“THE ANDY WARHOL DIARIES” (NETFLIX)
Excellent, introspective, comprehensive study of a man who changed the medium, meaning of what constitutes “art”; Andy Warhol bulldozed the “pedestal”, “frame”, “vitrine”; rising above traditional “cross & crown”, the angst of Abstract Expressionism, focusing on contemporary, every day, and universal fascination with fame: television junkies, voyeuristic tabloids, shocking sensationalism of untimely demises, race riots, “death” chairs. Based on a daily, ten-year conversation with his friend Pat Hackett this astounding biopic examines Warhol’s loves (Jed Johnson, Jon Gould), losses (his friendship with Jean-Michel Basquiat) and the frenetic culture of the 80’s: ferocious, uninhibited sexuality, unrestrained drug use but primarily the egregious effects of AIDS. Enigmatic, Andy Warhol is laid bare in this profoundly, mind-boggling series.
“TOKYO VICE” (HBO MAX)
Ansel Elgort is dazzling in his portrayal of Jake Adelstein (1969-) a crime reporter living and working in Japan, totally redeeming his acting acuity after being miscast as “Tony” in “West Side Story” (instead of a seasoned thug he resembled the Archangel Gabriel); presciently paired with Ken Watanabe as Detective “Hiroto Katagiri”; their English/Japanese dialogue bellows with their intelligent command of dual languages. To this point is has earned….
“AMBULANCE” (IN THEATRES)
For action addicts, ludicrously loony, preposterous pundits, “Ambulance” serves the gamut of gratification; Jake Gyllenhall (“Danny Sharpe”) and Yahya Abdul-Mateen II (“Will Sharp”) brothers, defy, define idiocy in director Michael Bays romp, race through the highways, bowels of Los Angeles; offsetting monumental testosterone is paramedic “Cam Thompson” (Eisa Gonzalez), paradigm of beauty, brains and brawn. Does “Ambulance” match the intensity of “Baby Driver”, “Bullitt”, “Speed” maybe not, but provides enough titillation to keep the circumspect awake.