This Movie Can Only Be Described With One Word.

Self-important, over-dramatic, uninspired.

Excellent characters with emotional depth. My wife, daughter and granddaughter all enjoyed it...and me, too! Very good movie! You won't be disappointed.

There is definitely an excellent idea hidden in the background of the film. Unfortunately, it's difficult to find it.

This Documentary shows how Beliefs are the most essential part of our Life... In Swann's Way, Marcel Proust wrote : « Facts do not find their way into the world in which our beliefs reside; they did not produce our beliefs, they do not destroy them. » Nobody will destroy Teri Horton's Belief that she has bought a $50 million Pollock... As nobody will destroy the Expert's / collectors Belief that Teri has bought a $5 Fake. Science (also a Belief) does not enter the Realm of Art Experts, as Experts' Judgement does not enter Teri Horton's Realm. Because they both stick to their respective Beliefs, and, as said Proust : Facts do not enter the world of Beliefs...Thus, Teri Horton & the Experts are Both right. We simply all BELIEVE that Da Vinci has painted the Mona Lisa...

There's this old joke about a small town exhibit of Norman Rockwell paintings where a snobbish big city critic is trashing the art at every turn."We know why you don't like this art". says a local."And why is that?" asks the critic."Because we don't need you to tell us if it's any good!"And thus, this film begs the question, "Is collecting modern art about art or collecting autographs?"This HBO documentary details the adventures of Teri Horton (Tugboat Annie of the Trailer Park and professional dumpster diver); a small town gal finding herself in possession of what might very well be an original Jackson Pollock potentially worth millions and sets out to prove its authenticity. Herein lies the rub of modern art; "If you don't know who did it, is it any good"? We watch as the painting is wagged from pompous art critics to curious aficionados, business persons and forensic specialists each with their own take and assessment of authenticity. Little of which has anything to do with the actual art on the canvas.Here is a fascinating look at the facade of modern art and the stuffed shirts who make cowardly proclamations regarding authenticity while avoiding the content of the painting itself.Interesting stuff whether you like modern art or not; and while Ms. Horton's rural irascibility wears mighty thin by the end of the film, there's enough fun and insight to give anyone an art lesson.

This is a unique and terrific documentary which flows seamlessly along. The story is incredible and the direction is creative.What is most striking is the filmmakers' ability to retain the simplicity of the story while weaving it throughout a feature-length film. To accomplish this in such an entertaining way is the mark of a creative storyteller.The director smartly frames his cast of characters, capturing their idiosyncrasies and succeeding in making a film that is perhaps more about the people than the painting. The result is a colorful and fun movie which exposes how people can affect the world through imagination and personal determination.The film deserves a high rating because it stands out in its genre as a very well done, unique endeavor. Interestingly, the creation of the film itself is as important to the story as anything in the film and, to that end, it proves the power of its own message.

A moderately charming documentary investigates the odd stroke of luck one old lady came across when haphazardly buying this dirt cheap painting in a thrift store which turned out to have serious potential in belonging to famed drip-artist Pollock. The main subject of this small work, a 73 year old truck-driving Teri Horton, could have been a subject unto herself. Appearing greedy and ignorant despite her likability and down-to-earth qualities, her character had such potential when squared off against the art world elite, though the promise the premise seems to be banking on hardly seems to deliver. While a few humorous scenes help flesh out this gaping cultural rift between a grandmother who wanted to use her canvased splatter as a dartboard and the pompous scholarly critics who scoff at her every thought, most of the time is dedicated to the actual process she went through in seeking some sort of vindication, no matter physical or mental in her growing obsession.Examining the process Horton undertook to try and prove Pollock authenticity is mildly interesting, entirely moreso for painters, and still accessible enough for the layman to fully appreciate, but concentrating on this unusual circumstance negates the primary appeal Who the F%ck Is Jackson Pollack had going for it and deceives viewers into thinking it will be more culture clash then quirky research just from the title alone. Being a documentary, it is disappointing to not see more pleasantly uncomfortable humor being captured from this project given it's circumstances and marketing practically demand it.It may severely underplay an utterly unique and inherent comedic potential, but through this woman's arduous sense of entitlement, becomes delightful enough as we witness interesting forensic details unfold to see her (us) stick it out. There remains quite a few supporting interviewees who give memorable statements and footage to clue in this specific brand of hilarity (slightly-less-then-psychotic art critic Thomas Hoving and methodical, weirdly romantic paint analyst Peter Paul Biro show personalities more freakishly agreeable then many an offbeat-styled script could accomplish). It is a shame then that these fragmented, oddball personalities could not have been documented in actual exchanges to expose and entertain with stilted awkwardness. Remains a light, though partially educational character study of this stubborn woman, and does not betray newsworthy roots in overcompensating facts for perspectives.