Athens, Ga.: Inside/Out Reviews

  • Dec 30, 2011

    I somehow gave this a miss 25 years ago and seeing it now produced some rather complex emotions. First, there are a fair few cringe-worthy moments (many involving Michael Stipe but also from some wet-behind-the-ears teen rockers) that made me reflect on how embarrassing I was then too. Second, there are the clothes. Enough said. Third, there is the music -- and in fact a lot of the music holds up pretty well this far into the future (R.E.M. least of all, perhaps -- or at least the 2 songs featured here are not their best). The film itself often feels like it is trying too hard but eventually I did succumb to its Southern charms (including local art & poetry won me over).

    I somehow gave this a miss 25 years ago and seeing it now produced some rather complex emotions. First, there are a fair few cringe-worthy moments (many involving Michael Stipe but also from some wet-behind-the-ears teen rockers) that made me reflect on how embarrassing I was then too. Second, there are the clothes. Enough said. Third, there is the music -- and in fact a lot of the music holds up pretty well this far into the future (R.E.M. least of all, perhaps -- or at least the 2 songs featured here are not their best). The film itself often feels like it is trying too hard but eventually I did succumb to its Southern charms (including local art & poetry won me over).

  • Jul 27, 2010

    This film is a meticulously detailed shoebox diorama. You get a chance to see REM and the B-52s in the fetus that is Athens. The post-Civil Rights melting pot of Athens is hinted at by the inclusion of some African American subjects but hangs as an undeveloped theme. In the end, Dexter Romweber steals the film but R.E.M's cover of dreams was an inspiring, if literal, closure to the film.

    This film is a meticulously detailed shoebox diorama. You get a chance to see REM and the B-52s in the fetus that is Athens. The post-Civil Rights melting pot of Athens is hinted at by the inclusion of some African American subjects but hangs as an undeveloped theme. In the end, Dexter Romweber steals the film but R.E.M's cover of dreams was an inspiring, if literal, closure to the film.