Shadowman


Me…and my shaaa-dow…

(2017) Documentary (Film Movement) Richard Hambleton, Paul DiRienzo, Richard Hell, Andy Valmorbida, Michael Carter, Vladimir Restoin Roitfeld, Keegan Hamilton, Nimo Librizzi, Robert Hawkins, Bob Murphy, Rick Librizzi, Robin Cimbalest, Mette Hansen, John Woodward, Michaael Okolokulak, Carlo McCormick, Anne Hanavan, Kristine Woodward, Phoebe Hobah. Directed by Oren Jacoby

 

An old boxing adage is the bigger they are, the harder they fall. In some ways, that also applies to art. The underground art scene of the 1980s in New York City was dominated by three figures; Jean-Michel Basquiat, Keith Haring and Richard Hambleton. Only one of them would live beyond the age of thirty.

Hambleton made a name for himself with the Image Mass Murderer series in a variety of cities including his native Vancouver – chalk outlines of human figures spattered with red paint looking disquietingly like blood. While the local gendarmes were less than thrilled by the street art (this before it was even called street art) the art world did stand up and take notice. Hambleton ended up in New York City where he became famous for his Shadowman series; human figures painted in black in unexpected places designed to startle people as much as possible. These paintings popped up everywhere through New York which at the time was in the midst of severe decay and neglect. Hambleton – young, leonine handsome and self-assured – and Downtown were made for each other.

But like most things it didn’t last and the fame and ready availability of drugs got to Hambleton. He would drop out of sight for twenty years, resurfacing in 2009 when a pair of gallery owners named Vladimir Restoin Roitfeld and Andy Valmorbida teamed up with Giorgio Armani to present an exhibition of his work. We see the difficulty in working with the obstinate Hambleton, by now beset by scoliosis and skin cancer, his face deformed and living one step away from the streets, almost obsessive compulsively painting over and over again, unwilling to finish his works.

During his time away from the spotlight, Hambleton lived in squalid squats and rat-infested storage facilities, using money he received for whatever work he could eke out for heroin. The ravages of the drug use and excess are readily apparent from viewing his more recent interviews. While those few friends who stood by him admit that he was victimized often by unscrupulous art dealers, he was also his own worst enemy and we can see that in his interactions, often passive-aggressive with the two art gallery owners trying to help him return to where they felt he deserved to be.

Hambleton took an interest in seascapes, painting amazing works of waves crashing on the shore which were patently out of favor at the time he painted them. As he wryly put it, “I could have made Shadowman bobble-head dolls and made a million dollars” and he isn’t far wrong. As Wall Street discovered Downtown, branding began to creep into the art world as insidiously as it did everything else. In retrospect Hambleton was a modern day Quixote, tilting at windmills that often savagely tilted right back.

In many ways it’s a heartbreaking viewing. The footage of Hambleton in the 80s and now are night and day; the degree of how far he had fallen pitifully obvious. For one so talented and so innovative, it’s hard to watch in a lot of ways but one can take comfort in that he lived essentially the way he chose to, even if those choices were bad ones. Not all of us get to say that.

REASONS TO GO: The artwork is thought-provoking and beautiful.
REASONS TO STAY: The movie is a little bit dry and occasionally too full of itself.
FAMILY VALUES: There is plenty of profanity as well as copious drug use and smoking and also some disturbing images.
TRIVIAL PURSUIT: Hambleton passed away October 29, 2017 as a result of skin cancer he refused to have treated. He lived long enough to see the film’s debut at Tribeca.
CRITICAL MASS: As of 12/1/17: Rotten Tomatoes: 77% positive reviews. Metacritic: 58/100.
COMPARISON SHOPPING: Loving Vincent
FINAL RATING: 6.5/10
NEXT:
Aida’s Secrets

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Lowriders


Bad boys, bad boys, whatcha gonna do?

(2016) Drama (BH Tilt/Telemundo) Gabriel Chavarria, Demián Bichir, Theo Rossi, Tony Revolori, Melissa Benoist, Yvette Monreal, Eva Longoria, Montse Hernandez, Noel Gugliemi, Bryan Rubio, Cress Williams, Franck Khalfoun, Pepe Serna, Taishi Mizuno, David Fernandez Jr., Art Laboe, Damien Bray, Tiffany Gonzalez, Johanna Sol, Jamie Owen, Stacey Bender, Pandie Suicide. Directed by Ricardo de Montreuil

To outsiders, the car clubs of the predominantly Latino East Los Angeles must seem as foreign and mysterious as Shaolin temples. Those familiar with the Fast and Furious movie franchise might think they have car culture figured out, but it’s like watching an episode of Big Bang Theory and thinking you have nuclear physics figured out.

