Afouotos Although it has its amusing moments, in eneral the plot does not convince.

AshUnow This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

Arianna Moses Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Paynbob It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

kateskye Rowland S. Howard is depicted as a bold, passionate, innovative and opinionated guitarist. The film covers quite a bit of his early career in Australia, London and Berlin with The Boys Next Door / The Birthday Party. Nearly the first half of the film is dedicated to this period.The rest of the film chronicles his career and personal life, skipping over certain projects but giving a general picture of his music's evolution. There is no shortage of interviews, which include Nick Cave, Mick Harvey and Howard, himself. Many more valuable view points come from his siblings, ex-lovers, old friends and fellow musicians.I would say this film suffers mostly from occasional vagueness, a loose time line and a lack of photos and footage from certain periods in Howard's life. Overall it's an interesting and fairly insightful watch for those familiar with his music and fans of The Birthday Party. However, I can't guarantee that it will entertain the casual viewer.

Gopal Rao This is a nice portrait of a unique guitar player with a noisy yet melodic style, whose presence helped define a decade or more of primitive, arty and ambitious rock music. It relies on first hand accounts by a number of people close to Howard, including Nick Cave, Wim Wenders and Howard himself. Interspersed with waist-up interview shots are clips from various club and festival gigs, and a few still photographs.They pay special attention to the seeming contrast between Howard's droll sense of humor and the rather tragic melancholy of his music, and to some extent, his countenance. Like most rock docs, it has a sort of up then down trajectory that traces the subject's rise to prominence and subsequent fall into despair. But Autoluminescent doesn't really dwell on the drugs or the sickness or the failed romances. Instead, it uses them to set up each segment of the artist's musical development, from teenage prodigy to prodigal middle- aged son, returning to form from the brink of irrelevance.Cave's recollections seem especially affectionate, while rock doc stalwart Henry Rolllins seems typically awestruck by having crossed paths with such a transcendent talent.You get a good appreciation for the high regard in which Howard's contemporaries held his playing style, despite the difficulties they had maintaining personal connections with the man.I came away wanting to delve much further into his discography, beyond the Birthday Party stuff which mostly defines his career.