I’m a fervent fan of Matthew Heineman’s previous two documentaries, “City of Ghosts” and his Oscar-nominated “Cartel Land,” both socially relevant probes into the death and corruption exacted by thugs representing ISIS and Mexican drug czars, respectively. Those films are as riveting as they are eye-opening, qualities conspicuously lacking in his latest endeavor, “The Boy from Medellín.”
The “Boy” of the title is Colombian reggaeton sensation J Balvin, a charismatic performer with four Latin Grammys and a worldwide following to his credit, including reigning hip-hop royalty, Beyonce and Jay-Z. But he remains largely a curiosity in the United States, where he once toiled as a roofer and house painter while attempting to learn English. All that is beyond admirable, but why does it warrant a feature-length documentary by one of the world’s more accomplished filmmakers?
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That’s the question dancing around in the mind during what amounts to a 95-minute J Balvin lovefest set in and around the performer’s highly anticipated 2019 concert in his hometown of Medellín, Colombia. Clearly, Heineman has come in praise of Balvin, but fails to offer evidence as to why we should care an iota about an artist with not much on his mind beyond chasing success.
The premise, I guess, is that Balvin has overachieved despite a constant battle with depression. And to that, I say, “good for him.” But I’m betting he’s far from the only rapper inflicted with mood swings. What makes him so special? Other than a few catchy tunes, Balvin projects as dull, unaware and clueless about the plight of fans, particularly those in his native Colombia feeling the sting of repression under the rule of government leaders placing the pursuit of power ahead of the desperate pleas of the people.
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Heineman haphazardly attempts to lend relevance by tying in the violent protests brewing in the streets of Colombia during the October 2019 uprising, riots fueled by the reluctance of right-wing President Ivan Duque to answer demands for higher wages, improved healthcare, better-funded schools and a halt to plans to reduce pensions. But he presents it as if Balvin lending his support will insure a rosy outcome. Naturally, a clumsy show of solidarity by the not terribly articulate Balvin lands flat, stirring anger from all sides. Woody Guthrie or Bob Dylan, he’s not.
Instead, Balvin projects obliviousness and can’t understand why he’s encountering such a backlash. Worse, it could ruin his waning confidence as show time nears. Boo hoo! Luckily, he has a life coach close at hand and other spiritual healing methods to enable him to push forward and regain the adulation -- as well as the hard-earned Colombian pesos -- of his adoring fans. Too bad the 18-year-old boy killed by a rubber bullet fired by riot police during the protests in Bogota didn’t have the same luxury.
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It’s a bit much asking us to empathize with a filthy rich music star, particularly one as vacant as Balvin. His self-involved behavior plays like a “This is Spinal Tap” parody of a dopey, insecure hip-hop star in way over his head. Somehow, I don’t think this is Heineman’s intent. But he does gather some intense moments, like Balvin washing his face, getting tattooed and outfitted in garish costumes that look silly festooned to a man in his mid-30s. Then there’s the “serious” talk Balvin has with his manager, Scooter Braun (also one of the film’s producers), over how the star confuses himself with his stage persona when expressing his shallow political views. And don’t get me started on the contrast between his opulent home and the plight of fans living paycheck to paycheck in hovels not high on a hill.
Such a blatant display of superficiality is disheartening given Heineman’s reputation for calling attention to the atrocities inflicted upon the poor and the powerless. But he does do a more than adequate job capturing the actual concert during a lively third act. Balvin is quite the showman, and his lavishly tricked-out stage is truly something to witness. But like the star commanding it, “The Boy from Medellín” is all glitz and little substance.
Movie review
The Boy from Medellín
(R for language.) A documentary by Matthew Heineman featuring Colombian reggaeton star J Balvin. Streaming on Amazon Prime beginning May 7. Grade: C
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