Equipped with a breakneck pace and a grimy visual aesthetic, “All the Streets Are Silent,” a streetwise documentary entrenched in the convergence between hip-hop culture and the skateboard scene in New York City during the late 80s and early 90s, swelters with an indisputable passion for its subject matter, but lacks a much-needed edge to accompany its information-heavy, insider-focused disposition.
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With director/editor Jeremy Elkin working behind the boards, ‘Streets’ features an eclectic assemblage of talking heads, ranging from hip-hop legends (including Kid Capri and Darryl McDaniels) to skateboard royalty (i.e., Jefferson Pang and Mike Hernandez). For those who grew up immersed in the 90s skateboarding scene—or later-generational hypebeasts who have since co-opted the aesthetic—‘Streets’ will likely stand out as an entertaining, all-star-filled blast from the past. However, for the outside observer, the doc offers very little in the way of information or entertainment.
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With archival footage and nostalgia operating as its prime fuel source, ‘Streets’ exemplifies the recurrent flaws that hinder most modern-day documentaries—intriguing subject matter hampered by a narrow gaze and broad targets. Fusing the racial divide through art, the influence of minorities on mainstream ethos, and the consequences of fame all surface throughout the duration of the documentary, but none of these topics are explored with any sense of urgency.
Furthermore, all moments of potential for substantive analysis pass by seemingly unnoticed; other moments regarding socially conscious topics are reduced to single sentences or brief diatribes. Although the doc features a celebratory reflection on rebellious youth’s capacity to alter the landscape of global culture, the film never boasts a worthwhile examination of the modern-day aftermath of the cultural collision that it habitually worships.
Thus, ‘Streets’ cinematically embodies the equivalent of someone pontificating upon their glory days without offering much for the viewer—outside of hip-hop and skateboarding enthusiasts, who admittedly seem to be the intended audiences—to latch on to. Fans of Larry Clark’s infamous film “Kids” might find it interesting to catch fleeting cameos of Harmony Korine and Justin Pierce, as well as recurring appearances from Harold Hunter, whose personality brings a jolt of energy every time he arrives on screen. Yet, even in the midst of the tragedy surrounding the lives of Pierce and Hunter—which are both skimmed over—‘Streets’ never manages to elicit any emotional impact.
Regrettably, the documentary is too oblique for the casual viewer, too rudimentary for the film savvy, and unfortunately proves that style cannot supplant substance for a project with too little to say. Beyond a respectful appreciation for some of its technical qualities and overall enthusiastic reverence for two remarkably influential subcultures, “All the Streets Are Silent” does not necessitate much of a response. [C-]