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David Bowie: The Last Five Years

David Bowie: The Last Five Years

Music · Documentary · TV Movie · 2017

In the last five years of his life, David Bowie ended nearly a decade of silence to engage in an extraordinary burst of activity, producing two groundbreaking albums and a musical. David Bowie: The Last Five Years explores this unexpected end to a remarkable career. Made with remarkable access, Francis Whately’s documentary is a revelatory follow-up to his acclaimed 2013 documentary David Bowie: Five Years, which chronicled Bowie’s golden ‘70s and early-‘80s period.

Movie details

David Bowie: The Last Five Years

2017 Music · Documentary · TV Movie 1h 30m

Critical arithmetic

One number, for now.

TMDB

7.1 / 10

Community rating

In the last five years of his life, David Bowie ended nearly a decade of silence to engage in an extraordinary burst of activity, producing two groundbreaking albums and a musical. David Bowie: The Last Five Years explores this unexpected end to a remarkable career. Made with remarkable access, Francis Whately’s documentary is a revelatory follow-up to his acclaimed 2013 documentary David Bowie: Five Years, which chronicled Bowie’s golden ‘70s and early-‘80s period.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over David Bowie: The Last Five Years?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

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Names above the title

The people responsible.

Directed by

Francis Whately

Written by

Francis Whately

David Bowie

David Bowie

Self (archive footage)

Michael C. Hall

Michael C. Hall

Self

Toni Basil

Toni Basil

Self

Tony Visconti

Tony Visconti

Self

Gail Ann Dorsey

Gail Ann Dorsey

Self

Donny McCaslin

Donny McCaslin

Self

G

Geoff MacCormack

Self

Court is in session

Put David Bowie: The Last Five Years on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.