Art of a Hit

"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.

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.

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.

"As an artist, what are you most afraid of?"

This is a question posed by record producer extraordinaire Charlie (Charlie Saxton) in Art of a Hit, a movie that explores the emotional dark side of staying true to one's personal artistic vision. For Ryan (Ryan Donowho), the lead singer of a once-famous rock band, the fear of becoming irrelevant is his greatest concern.

The story takes place mostly in the early 2000's right before social media would take over the world and how we think about producing art. Before the days of producing "content". The movie evokes nostalgia for a time when the concept of 'selling out' was still relevant. Today, this idea seems quaint, as artists are now celebrated for landing sponsorships and brand deals, even if it means selling a most personal, heartfelt song to a Taco Bell commercial.

Excelsis, the fictional alt-rock band in Art of a Hit, had a smash hit in the late '90s and even performed at the 1996 Video Music Awards, but success can be fleeting, especially in the music industry. It's eight years later, and we're with the band as they are trying to record a comeback album. Their record label has sent them to a sprawling, frigid castle in France, owned by Charlie, one of the industry's best producers. He has a proven history as a guru capable of producing hits and platinum albums. Local folklore has it that people go insane in that castle.

The bulk of the movie takes place in this one location, exploring the band members' shifting motivations and their conflict with Charlie, who is a complete dick. But hey, if he can produce a hit, it's worth putting up with his eccentricities. This tension is heightened by a handheld camera that gives the movie the feel of a documentary. It feels as though we are witnessing an actual band trying to get together in one last effort to make art together.

Most of the band members have no qualms about just following Ryan's direction and recording a song that will become super popular and make them rich. Maybe even put Excelsis back in the limelight. But to Ryan, the band's leader and songwriter, this means selling out, recording bland music he doesn't care about. How far is he willing to bend his integrity for relevancy?

While the struggle to maintain artistic integrity isn't a groundbreaking topic in rock movies, Art of a Hit makes it the central theme and explores it in depth. Ryan is not opposed to conventional success and he's willing to work with the band and Charlie to compromise his vision to a point. He's the only person in the band who seems to be desperately clinging to maintaining a tiny bit of the spark he once had to create music. The new songs he has written are dismissed as being out of touch with the current sound and commercial death. There's a nice moment when he talks to his drummer Cristin (Allie Macdonald) and they reminisce about why they formed a band in the first place: mostly to rebel against their parents. But as we grow older and begin to struggle, we realize that being broke sucks. Why not just record crap that people want to hear?

Art of a Hit is marketed as a horror film, but it is most certainly not. There are some creepy scenes, mostly within Ryan's imagination, and some very tense moments, but the vibe is much more psychological. It's all about how far you are willing to go to make art, and then how far you are willing to compromise it. There's a beautiful scene in a pub where the band is watching a local, elderly performer playing guitar and singing his heart out to an empty room. "He's enjoying himself. I feel bad for him."

Art of a Hit is an art movie for artists. Any artist, not just musicians. Is art meaningful if no one sees or hears it? Would you rather have millions of people love something you created that you personally hate? The movie has no clear answers and ends on a somber note that hit me in the gut.

In a passionate conversation with Ryan, Cristin poses the film's most pragmatic opinion: "Success is just so random. It doesn't matter if we die famous or no one knows who we are because we all end up in a pile of dirt in the ground. It's just art. It's not that big of a deal."

I found this indie drama to be uninspiring and boring. The actors had no chemistry and felt like they did not buy into or believe their own roles. They should have produced better music for the film provided that was a crux of the plot. The comical aspect failed to be conveyed as well amongst times of needed comic relief. I found the jump scares to be some of the only scary aspects of merit. But i found myself getting very bored and watching the ticker to see how much was left in the movie. I will comment that the sound design from a sound effects standpoint was very well done in contrast to the poor music used in the film.