fengypants’s review published on Letterboxd :
If I’d watched this movie when it first came out, I would’ve thought it was stupid (“no plot”).
If I’d watched it in my twenties, I would’ve thought all the characters were lame (and gross).
And going into it now, I thought I was going to get laughable ‘80s kitsch.
Instead it was energetic, observant, unsentimental, unusual, and just plain rad, with amazing one-liners and great performances (Hell is perfect as rock star-on-the-brink/low-life nobody). Also, the loose, grainy 16mm cinematography ruled.
Score another one for the Metrograph.
Also: I know we’re talking punk rock here, but among all the other graffiti in the lot where Paul parks his van, there was also this, writ large behind Wren:
Possibly a comment on Wren’s relationship with Hell’s older/cooler Eric, but also just kinda neat to see it there in the background. Along with capturing a specific time and place (there is also the spray-painted “advertisement” for a band playing at Max’s Kansas City), Seidelman’s NYC does feel an awful lot like Bowie’s Hunger City.