Danny Alvarez (Chavarria) is the youngest son of a Lowrider legend; Manuel Alvarez (Bichir). He basically grew up in his father’s garage and weathered the sorrow of his mom’s illness and death there. He admittedly didn’t get a whole lot of help from his dad, who was battling his own alcoholism even as his wife was dying. Manuel cleaned up his act enough to marry Gloria (Longoria) whom he met cruising; he has since fathered a daughter Isabel (Hernandez) who is preparing for her quinceañera. His big brother Francisco (Rossi) – upon whom Danny has bestowed the nickname of Ghost – is in prison after being caught and convicted of stealing auto parts to customize his own car.

Manuel has been working on a new car, a 1961 Chevy Impala that he’s named Green Poison (for the custom green fleck paint on the roof of the car) for the upcoming Elysian Car Show, one of the most prestigious of its kind. He would love to be working on it with his son Danny but the young man in question has been following a path of his own – street art. Danny is a talented and imaginative street artist where his graffiti shows up in a lot of unexpected places. His dad is worried that the illegal activity might get Danny arrested and the thought of both of his sons in the slammer is more than he can bear.

But Ghost has just gotten released from prison and he is reconnecting with his little brother in a big way. Ghost has a mad on because Manuel never visited him in prison, not once. He definitely has some Daddy issues and has gone so far as to join a rival car club that is a little bit rougher than Manuel’s old school Coasters car club. As Elysian approaches, Ghost and Manuel are on a collision course and Danny is caught in the middle. It looks for sure like a head-on is inevitable.

I have to admit, when I read the plot line for the movie in advance of seeing it I really didn’t expect much and in some ways I was correct not to. The plot is pretty hoary and has been done many times before onscreen dealing with old school dads and rebellious sons who are estranged but who reconcile their differences to achieve the impossible or at least the nearly so. Those familiar with those sorts of movies will find no surprises here.

The good news is that we really get what feels like an insider look at East L.A. Although de Montreuil is Peruvian by birth, he understands the Latin beat that drives the Eastside well. From the rhythms of speech to the thudding of loud music coming from outrageous speakers in outrageous cars, he captures the atmosphere of Baldwin Park so perfectly you can almost smell the carnitas simmering.

Bichir is one of the best actors working today; he has the gravitas of a young Edward James Olmos with a fatherly sensibility of a Tom Bosley. He anchors this movie in ways that the younger cast members can’t; he gives Manuel dignity, even when Manuel is frankly being a dick. He also gives him a certain amount of uncertainty; like all fathers, Manuel has no idea how to react to things outside of his experience. He just plows along doing the best he can which isn’t always good enough.

Rossi and Chavarria both exhibit a great deal of star power and both have virtually unlimited potential. In this day and age, there doesn’t seem to be a lot of matinee idol love for non-white actors and so that might stand in their way somewhat but they both deserve to be A-listers. Were I a Hollywood producer I’d have absolute confidence in either one of them to carry my picture.

The main problem here is that writers Elgin James and Cheo Hodari Coker have spent nearly all of their character depth on the men. The women in this film are of little consequence, either ornaments or child nurturers. While Gloria is characterized as someone who knows her way around an engine, she is given little chance to show it. Even Lorelei (Benoist) who is Danny’s photographer girlfriend is mainly just a hipster caricature. She essentially disappears from the film about 2/3 of the way through and other than a brief moment at the very end is never to be seen again. Maybe Supergirl can find her.

The ending is pretty rote but satisfying enough for me to give the movie a strong recommendation. I think De Montreuil is an up-and-coming talent to be reckoned with, considering he did so much with so little. If he can make a superior movie out of what is essentially a cliché script, imagine what he could do with something more substantial.

REASONS TO GO: We get an insight into East L.A. car culture and the amazing vehicles therein. The ending, although predictable, was satisfying. De Montreuil shows a great deal of promise.
REASONS TO STAY: The plot is somewhat passé. I wish that the female characters had gotten a bit more depth to them.
FAMILY VALUES: There is a fair amount of profanity, some violence, some sensuality and a scene of drug use.
TRIVIAL PURSUIT: Lily Collins was initially cast but had to drop out due to scheduling difficulties. Melissa Benoist eventually took her part.
CRITICAL MASS: As of 5/19/17: Rotten Tomatoes: 58% positive reviews. Metacritic: 57/100.
COMPARISON SHOPPING: A Better Life
FINAL RATING: 7/10
NEXT: Life

Beginners


Beginners

Oh look..."The Sound of Music." Lovely, just lovely.

(2011) Drama (Focus) Ewan McGregor, Christopher Plummer, Melanie Laurent, Goran Visnjic, Kai Lennox, Mary Page Keller, Keegan Boos, China Shavers, Melissa Tang, Amanda Payton, Luke Diliberto, Lou Taylor Pucci. Directed by Mike Mills

Relationships are more complicated than nuclear physics. There are no hard and fast rules that govern them and just when you think you have them figured out, the rules change. In love, as in life, we all muddle through as best we can and come to the realization that there are no experts – we are all, in reality, just beginners.

