YMMV: Sgt. Pepper's Lonely Hearts Club Band

The Album:

  • Crowning Music of Awesome: Enough so that three days after it was released, Jimi Hendrix covered the title song live in concert.
  • "Funny Aneurysm" Moment: Paul McCartney wrote "When I'm Sixty-Four" as a lighthearted song about a man who wonders if a woman will stay with him when he grows old. When Paul McCartney turned 64 in real life, his then-wife Heather Mills separated from him and they later divorced.
    • On a slightly more humorous note, over the course of his 64th year of life, Paul had that song played and sung to him so many times he jokingly said he regretted ever writing it.
  • Nightmare Fuel: Try listening to "A Day in the Life" in earphones on a crowded city street, especially if it's the Mono version.
  • Tear Jerker: "She's Leaving Home"
  • What Do You Mean, It Wasn't Made on Drugs?: Despite popular perception, "Lucy in the Sky With Diamonds" is not code for "LSD"; it was about a drawing John's son Julian drew of his classmate Lucy (who he drew in the sky. With diamonds). Additionally, "Fixing A Hole" isn't about heroin, it's about pot (in fact, Paul's more or less said that it is).

The Movie:

  • Big Lipped Alligator Moment:
    • "Fixing a Hole" seems to be in the film solely so George Burns, who otherwise only narrates, can have a song. There's no attempt to connect it to anything plot-related, and it isn't diegetic either.
    • The scene where SPLHCB go up in a hot air balloon, and it's implied that a plane crashed into it (we see it from the plane's point of view and then an explosion), and the band is now on the plane heading towards Hollywood. What?
    • The final Deus ex Machina appears to have no explanation, nor is one asked or expected by the characters.
    • You can make a compelling argument that this entire movie is this.
  • Breakaway Pop Hit: "Got to Get You into My Life" is still performed at pretty much every Earth, Wind & Fire show. Aerosmith doing "Come Together" is a lesser example.
  • Ending Fatigue: The whole business with Strawberry's death means that the final quarter of the film seriously drags.
  • Evil Is Cool: What else could it be when the Big Bad is fucking Aerosmith???
  • Ham and Cheese: Frankie Howerd is clearly having a hell of a time as Mr. Mustard.
  • Narm: This movie is filled with it. And we wouldn't have it any other way.
  • Nightmare Fuel: Mr. Mustard's fembots are incredibly disturbing. The fact that their biggest moment is singing "She's Leaving Home" does not help.
  • One-Scene Wonder: Earth, Wind & Fire and Aerosmith only get one song/scene apiece, yet they're the best-regarded of the bunch. "Got to Get You Into My Life" has become one of EWF's signature pieces; some fans feel they perform it much better than The Beatles did.
  • So Bad, It's Good: Some sections of the film do have their fans Steve Martin's take on "Maxwell's Silver Hammer" (lyrics not matching aside), Earth, Wind & Fire's "Got To Get You Into My Life", and the opening credits montage showing the original Sgt. Pepper and his band adapting to different musical styles from World War I to The Seventies, for instance.
  • Special Effects Failure: For a film with all this hate, it's surprisingly averted for the most part.
  • Vindicated by Cable: Somewhat. Repeated showings seem to have softened feelings a bit towards the film, which bombed with a capital B at the box office.