Its looseness adequately portrays Plimpton as an inwardly conflicted figure, but it fails to make much of a case for his legacy outside of The Paris Review’s still-noticeable brand.
Persistence of Vision is just as rhythmically inclined as the lost masterpiece it dotes upon.
The film fulfills its mandate, even if it indulges in a bit too much RFK Jr. veneration along the way.
As in publishing, the alarmist polemic has become its own documentary subgenre, and Fuel is merely its latest entrant.
In many ways, the 1960s set the stage for our more recent history.