Oliver (McGregor) is very sad. It’s 2003 and his father Hal (Plummer) has passed away from cancer recently. Oliver’s relationship with dear old Dad is extremely complicated. Six months after his mom Georgia (Keller) died, Hal came out of the closet. It turns out that Hal had realized he was gay for the length of the marriage, more than 30 years.

As we flash back to young Oliver (Boos), we see with startling clarity that Georgia was in a marriage that was without passion, a lonely institution that left her sad and bitter, a non-conformist in all other respects but apparently unable to divorce her husband when she was clearly unhappy.

Oliver himself has been unable to commit to a relationship, ostensibly because he didn’t want to end up like his parents, lonely in their relationship. He meets Anna (Laurent), a French actress living in New York shooting a film in L.A. Like Oliver, she’s damaged goods but she might well be the love of his life.

As he tries to navigate his way through this relationship and find a way at last to commit rather than creating a reason not to, he flashes back to the last years of his father’s life, when he embraced the gay community – indeed, embraced life – and found happiness at long last with Andy (a nearly unrecognizable Visnjic). When his dad got ill and Oliver became his caretaker, the two men finally connected in ways they never had been able to when Oliver was growing up. His father had found joy late in life; would Oliver find it too, or would he turn it away as he always had?

Mills based much of this on his own experiences with his dad, reportedly. For that reason, the relationships ring true. They are very imperfect and fraught with land mines and machine gun nests. Nobody in this movie gets out unscathed, which is as it should be because that’s how life and relationships are.

Mills cast the movie brilliantly. McGregor is an immensely likable actor who here has to play an emotionally closed off man who desperately wants more than it looks like he’s going to get. He has a constantly befuddled expression on his face, with an occasional detour to sad. Oliver is never so alive as when he’s with Anna, and McGregor lights up around her as a man in love must do. He also gets the single most powerful moment in the film when one of his father’s friends gently wakes him to tell him his father is gone. The grief is so raw, so close to the surface that I wept, relating as a son who lost his father too young.

Plummer as that father has a touch of pixie in him, a kind of rakish twinkle in his eye that is immensely appealing. Hal discovers life and revels in everything about it. He awakens his son to ask him about a style of music he heard in a night club that he’s unfamiliar with. When his son tells him that it’s called House Music, Hal writes it down dutifully as an old man who can’t trust his memory would. Little touches like that make characters live and breathe.

Anna is lustrous and free-spirited and Laurent captures both the quirky qualities that make her endearing as well as the self-doubts and demons that make her fragile. It is a nuanced performance that those who remember her from Inglourious Basterds won’t be surprised by. Visnjic, once the hunk in “E.R.” is less brooding and hunky, but still crazy handsome as Andy, a man plagued with the suspicion that everyone hates him because he’s gay.

Some may shy away from the movie because of Hal’s sexuality; they do themselves a disservice. This is not a story about gay people; it’s a story about people. People who are imperfect, who make terrible choices and also wonderful choices – people who leave adorable Jack Russell terriers behind that communicate in subtitles. These are flawed people but flawed in the way real people are flawed. Now, I will grant you that at times I had problems figuring out the storyline because they aren’t all told sequentially which can make you scratch your head trying to figure out where you are in the scheme of things, movie-wise. Still, I found myself liking this movie and being deeply affected by it long after I left the theater. For someone who sees as many movies as I do, that’s a precious gift indeed.

REASONS TO GO: A realistic depiction of a man coming to terms not only with the loss of his father but with his own inadequacies. Great performances from McGregor, Laurent and Plummer.

REASONS TO STAY: Disjointed storytelling leaps back and forth from Dad’s story to young Oliver to modern Oliver.

FAMILY VALUES: There’s a bit of bad language and some sexual situations.

TRIVIAL PURSUIT: Plummer and McGregor have both played Iago in separate stage productions of Othello.

HOME OR THEATER: This is an intimate drama befitting an intimate setting.

FINAL RATING: 7.5/10

TOMORROW: An Inconvenient Truth

Exit Through the Gift Shop


Exit Through the Gift Shop

The mysterious Banksy.

(Producers Distribution Agency) Thierry Guetta, Banksy, Shepard Fairey, Rhys Ifans (voice), The Space Invader, Swoon, Cheez, Neckface, Coma. Directed by Banksy

Street art is a phenomenon that grew out of the tagging and graffiti movement. Some have described it as “guerilla art” and that might not be a bad tag for it. The practitioners operate under cover of night and ply their trade with spray cans, stickers and mosaic tiles, among other mediums.

Some see it as a valid form of self-expression; others see it as blatant vandalism. Needless to say, there is a polarizing element to the art form and that can’t be a bad thing. Art, after all, is supposed to invite discussion.

