Mary Poppins Returns
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All Critics (16)
| Top Critics (8)
| Fresh (6)
| Rotten (10)
Maestro traces the roots of today's global dance-music culture with a passion, knowledge and insight that is as infectious as the music itself.
Most of the screen-time is taken up with people remembering how 'amazing' this event, that place or that person was, debating who was 'the first.' But there's precious little here by way of demonstration.
Clearly, Maestro is for people already aware of this history. For everyone else, this is pretty much invitation-only.
Maps an evocative history of the underground dance music culture of the '70s and '80s.
Squanders an interesting subject with its amateurish execution.
Anybody involved in the underground scene might get a kick out of Maestro -- but others will likely be bored stiff.
Ramos is the most exasperating sort of scenester - the guy who keeps telling you how great something is but lacks the skills and inclination to tell you exactly why
Ramos appears not to have learned the cardinal rule of documentary filmmaking: Assume that your audience knows nothing about your subject and needs to be cajoled into caring.
A spirited doc.
A much-needed celebration of an important era in which subcultures connected and sometimes clashed, and what the DJs were spinning had the power to change lives.
With its stylish mix of interviews and superb vintage footage of Levan on form, Maestro is a rapturous yet inevitably tragic vision of Paradise (Garage) Lost.
The music does not come alive in 'Maestro.'
One of the best endings ever. Funny without trying too hard. I loved it.
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