Some context: Sunset Boulevard (stylized onscreen as SUNSET BLVD.) is a 1950 American film noir directed and co-written by Billy Wilder, and produced and co-written by Charles Brackett. It was named after the thoroughfare that runs through Los Angeles and Beverly Hills, California. The film stars William Holden as Joe Gillis, an unsuccessful screenwriter, and Gloria Swanson as Norma Desmond, a faded silent-film star who draws him into her fantasy world, where she dreams of making a triumphant return to the screen.
Sunset Boulevard attracted a range of positive reviews from critics. Time described it as a story of "Hollywood at its worst told by Hollywood at its best", while Boxoffice Review wrote "the picture will keep spectators spellbound." James Agee, writing for Sight and Sound, praised the film and said Wilder and Brackett were "beautifully equipped to do the cold, exact, adroit, sardonic job they have done." Good Housekeeping described Swanson as a "great lady [who] spans another decade with her magic," while Look praised her "brilliant and haunting performance."  Some critics accurately foresaw the film's lasting appeal. The Hollywood Reporter wrote that future generations would "set themselves the task of analyzing the durability and greatness" of the film, while Commonweal said that in the future "the Library of Congress will be glad to have in its archives a print of Sunset Boulevard."  The rare negative comments included those from The New Yorker, which described the film as "a pretentious slice of Roquefort", containing only "the germ of a good idea". Thomas M. Pryor wrote for The New York Times that the plot device of using the dead Joe Gillis as narrator was "completely unworthy of Brackett and Wilder, but happily it does not interfere with the success of Sunset Boulevard".  In 1999, Roger Ebert praised the acting of Holden and von Stroheim and has described Swanson's as "one of the all time greatest performances." He says Sunset Boulevard "remains the best drama ever made about the movies because it sees through the illusions." Pauline Kael described the film as "almost too clever, but at its best in its cleverness", and also wrote that it was common to "hear Billy Wilder called the world's greatest director." When Wilder died in 2002, obituaries singled out Sunset Boulevard for comment, describing it as one of his most significant works, along with Double Indemnity (1944) and Some Like It Hot (1959).  The modern review aggregator Rotten Tomatoes reported that 98% of critics gave the film a positive review, based on 60 reviews with an average rating of 9.3/10, the site's consensus says, "Arguably the greatest movie about Hollywood, Billy Wilder's masterpiece Sunset Boulevard is a tremendously entertaining combination of noir, black comedy, and character study."
Did anybody dislike the movie?
A: The rare negative comments included those from The New Yorker, which described the film as "a pretentious slice of Roquefort", containing only "the germ of a good idea".
Some context: Belinda Jo Carlisle was born in Hollywood, Los Angeles, California on August 17, 1958 to Harold Carlisle, a gas station employee, and his wife, Joanne (nee Thompson), a homemaker. Her mother met her father, who was twenty years her senior, at age eighteen, and Carlisle was born nine months later. She was named after her mother's favorite film, Johnny Belinda (1948). Carlisle was the first of seven siblings, with three brothers and three sisters.
Carlisle's first venture into music was in 1977 as drummer for the punk rock band the Germs, under the name Dottie Danger. She was recruited into the band by Lorna Doom, whom she had met in an art class while a student at Thousand Oaks High School. However, her time in the band was short due to her contracting mononucleosis, and she never recorded or performed live with the Germs. According to Pat Smear, upon quitting, she introduced her friend, Donna Rhia, who became her replacement. Carlisle does appear on one recording introducing the band at a 1977 performance at the Whisky a Go Go, heard on the live album Germicide (1977). Around this time Carlisle did some back-up singing for Black Randy and the Metrosquad.  Soon after leaving the Germs, she co-founded The Go-Go's (originally named the Misfits), with friends and fellow musicians Margot Olavarria, Elissa Bello, and Jane Wiedlin. Olavarria and Bello were soon out of the group and the new line-up included bassist-turned-guitarist Charlotte Caffey, guitarist-turned-bassist Kathy Valentine, and drummer Gina Schock. All five women were largely untrained musicians, and Carlisle recalls having to use tape as fret markers during their initial songwriting: "[Charlotte] had to show us how to plug in our amps," she said.  The Go-Go's would go on to become one of the most successful American bands of the 1980s, helping usher new wave music into popular American radio, and becoming the first all-female band who wrote their own music and played their own instruments to ever achieve a No. 1 album, Beauty and the Beat, which featured the hits "We Got the Beat" and "Our Lips Are Sealed". The Go-Go's recorded two more studio albums on I.R.S. Records, including 1982's Vacation, which went gold. "Head over Heels", from their 1984 album Talk Show, made it to No. 11.  In 1984, Carlisle made a foray into acting in the movie Swing Shift, starring alongside Goldie Hawn and Kurt Russell.
Were the Go-Gos a well known group?
A:
The Go-Go's would go on to become one of the most successful American bands of the 1980s,