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Wassup Rockers 2005
Description: Instead of adhering to the norms of their South Central neighborhood, a group of skater men opt to bus into Hollywood and Beverly Hills, where they attract local rich women - and plenty of problem with the police, jealous boyfriends, and nervous parents.
Released: 05 Apr 2006 Director: Larry Clark Writers: Larry Clark (screenplay), Larry Clark (story), Matthew Frost (story) Actors: Jonathan Velasquez, Francisco Pedrasa, Milton Velasquez, Usvaldo Panameno Genres: Comedy, Drama
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Wassup Rockers Reviews:

For the sake of your time, and mine, I'll skip the synopsis and receive right to the point: Larry Clark's Wassup Rockers loses none of the Clark appeal, that his fanatics have grown to admire, in the switch to a softer movie that Clark hopes will be more agreed by distributors than his previous movies. As most of Clark's fanatics know endeavors such as Ken Park, Children and Bully have all focused around 'bad' kids, however, in Rockers, the children are just trying to be themselves without getting harassed by their peers for not succumbing to the hip-hop element so show in their South Central neighbourhood. During the boys' eventful day in Beverly Hills, a parallel to The Warriors, a favourite of Clark's, can be clearly drawn. In short, this has been Larry Clark's greatest movie to date. So nice in fact, even my girlfriend who is not a fanatic of Larry Clark at all really enjoyed it.


I work with youth in Los Angeles, and Wassup Rockers is probably the most accurate non-documentary depiction I have ever seen of LA youth on film. Granted, the "acting" is choppy as it clearly jumps between the children being themselves, and then telling scripted lines. But the characters are real. The most poignant mission of the movie was that murders are taking zone in impoverished neighborhoods just a short bus ride away from the multi-million dollar homes and cushy lifestyles of Beverly Hills. The storyline was low and lacked fluidity, but the reality of the characters made up for it twofold. With the exception of the "preppy" kids, who seemed a bit forced, the characters are all spot on for how LA children today truly are. And the graphic descriptions of sexuality are not exaggerations. If you wish to know exactly what the inner-city youth look like today, look no further than Wassup Rockers. This movie is a gotta see for anyone who intends to work with kids, especially in an urban environment.


Larry Clark is one of the rare active filmmakers in North America-and in the world-who makes movies that are overwhelmingly necessary and immediate. Though on the surface his topics are not openly political, nor full of grand pretenses, his movies are among the most vital portraits of the cultural, political and social landscape of North America in newest years. In Wassup Rockers, Clark, the leading infant poor of globe cinema, has perhaps created his best polemic. He has place his fists down. After the roars of rage of his two previous films, Bully and the masterpiece Ken Park, the filmmaker lets more tenderness into his scenes than ever before. Ken Park certainly had moments of nice tenderness, often between shocking moments (the concluding sex scene, which has been hailed by some as the most moving sex stage in cinema, certainly comes to mind), but Wassup Rockers has a various sense of tenderness. This portrait of punk-rock Latino solidarity, of Salvadorian and Guatemalan refugees in South Central Los Angeles, who belong only in their own worlds, is poetic and inspiring, like all of Larry Clark's movies it is most pretty in its portrait of the ugliness with which the globe treats the wretched of the world, perhaps because it provides us with a sense of reality that we recognize. Like Kids, Wassup Rockers is set during one eventful, symbolic or fully meaningless day, in which they decide to visit the white man's world, of which they can only imagine, like all oppressed folks think of their oppressors. Just wanting to skateboard (a fetish of Clark's) in the luxurious parts of Los Angeles is enough to change their world, as they war bigot after bigot and are exposed to the extreme violence that lies beneath the surface of bourgeois comfort. There is one extraordinary stage between one of the men (who, like all of the another main actors in the film, is a non-professional more or less testing himself, whose character, like the others, even has his own name) and a wealthy woman that he meets, both test and have a conversation with one another, but they are never really able to communicate, to penetrate and to break through the walls of social class that separate them, they speak various languages, one speaks of constant struggle, the another of comfort, one speaks of death, the another speaks of knowing only life, one speaks of friends, the another speaks of brothers, of comrades in arms. The images, sometimes extraordinary for the sake of being so real, are made even more strong by the blaring punk rock which provides an wonderful rhythm for the film, instilling in the movie an unmerciful and energetic musical counterpart to the proletariat struggle depicted in the photos of the film. As everytime though, a easy analysis of a Larry Clark movie tends to never really capture his wonderful sense of ambiance, because his objective is not to create a statement about anything that can be easy understood cerebrally, but to understand these kids, who live in constant marginalization without realizing it, who didn't select the conditions in which they live but face them fearlessly, collectively, like a tribe going into battle, fighting together.



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