Roughly 10 minutes of Martin Scorsese’s Netflix film about Bob Dylan’s “Rolling Thunder Revue” consists “of prankish fake-documentary footage, like something out of a Christopher Guest movie,” writes veteran critic Owen Gleiberman in Variety.
Disappointed and angry, Gleiberman writes, “In the movie, all this [fake] stuff is executed with deadpan drollery, in a spirit of high malarkey, that sounds harmless and fun. And maybe it is. Yet the fact that I was nearly seduced into palming off a blatant fabrication as fact kind of bugged me. It rubbed up against my journalistic instincts and made me bristle. I didn’t feel delighted — I felt played. And the fact that I liked the rest of the movie so much didn’t mitigate the irritation; if anything, it only increased it. Scorsese, working with mountains of footage from the Rolling Thunder Revue tour, had crafted a burbling, live-wire, turbulently vital portrait of Bob Dylan in the mid-’70s that felt kaleidoscopic in its authenticity. The movie puts you right on that tour, letting you brush up against the look and mood and spirit of a by-gone era. The film’s time-machine purity is its calling card. How, exactly, does making shit up fit into that?”
To read Gleiberman’s full review, please click here.