French expat Guetta lives in Los Angeles. He moved there in the late ‘80s, opening up a vintage clothing store that often had big stars browsing in it. He was known in the city for constantly filming everything on his video camera. On a visit to his native land, he hooked up with his cousin, who had a quirky hobby of his own; he liked to put mosaic tiles of space invader-like figures in public places. Calling himself The Space Invader for obvious reasons, he had become a leading member of the highly cliquish street art scene which kept their anonymity with an almost jealous zeal.

Thierry grew fascinated with this scene – the dangerous aspect of it (the adrenaline rush of avoiding cops and security guards) appealed to him. Through his cousin he was introduced to Fairey, who also based himself in L.A. and Guetta videotaped his street art. The feeling among the street artists was that their art was very transitory by nature; it wouldn’t last long before someone took it down. In order to document their art, they turned to Thierry who was only too happy to oblige.

Under the guise of making a documentary about the street art scene, Guetta was given access to almost all of the leading personalities in the street art scene – all save one, the most notorious one of all. In London, the name of Banksy is well-known, particularly for his images of mice doing odd things. Banksy’s art was bold, caustic and full of a biting wit, too clever by half you might say. He was known for strictly preserving his identity, working only with people he knew well. To this day, the general public and the authorities have not a clue who he is.

At last, through Shepard Fairey, Thierry and Banksy were introduced. Thierry was very much taken by the brash young Englishman and for his part Banksy grew to trust Thierry, allowing him to film in his inner sanctum. On a visit to Los Angeles, Banksy notoriously put a figure of a hooded and bound figure alongside the Big Thunder Mountain Railroad ride at Disneyland with Thierry filming the whole thing. However, while Thierry was arrested by Disney security, Banksy got away scot free.

However, with years and years of shooting street artists and thousands of hours of footage to winnow through, Thierry’s subjects were becoming restless waiting for the documentary to be made. Thierry knew he had to at last make the film he had never intended to make. Knowing nothing about editing, scoring or anything in fact about filmmaking other than pointing a camera at his subjects, Thierry set out to create his masterpiece.

With Banksy being the subject he most admired, he screened it for him first. Banksy was mortified; the documentary was just terrible. Banksy figured that he could do no worse, so he took the footage and gave Thierry the instructions to “go make some art and put together a show.”

This documentary is the result of Banksy’s efforts and it takes a total turn at this point. Thierry adopts the persona of Mr. Brainwash and decides to put together a major event show in Los Angeles, despite knowing nothing about art or installing a show. He does know a thing or two about self-promotion and manages to capture the attention of the L.A. Weekly who give him a cover story which whips up a frenzy among modern art collectors, despite the fact most of the work is really awful and lazy; Mr. Brainwash takes existing images from the Internet and spray paints eye-patches on them, or Marilyn Monroe wigs.

We see Banksy as a narrator, but his face is always obscured by a hood and his voice distorted electronically; he really is serious about maintaining his anonymity. He wisely turns this from a documentary on street art to one about Thierry who is one of those magnificent eccentrics who give life some flavor. In many ways, he’s more interesting than the artists he was documenting. For his part, Banksy feels at once chagrined and pleased at the creation of the Mr. Brainwash persona; the artwork is somewhat atrocious but at the same time Banksy seems to admire Thierry’s fearlessness.

One gets a feeling throughout this film that we’re being conned a little bit. For example, Thierry proclaims that he had erased all the Disney footage from his camera when he was being interrogated by the security guards, but we are shown footage of Banksy crossing the fence and placing the figure alongside the track, and the trains being stopped shortly afterwards.

If it is a con, it’s a fascinating one and I don’t personally mind being conned in that way. The movie has a wicked sense of humor and there is a slickness and slyness to it that is refreshing and charming in its way. It also makes tremendous use of a great and sadly underrated song – Richard Hawley’s “Tonight the Streets Are Ours.”

There is a lot of ego involved here, from Thierry to Banksy to the artists themselves who take the stance that art outweighs all else. That’s like a blogger saying the most important things in the world are blogs and I, for one, would never assert something that preposterous. It sure as heck ain’t brain surgery…but is it art? That’s for you to decide.

REASONS TO GO: While initially slated to be a documentary about street art, it morphed into something completely different.

REASONS TO STAY: There’s a whole lot of ego involved in this project and quite frankly I’m not sure if the viewer isn’t the butt of the joke.

FAMILY VALUES: Some fairly blue language and smoking. There is also a fine line between art and vandalism here and it should be noted that those who find the lifestyle alluring might not know the difference.

TRIVIAL PURSUIT: Fairey would later go on to design the Barack Obama “Hope” image that figured so prominently in his campaign.

HOME OR THEATER: Definitely more suited to home viewing than a big theater.

FINAL RATING: 7/10

TOMORROW: Afghan Star