the SE ATC1. What about his FX pedals? Finally the soundtrack left much to be desired. All the live performances were badly recorded, the synths were far too loud compared to the backing. I know the synth was the instrument being demonstrated, but I found it uncomfortable to listen to. The content of the music was nearly all progressive rock musicians and various lesser known modern electro acts (bar stereo-lab and DJ spooky). He only mentioned Walter/Wendy Carlos in ing, he/she was the most important thing to happen to him and there was no interview or audio clip!! What about electropop, which was founded on the early affordable synths like the Moog Prodigy? These are just the first 2 genres that spring to mind that were missing - I could go on! So all in all - it's great that there is now a film about this fascinating guy. But...Hans Fjellestad should have got all the raw materials together before doing it. Get interviews with ALL the relevant people and use a soundtrack that is more diverse.