IMDb > Kill Your Idols (2004)

Kill Your Idols (2004) More at IMDbPro »

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Overview

User Rating:
6.8/10   223 votes
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Down 13% in popularity this week. See why on IMDbPro.
Director:
Scott Crary
Contact:
View company contact information for Kill Your Idols on IMDbPro.
Release Date:
8 April 2004 (UK) more
Genre:
Documentary | Music more
Tagline:
You Are A Target Market.
Plot:
A documentary on thirty years of alternative NYC rock 'n roll. | add synopsis
Plot Keywords:
more
User Comments:
scenesters, culture-vultures, and decay more (7 total)

Cast

  (Credited cast)
Ron Albertson ... Himself
Angus Andrew ... Himself
Tristan Bechet ... Himself
Hisham Bharoocha ... Himself
Glenn Branca ... Himself
Sebastien Brault ... Himself
Brian Chase ... Himself
Bjorn Copeland ... Himself
Eric Copeland ... Himself
Susan Donaldson ... Herself
Michael Gira ... Himself
Aaron Hemphill ... Himself

Eugene Hutz ... Himself
Oren Kaplan ... Himself
Lung Leg ... Herself (archive footage)
Arto Lindsay ... Himself
Lydia Lunch ... Herself
Matthew McAuley ... Himself (as Matt McAuley)
Brain McPeck ... Himself
Thurston Moore ... Himself
Pat Nature ... Himself
Chris Pravdica ... Himself
Pamela Racine ... Herself
Lee Ranaldo ... Himself
Martin Rev ... Himself
Sergei Ryabtsev ... Himself (as Sergey Rjabtzev)
Jim Sclavunos ... Himself
J.G. Thirlwell ... Himself (as Jim Thirlwell)
Aaron Warren ... Himself
Yeah Yeah Yeahs
Nick Zinner ... Himself
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Additional Details

Parents Guide:
Add content advisory for parents
Runtime:
USA:75 min
Country:
USA
Language:
English
Color:
Black and White | Color
Company:
Hunger Artist Productions more

Fun Stuff

Trivia:
The title of the film is inspired by the Sonic Youth song "Kill Yr Idols". more
Movie Connections:
Features Fingered (1986) more
Soundtrack:
Haltura more

FAQ

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User Comments

   (Comment on this title)
35 out of 38 people found the following comment useful.
scenesters, culture-vultures, and decay, 1 April 2006
10/10
Author: musidorus-1 from United States

In the first half of this great documentary, we meet the former members of the 70's and early '80s New York no-wave scene which included Suicide, Lydia Lunch, DNA, Theoretical Girls, Teenage Jesus and the Jerks, Swans, and Sonic Youth. We learn how truly underground and chaotic their thing was; they took punk to an extreme that the more familiar NY bands (Dead Boys, Ramones, etc) never dared. This was anti-music, atonal and extreme, but very much in step with the punk ethos of breaking down the barrier between artist and audience. These were some truly desperate and alienated human beings raging out with the only means available to them. The docu features original on-stage footage filmed in tiny clubs as they shrieked, abused guitars, and pounded away in desperation. Whether or not you like that sort of thing, the scene's urgency and authenticity spoke for itself.

Fast forward to the 21st century. For some reason the post-punk/no-wave shtick is fashionable again, and we meet the Yeah Yeah Yeahs, the Liars, Black Dice, and a few others. This is a selection of artists who happen to be in line, on some level, with the no-wave aesthetic- but as anyone who's been following recent pop trends knows, they exist within a larger musical and cultural context obsessed with late 70s/ early 80s rock culture in general. They tell us a little about gigging it the Apple today and how impressed they are with their forebears. That's about all.

However, the original interviewees haven't gone away; somehow they're still alive and it's when they express their opinions on the new scene that the film really changes pace.

Yes, the film's second half amounts to one of the most severe ass-beatings ever recorded. They're quite remorseless; Lydia Lunch is particularly scorching in her assessment. Pretty much all of the original interviewees express their contempt for current-day trendies and scenesters who have nothing to say and simply want to feed off the past (whilst wallowing in the fashion, of course). To be sure, the two scenes stand in sharp contrast; the old zeitgeist of alienation, risks, originality, and zero recognition is a bit different from today's skin-deep New York that can spawn the Strokes and hype them up into superstar status before anyone's heard them. It was amusing for me to see this film at a film festival because I saw it in a room full of young hipsters who came expecting to be flattered and instead must have felt that they received a big slap in the face. There was a palpable tension in the air…

Fortunately the documentary doesn't set it all up as us vs. them, old scene vs. new scene. A glimpse of hope comes from the band Gogol Bordello and its leader Eugene Hutz, who emigrated from the Ukraine and play weird gypsy punk cabaret music in a downtown Manhattan joint. They're the only one of the crop of young bands featured here that seems to agree with Lunch and the rest that culture should look forward instead of backward.

Anyway, as you walk out of the theatre, your heart torn out and your punky haircut about to collapse in a shambles of postmodern anxiety, don't be too hard on yourself. No, let me rephrase that. Be as hard on yourself as possible and don't try to escape the film's point; it'll come back to haunt you. But, it's not too late to change. When you wake up the next morning, you just might find the courage to do something that's actually original.

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Some those people need a reality check slowestcentury
Like, you know Money_is_Flesh
Anyone seen this? HeedZ
questions raised by the film tim-nicholas-1
I'm soooo tired of the NYC cliché drainingfaces
ack! trailer question! funky511
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