We Blew It

To compare today's turbulent times unfavorably to the wonderful "Easy Rider" era is patently absurd. If the author of the film's synopsis had bothered to actually watch that movie, it should have been clear that the good old days were actually pretty crappy: Easy Rider ends with a couple of hippie-hating rural types (not all that much different from today's Trump worshippers) slaughtering the two free-spirited motorcyclists played by Dennis Hopper and Peter Fonda. It wasn't much of a movie in the first place, but it sure didn't depict a world of peace, harmony and good will toward men. In fact, it more or less seems like that era -- including the right-wing "America Love It or Leave It" nastiness that dogged protestors of the Vietnam War in the 70s -- was setting the stage for the hot mess we're in today. So if the premise of the film is that things used to be great but they suddenly went bad, this "documentary" can't be worth watching. If you take your patriotic blinders off, America has a pretty dark history which continues to haunt its citizens to this day. I sure hope we can move past our troubles into brighter days. But creating a not-very-persuasive film that essentially reminisces about good times that were actually not good at all is not the way to accomplish that.

This documentary, while does touch on current political issues, actually delves into the history of how our current state and culture evolved. Great interviews with everyday people who recall the Kennedy era and were at Woodstock. If you're looking for subjective reasoning and want to hear about our country's history from individuals who recall the 60's era, worth a watch.

The opening sequence was so beautiful done, I had hoped this would be another Wild Wild Country, in terms of pace and movement.

But I can't imagine whoever editing the opening also edited the rest of the film. This was the slowest editing I've ever seen, even for a documentary, documentaries themselves being slow by nature.

There are static shots of people that are about to be interviewed,walking towards the camera that last 1:30! Nothing else. Just them walking down the street. Sometimes there is a voice over, sometimes not. It's just painful. Which is a shame because when people do talk they offer incredible insightful views into not only American history, but it's current state of affairs.

It's worth watching for any history buff, or anyonenstill fascinated by the endless ironies of the 2016 election. But as an editor myself I could only take it in sections.

More than a documentary about cinema, this film asks the following question : how did we go from "Easy Rider" to Donald Trump ? Traveling through the United States, the filmmaker meets everyday people and some famous directors (Michael Mann, Tobe Hooper, Bob Rafelson, Peter Hyams...). With the use of beautiful photography, clever editing and great music, Jean-Baptiste Thoret digs deep in the heritage of the sixties and seventies, and gradually comes to the conclusion that it might not have been such a "golden era". "We blew it" is a road-movie that thinks, asks questions, and tries to define what is left of an era when cinema was important to people, and when it gave them answers to what they were living. A must-see for those in love with American cinema, and the USA in general.

How did the United States change from Easy Rider to Donald Trump? The case is solved before the 12th minute. The second interviewee shown in this movie was a conservative biker in 1969, he has been suffering impoverishment and voted for Trump in 2016.

That film starts with Michael Mann talking both about the 60-70s era and about the 2016 political situation. It ends with posthumous Tobe Hooper bitter postmortem on his generation. Hooper's words did provide a title to Thoret. Mann's words gave him the occasion to disguise his fanboy exercise into a film talking about the transition between Easy Rider and Donald Trump.

Thoret is an obvious fan of old-school "cinéma de genre américain" (American genre cinema) and travelled to the United States to interview some of his favourite artists before their approaching death. In the end, we don't hear most of them talking about what was the 2016 political situation.

Most of the interviews in this film are interesting in themselves, especially those with ordinary people. This is then not unpleasing to watch but is paradoxically frustrating. Having more footage of Mann in the last 15 minutes is salvatory because he's the most transcending of all those interviewed filmmakers.