Bones Brigade: An Autobiography (d. Stacy Peralta)
Stacy Peralta returns to skateboarding culture with mixed results in Bones Brigade: An Autobiography. A sort of sequel to Dogtown and Z-Boys, which focused on his mates in early 1970s crew Zephyr, Peralta’s new film turns to the titular group of talented young misfits that he and business partner George Powell recruited in 1978, who went on to dominate the sport for the next decade. Like Dogtown, this is a likeable memory box of a movie, which briskly mixes up talking head interviews with scratchy archival footage and snapshots visibly manipulated by the director’s own hand. Peralta has a knack for converting alternative social history into this strangely effective hybrid of MTV and family album aesthetics. His firsthand experience and easy conversance with his subjects – who sometimes boyishly narrate his past actions to him with the kind of reverence guys usually reserve for dads and deities – makes for a good hook, and certainly there are worse tour guides through skater culture than a scrappy Jeff Daniels doppelgänger. Still, for an autobiography, this enthusiastic campfire reunion can feel cursory, especially at a bloated two-hour running time.
The main problem, which might be a moot point for viewers already well-versed in the personal sagas of skaters like Tony Hawk and Tommy Guerrero, is the film’s insularity. Peralta and his protégées have immaculately preserved memories (thanks to their avowed disinterest in any serious drug use), but while the Bones Brigade’s early successes are methodically catalogued, eventually the timeline gets washed out in a deluge of insider anecdotes punctuated by weak assertions that “That changed everything.” It doesn’t help that the complicated tricks they invented are virtually indistinguishable on film. Soft-spoken tricks man Rodney Mullen is compelling all the same, and it’s his lyrical testimony that most suggests what the film might have been. While Hawk got the video game franchise for his technical mastery, it’s hinted that Mullen was the aesthete the others envied. Towards the end he gives a monologue about authorship that’s easily the best thing in the movie; you’ll wish Bones Brigade was his autobiography.**1/2/****