Let’s Get Lost

Drama | English | 120 minutes

Info

Let’s Get Lost covers Chet Baker’s final year. Fortunately, the film also includes flashbacks and archival footage as Baker looks back on his roller coaster career playing with greats like Gerry Mulligan, Charlie Parker, and Russ Freeman while fighting his heroin-addiction and his turbulent relationships with his wife and girlfriends. Producer/director Bruce Weber depicted in the film the sharp contrast between the young, handsome Baker, known as the James Dean of jazz and the Chet Baker the film critic J. Hoberman later  described as “a seamy-looking drugstore cowboy-cum- derelict.” The film is the story of a very troubled musical genius. 

Cast
Chet Baker/Charlie Parker/Gerry Mulligan/Russ Freeman
Why Stream This Film?

Chet Baker was the rare musical genius who mesmerized audiences with both his voice and his trumpet. Let’s Get Lost is fabulous because Bruce Weber was able to  get the heroin-addicted Baker to talk so frankly about himself. And then there are those priceless archival segments of Baker with his women, fellow musicians, and friends. For jazz aficionados, Let’s Get Lost is a must-see film.

   
  • Rotten Tomatoes Score (Critics Consensus): 90%
  • Metacritic Score: 85
Accolades
  • Academy Awards: Nominated, Best Documentary Feature
  • Boston Society of Film Critics Awards: Winner, Best Documentary
  • Sundance Film Festival: Nominated, Best Documentary
  • International Documentary Association: Winner, Best Documentary
  • The film received perfect 5-Stars from The Guardian

Now streaming on:

There’s no other way to say it: ROMA is one of the best movies I’ve ever seen, and one of the most moving. If Norma Desmond had been able to see it she wouldn’t have worried about the pictures getting small.
Joe Morgenstern

The Wall Street Journal

Few directors tell large-scale stories with as much sensitivity as Cuarón. In ROMA he refined his style of marshaling various narrative strategies, including cinematic spectacle.  He uses both intimacy and monumentality to express the depths of ordinary life.
Manohla Dargis

The New York Times

The sumptuous film, based on Cuarón’s own childhood, reverberates not only with innocence but with the awful intuition of its collapse.
Anthony Lane

The New Yorker

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