- Studio: Arthouse Films
- Release Date: Jul 21, 2010
- Critic Score
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75Some of the most honest and tender observations come from Basquiat's girlfriend at the time, Suzanne Mallouk.
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70Using clips from home movies, newsreels and public access TV, Davis does a heroic job of bringing the edgy and diffuse mixed-media New York art scene of the '80s back to life.
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70In the interview, a charmingly self-effacing Basquiat displays a winning smile; perhaps no one could explain what drove him, or his 1988 death from a heroin overdose at 27, but we do learn of his alienation from his family.
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90A remarkably rich documentary possessing depth, range, insight and compassion.
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60It doesn't dip much below the surface, but Tamra Davis' biography of her friend Jean-Michel Basquiat, who died in 1988, offers an informative introduction to one of contemporary art's most complex figures.
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75Talking heads include friends, fellow artists, art dealers and former girlfriends. One contributor is Julian Schnabel, the painter and filmmaker who directed the 1996 biopic "Basquiat."
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88Davis does the most thorough job of capturing Basquiat, man, artist, and life force.
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83This is the first full-length movie about his painting and his being that gets anywhere near close to comprehending both.
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People who have seen fellow painter Julian Schnabel's "Basquiat" - with its star-making portrayal by Jeffrey Wright - may reasonably trust its truth as a tribute over Davis' ostensibly more factual exercise.
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83The artist's arresting images speak for themselves, even though now only the bystanders are left to tell his story.
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75I doubt that Jean-Michel Basquiat would have endorsed the subtitle. Indeed, The Radiant Child seems to inflate the very cliché that the rest of this film is keen to refute.
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80A thoroughly engaging film about an inimitable New York painter.
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80It places Basquiat's art in a cultural context with an enthusiasm and zest that make the many pictures shown come blazingly alive.
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80The man himself stares into Davis's lens, both confident and scared; for these moments alone, the movie is key.
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70Her (Davis) homage--tender, never hagiographic--also contains some biting analysis of the racism, both overt and insidious, that the artist was up against.