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How sad is this?

Good story, Not enough for a whole film

Fresh and Exciting

This is a dark and sometimes deeply uncomfortable drama

Knockout! I really enjoyed this film. I confess; I actually dropped a tear. It was not only moving with the music but more so with the direct voices of the people being interviewed. Feeling some of the top-superstar-getting paid (!) DJS profess there intimate moments with the ones that inspired them to be where they are today is not only genius on the part of the director but so on point with his creativity. The juxtaposition of the archive footage to the music to the silence to the roar of the sub-woofer peeling the cinema walls in shreds will take us all their. This is not a techno film nor does it have techno music in it; but it takes on the inspirations that made most t=fo the techno DJs/producers. Got it.I really liked this film. It's definitely worth the money to see. No film is for everyone but this one is for many.Matthew Star

When I saw the film in Mass. I thought it was a great piece of work.In fact it was an in-depth look at the underground like never before. The profoundness of the music was on point, specifically the scene in which one of the main individuals is introduced with melodic keys overlayed with a poetic voice over; it's hypnotic.From the opening shots along the street from the train, to the entry of the club then on into it's inner sanctum, viewers will be sucked into the screen until the final credits roll, and glued to their seat long after that. It is powerful, sincere and an accurate representation of "What is dance music culture", and required viewing for those who want to know. Audience members testified along with the soundtrack, hollered as their hero DJs appeared on-screen and cried as they were reminded of all we've lost. Yes, it was worth the wait and it will be large.The movie finds its strength in the gritty video footage of David Mancuso's Loft, Nicky Siano's Gallery and of course the final weekend at the Garage. Never widely seen, these priceless nuggets of history offer a spine-tingling visual of the dancers in their hallowed rooms, while showing the youthful exuberance of the DJs as they blazed their musical trails. It also excels in the presentation of uncommonly heard voices of the movement like the Sanctuary's Francis Grasso, Tony Humphries and Alex Rosner who spoke about aural pioneer, Richard Long. Josell augments the overall impact of all this by employing interesting camera angles, slow motion replay and the effective use of silence. Calling each viewers individual Theater of the Mind into full-effect, and capturing the tacit truth of just how powerful this all really is. It's greatest weakness is that it can't tell every story, recall every influential party during this period and beyond, name every name, or reflect every partier's experience but for what it does explore, specifically Larry and those around him, it paints a realistic picture from an excellent starting point.I think all those people in the public that wonder about studio 54 or disco or house or the underground should witness this great piece of work. It worked for me and many of my friends.the beauty of film Phil undagroundArchives

When I saw the film in Mass. I thought it was a great piece of work.In fact it was an in-depth look at the underground like never before.The profoundness of the music was on point, specifically the scene in which one of the main individuals is introduced with melodic keys overlayed with a poetic voice over is hypnotic, got goose bumps.This doc explores the evolution of the club scene from its roots in the late 60's, to it's height with the Paradise Garage and Larry Levan in the seventies, then on to it's depths with the AIDS crisis in the 80's. It is a story that outlines the genus of a now global musical movement and is told by the people who created it, the dancers who witnessed it and the pioneers who survived to tell the tale.From the opening shots along the street from the train, to the entry of the club then on into it's inner sanctum, viewers will be sucked into the screen until the final credits roll, and glued to their seat long after that. It is powerful, sincere and an accurate representation of "What is House 101", and required viewing for those who want to know. Audience members testified along with the soundtrack, hollered as their hero DJs appeared on-screen and cried as they were reminded of all we've lost. Yes, it was worth the wait and it will be large.The movie finds its strength in the gritty video footage of David Mancuso's Loft, Nicky Siano's Gallery and of course the final weekend at the Garage. Never widely seen, these priceless nuggets of history offer a spine-tingling visual of the dancers in their hallowed rooms, while showing the youthful exuberance of the DJs as they blazed their musical trails. It also excels in the presentation of uncommonly heard voices of the movement like the Sanctuary's Francis Grasso, Tony Humphries and Alex Rosner who spoke about aural pioneer, Richard Long. Josell augments the overall impact of all this by employing interesting camera angles, slow motion replay and the effective use of silence. Calling each viewers individual Theater of the Mind into full-effect, and capturing the tacit truth of just how powerful this all really is. It's greatest weakness is that it can't tell every story, recall every influential party during this period and beyond, name every name, or reflect every partier's experience but for what it does explore, specifically Larry and those around him, it paints a realistic picture from an excellent starting point.I think all those people in the public that wonder about studio 54 or disco or house or the underground should witness this great piece of work. It worked for me and many of my friends.I'm not sure what you were talking about D (aka little siddie) but the film had no techno music what so ever, not sure if you saw the same film.the beauty of film C\ undaground

Waiting in the bar of the Prince Charles Theatre, Leicester Square, for the premier of Maestro to kick off I was expecting a film about clubbing, the best DJs of our time and why everyone loves to dance until their stomach falls out. What I got was one of the most emotional roller coaster journeys I have ever experienced while watching a film. Trying to describe Maestro, knowing many have not yet seen it, is a daunting task and one that I know will not do justice to the four year long masterpiece that Josell Ramos has created. But I'm gonna try because you guys really need to see this film!Maestro takes you through a journey of the underground dance movement that started in the 70's. While people were still celebrating disco, one man - Larry Levan - found a sound that gave birth to a new generation. The generation that we now know as clubbing. Larry Levan and David Mancuso started the phenomenon that became the underground scene at NYC's Paradise Garage and The Loft. David and Larry were brothers in the making of a scene and sound that was to exist forever.All the way through the film, people - now in their 40s and 50s - talk about the effect Larry Levan has had on their life. Sitting here, writing this review, he's affected me in the same way even though he's been dead for over twenty years. The regulars at both The Loft and The Garage found that this man gave them something that no other person could have - an identity. Think how you've felt in your best clubbing experience, watching your favourite DJ play a song that will stay with you forever. Then think that for these people that was how they felt every night when Larry played.But just when the audience where getting edgy, wanting to run out of the cinema and find the nearest pumping tune, the film took a turn that stopped the bobbing heads in their tracks. The underground scene was at its best mixing the euphoric feeling of the best sound people had ever heard with mind-blowing drugs and more love than they'd ever felt. At the peak of this insurrection, friends started disappearing. Slowly at first - ten or twenty people would not be seen for ages. When they were seen, they were desperately ill. Larry was one of them. Hundreds of people died and they didn't know what was happening to them. What had happened was that their experimentation with sex, drugs and an amazing scene had caused their death. We may go clubbing, take drugs, experiment a little with whatever's on the market to heighten our clubbing experience, but we know the risks. We make our own choices and we know that whatever we do, we do it because we made an informed decision. Just imagine, twenty or thirty of your best mates, your clubbing pals, dying all at once and imagine how these guys felt when that happened thirty years ago. It's a sobering feeling and Ramos not only made me almost feel guilty, for the half hour before when I was burning to get out and party, but also made me realise exactly what Larry, David and the regulars did for clubbing today.I thank Josell Ramos for telling this story and for allowing it to be told with so much heart. I urge you to go and see Maestro and defy you not to b e touched by it!(Toni Jones)From what I've heard the film is preparing its US debut; this film should be supported.lets go to the movies Pete Klein