The LEGO Movie 2: The Second Part
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All Critics (28)
| Top Critics (16)
| Fresh (27)
| Rotten (1)
Slowly, surely this composite portrait of Chet then and now (or in 1987, when Weber shot the film) reveals its own depths.
Let's Get Lost is an atmospheric black-and-white portrait of a jazz trumpet player, an exemplar of West Coast 'cool jazz' in the age when rapid-fire bebop was hot, whose life, career and face were ruined by his various addictions.
There are moments in Let's Get Lost when, if you squint just a little, [Chet] Baker is a ghost image of his former self, the 1950s musical equivalent of James Dean.
Watching Let's Get Lost, shot in a liquid black-and-white, we are lost in a monotonal, gorgeously shot reverie about Chet Baker, the jazz trumpeter whose alabaster-smooth, pretty face and plaintive tones broke hearts.
First released in 1989, Let's Get Lost -- shot in the high-contrast black-and-white that's a hallmark of Weber's still photography -- is well worth revisiting on the big screen.
Yes, it's about Baker, obviously, but a Baker who's somehow both much more and much less than the man seen on screen.
The allure of Chet Baker's stage persona compared to the shambles of his personal life is staggering in Bruce Weber's fitting elegy to a genius who lived hard yet made it all look so easy.
Isn't a conventional documentary profile so much as a dreamy fantasia on the idea of Chet Baker that glides past its subject's fatal flaws in a wash of adolescent romanticism and swooning hero-worship.
plays like an elegy for the demise of the cool, thick with the small-hours allure of addiction and infatuation but smart enough to see clearly.
A wide-eyed love letter to a jazz great, very much of its time, sporting stylish visuals and a sublime soundtrack.
This is simply the finest jazz documentary ever made.
A beautiful film - as flawed as its subject, and all the more fascinating because of its odd lapses.
A thoughtful, but monotonous, documentary of a tragic jazz figure. Much like Chet Baker's music, the tone is continually soft and low-key. I suppose the most damning criticism I can make is that the film failed to convince me of his genius -- his trumpet-playing was lovely, but not uniquely so, and his endless parade of melancholy love ballads did not connect with me at all. What made him focus so exclusively on this sedate, "cool" style of jazz? "Let's Get Lost" won't tell you. In a way, I think director Bruce Weber was "lucky" that his footage was shot so soon before Baker's death, because the film wouldn't be as notable if not for its happenstance feel of an epitaph.
Chet Baker, the James Dean of jazz. Chet was no saint, and all his flaws are made clear by Bruce Weber but there's no denying that he was a legendary musician, and this is also made evident by Weber. Despite Chet's problems people instantly fell in love with him, the numorous wives and girlfriends, the fellow musicians, the fans, and by the end of the film so was I. Even in the footage of the old and haggard Chet after years of drug abuse he still comes across as an enigmatic figure. I admit before watching this I didn't know much about Chet Baker, but whether you are an avid fan, or just have a passing interest in jazz, this is an interesting piece of work.
see it, even though you can't...
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