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

Better Late Then Never

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

The film never slows down or bores, plunging from one harrowing sequence to the next.

While I'm not going to rave about the acting in this movie, it was above average and certainly respectable. What makes this movie worth seeing, however, is its fabulous recreation of the life and times of Brian Jones and the Stones - and the little-known details surrounding Jones' mysterious death. Here, a theory is put forward that I have accepted (especially since there's been a death-bed confession) and I believe needs to be known. Stones fans will learn much here, too, about the rocky relationship Jones had with his bandmates toward the end and the reasons for his being fired from the band (including some surprising morality issues that played into it). You'll find yourself gaining new respect for Mick and Keith. While some aspects of the movie don't rise above the feel of a TV flick, I highly urge Stones fans to see it. It gives us a glimpse into a world long gone that helped lead to some of the best songs ever.

I watched this film once and thought it was good. I watched it a second time, with the Director's Commentary activated on the DVD, and it became sublime. Simple as that.Stephen Woolley has done some useful previous stuff as a producer - Michael Collins, etc. - and Stoned, his first offering as director, is just as good.As Woolley explains, Stoned is heavily influenced by the great, off-beat American exiled director, Joseph Losey. The essence of this film, Stoned, is similar to that of The Servant, the Losey film where a servant (Dirk Bogarde) takes up a post in the house of his master (James Fox) and, slowly, the roles are reversed. The servant becomes the master and vice versa. This is what happens in Stoned, where the builder, Frank Thorogood, seems to take over Brian Jones's life.Losey's masterpiece, The Servant (1963), is set in a London world facing social upheaval and the end of the old class system. It's also set in Chelsea, just where the Rolling Stones started out, in 1963 also. But, when you listen to the Director's Commentary on Stoned, you get some amazing explanations of the brilliant camera-work and cinematography which I had completely missed.For instance, when Brian Jones is in Cheltenham, confronted by the father of a schoolgirl he's made pregnant, there are little touches from Losey, like the convex mirror, and a distorted and disturbed Brian Jones.Stoned has some brilliant vintage-style photography, such as the trip to Morocco preceding Jones's sacking from the Stones. Then it's back to 'Pooh Corner' (as Tom Keylock, the Stones' manager describes Jones's Elizabethan country manor house in Hartfield, East Sussex). Jones lives in A A Milne's old house, the home of Christopher Robbin and Winnie the Pooh.Stephen Woolley draws on another Losey film, The Accident (1967), also set in a country house with certain class divisions evident. You could even draw on The Go Between (Losey, 1970), with Tom Keylock (in a superb performance by David Morrissey - a sort of Harry Palmer crossed with Mike from the Young Ones).A fascinating film. Make sure you take advantage of the Director's Commentary on the DVD.

The mystique of the Rolling Stones isn't well served by Stoned, a speculative film about the last three months of the life of original guitarist Brian Jones. But nor will their legend be marred by this inept and ineffectual bio-pic.Directed by famed producer Stephen Woolley (The Crying Game, Breakfast On Pluto), Stoned shows us Jones final days through the eyes of Frank Thorogood (Paddy Considine), a contractor brought into the fold by the Stones road manager Tom Keylock (David Morrissey) to help with the landscaping of his East Sussex manse and, eventually, keep an eye on the free-spirited rock star.Since we know that Jones (Leo Gregory) drowned in his pool, Wooley stages it with a flash forward of the body's discovery near the start of the film. But any mystery about the relationship of the working-class Thorogood and the rich Jones begs for more incisive scenes than the clichéd mise-en-scene of all too familiar 60's tropes. To believe that the contractor could be moved to murder Jones, we need more than a mild scene of humiliation and a dismissal without final pay. We need shadings of Thorogood's psychological discord, and a fuller performance from the usually reliable Considine.Not that the other actors fare any better. Gregory plays Jones as a Lost Boy and an opportunist, sporting a Little Lord Fauntleroy shag that turns him into David Spade's somewhat sexier brother. The women are lovely, but basically negligible – whores or hangers-on – and the rest of the band loose approximations of the younger Stones, with Keith Richards the moral center of the film.Neither the script, by Neil Purvis and Robert Wade, nor the director, shapes scenes for drama. Jones life, like the film, seems aimless; we never understand his importance as the architect of the original Stones. On the evidence of Stoned, one can rightly say that as a director, Woolley is a great producer.

The opening shots of the film shows an early stones line up under the leadership of Brian Jones getting their first gig. It is stylishly shot in black and white and as they roll through little red rooster a camera takes stills of the action. Then from the slow blues rift you are suddenly thrust to the frantic end as Brian is found dead in the pool. It is the stark contrast that works well and shocks the viewer into the heart of scene. Then the incredibly tragic and eccentric life of Brian Jones is told in a heady mix of flashback drug trips and sly nods to 'performance'. Leo Gregory stumbles through the film as Brian much like Michael Pitt did as Kurt Cobain in Van Sant's 'last days', you already know the outcome but it's the road on which you get there that forms the backbone of the plot. As Jones becomes more estranged, paranoid, wildly extravagant and more drug fuelled it begins to rub off on frank the builder who is doing work on Brian's house. Brian being bored and in need of not only a nanny but a drinking partner takes frank under his wing to a certain extent. But Jones being the flamboyant pop star doesn't see frank as anything more than a builder and taunts him until its too late. Frank see Jones' world of excess and wants in, although when he finds it out of reach that want turns to anger and jealousy. If you approach this film looking for a story of the stones you wont find it, this film like last days is a film that shows one mans downfall and the lives of those around him who should have helped. Jones portrayed as never happier than when making music is rock and roll myth personified. Without the tragic end to his life, the question is posed, would anyone still remember the tortured genius behind the stones early formation? There is obviously a love for the era and Jones from director Woolley, who not afraid to show Jones' vulnerable side also tries to show the man behind the myth. Whether a fan of the band or not this is an interesting film full of directing techniques and skillful editing that blend into a heady mix of rock and roll excess which takes the viewer to the sixties and back through one of the most interesting stories of the time.