Art of a Hit

I found it through my library on Hoopla, which I think is really cool and notable-it's great when smaller films are accessible like that. The concept of "Art of a Hit" is intriguing: a quirky producer, a band hoping for their big break, and a mysterious castle setting. There are moments of suspense, with the producer delivering surprise appearances that add a bit of fun to the story.

Though the pacing felt a bit slow for my taste and I found myself getting bored, it's evident that a lot of effort went into bringing this idea to life. The film has unique quirks that make it charming in its own way, even if it didn't quite keep me fully engaged throughout. For those who appreciate unconventional storytelling and distinct atmospheres, it could be a hidden gem. While I personally didn't connect with it as much as others seem to, I recognize that this film may resonate more with certain audiences. It serves as a reminder that film ratings are subjective, and what might not click for one person can be a rewarding experience for another.

The movie's eerie atmosphere had me on edge from start to finish the twist ending left me stunned and satisfied the story is a real life of every artist we have that fear and Ryan the main character executed it realistically, visually stunning, music on point, the sound design is masterful making every creak and whispers terrifying, the characters' desperation and fear felt genuine making their fate all the more unsettling well done guys. The director has it all. Overall Art of a Hit delivered a thrilling spectacular spine tingling experience that will haunt all the artists for days if not years.

"Selling out" is a phrase whose significance depends on the decade into which you were born. Thirty years ago, when Nirvana broke down the barriers between the mainstream and the underground, the stigma of selling out - at least among certain groups and certain fans - was severe. The decision to sign with a major label broke up bands, split scenes and made a handful of people very, very rich.

To those who came of age during a great recession, a Trump presidency or a pandemic, selling out is as operative a concept as an eight-track tape. At a time when Metallica is cozying up with Mercedes-Benz and Megan Thee Stallion is collaborating with Popeyes on her signature brand of Hottie Sauce, the notion of a band pledging to stay indie forever seems prudishly strange, like a TikTok video of a pilgrim churning butter.

Art of a Hit opens as the last great wave of major-label acquisitions - the twilight era of the sellouts is coming to a close. In the movie's first scene, Excelsus (the film's fictitious late 90's alt-rock band) steps onto the sound stage at a major music awards show, unknowingly part of the final moment in modern alternative music history - a last moment when the shifting sands of alternative rock still held the possible for independent musicians to not only make their band their life, but their livelihood as well.

It isn't exactly a spoiler to say that, like so many other bands of that era, the success that Excelsus experienced during the first few moments of the film ends up being fleeting. Or that their effort to recapture that success a decade later when the ethos against selling out had all but been forgotten, proved nearly impossible.

Over the course of the next 90 minutes, and through beautifully shot and often intense scenes, the film follows the band as they try to record a follow up album with a storied producer in an equally storied studio in France. At the intersection of indie rock and commerce is a great deal of denial, useful self-deception on both sides. The artists maintain they'll stay true to their roots, meaning they'll never change - which is a strange relationship for an artist to have with their art. The labels and producers, meanwhile, convince themselves they can bend the bands to their will and make hits - a strange relationship to have with an artist you're pursuing for their art. These incompatible positions drive much of the conflict in 'Art of a Hit' as the bands lead singer (played by Ryan Donowho) squares off against the producer (Charlie Saxton) and then his band, and eventually against himself.

Part of the movie's appeal lies in rooting for the band to beat the odds - even when you know they won't. As Donowho's character descends into madness, the story becomes a cautionary tale about the impossibility of trying to maintain artistic integrity in a time now where that no longer matters.

Of course, there are plenty of indie artists who have never sold out and never will, but the creative team behind this movie seem to be suggesting that an artist holding a label at arm's length is like an alcoholic telling themselves they'll have just one more. No band ever thinks they're ever going to sell out, until, one day, they do.

To a child of the 90s like me, the "sellout" label still carries the stench of shame. It was a lot easier to swear allegiance to an indie artist when a commercial path to success didn't exist. Time marches on, and while hearing your favorite indie rock song during a Taco Bell commercial may be easier to swallow when you're considering your kid's college tuition, it still hurts.

One other thing to note: Though marketed somewhat like a horror movie, the film is not explicitly horrific, instead favoring subtlety. It's really a movie about the artistic process and the madness that comes with engaging in this process in an increasingly meaningless world. The music (covers of Jets to Brazil songs) is excellent, which should be expected given the film's theme. And punctuating many of the film's more intense scenes are surprisingly funny moments too.

Art of a Hit is a tone-deaf and off-key indie drama that, much like its band, has no direction or rhythm. Art of a hit is something Gaelan Connell should've studied prior to making this film, because pretty soon it's becoming apparent nothing seems to work: actors have zero chemistry and watching them pretend to be band mates and lifelong friends is a dull experience, the music isn't good enough to be featured in a daytime show, and the horror elements are scarce and unnecessary. Ryan Donowho's best days are long gone, James Earl is apparently supposed to be a comic relief but fails miserably thanks to the impotent script, Allie MacDonald and the rest also seem to have no idea what are they supposed to do. In lieu of wasting time on this roadkill, listen to your favorite rock songs and have a great time.

A cerebral, psychologically thrilling journey that examines universal themes of relevance (and irrelevance) and success as artists. Anyone who's ever gone through the painstaking process of creation--art or business--will be able to deeply relate to the message Draper examines in this movie.

For music lovers or people who have been involved in bands / music making in any capacity, this will be an especially poignant watch. The musical artistry of the cast is second to none. No acting here, just pure performance!

Ultimately, the visual wow-factor draws you in (unique setting in France, unbelievable cinematography, glowing landscapes), the casts' performances make you stay, and the themes stay with you long after the movie's over. Beautifully made and thoughtful. Highly recommend.