The problem is Singer has little interest in applying the principles of storytelling to his stylised black-and-white footage. As such, it feels like the patronising beat underlying meandering personal interviews and vignettes is 'Look! This person is human!' 'Guys, guys! So is this person!' While this might be a helpful lesson to some, viewers already aware that homeless people are, yes, people will find little of substance to take away.
Shot in inky black and white, like a newspaper with graffiti typeface, and accompanied by experimental hip-hop maestro DJ Shadow's music, the film's bleak content is smartly aestheticized by these accoutrements, at once strengthening its sense of time and place and making the film more palatable and marketable.
An exemplary work among contemporary U.S. nonfiction features (a genre experiencing its own dark days), Marc Singer's sole feature to date is as beautiful as it is insightful... Unlike so many recent documentaries that use images only to advance predetermined political arguments, Singer is out to create a distinct atmosphere from his on-the-ground (make that under-the-ground) observation.