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Harley Flanagan: Wired for Chaos

MOVIE REVIEW
Harley Flanagan: Wired for Chaos

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Genre: Documentary, Music
Year Released: 2024, 2025
Runtime: 1h 39m
Director(s): Rex Miller
Where to Watch: in select theaters beginning June 20, 2025


RAVING REVIEW: A certain energy hits when a documentary refuses to put a polish on its subject. Instead of buffing the rough edges, this film leans into them, allowing its central figure, Harley Flanagan, to be messy, conflicted, and real. It doesn’t serve as a redemption fairytale or another nostalgia-heavy music tribute. It feels more like a reckoning that asks what happens after the noise fades and whether survival alone is enough to call something a win.


The story tracks a life shaped by chaos and sharpened through hardship, set against the unforgiving backdrop of 1970s New York. From childhood, Harley was thrust into a world far too adult, navigating squats, gang-infested streets, and scenes of trauma that most wouldn’t associate with a preteen. Music wasn’t a choice—it was an outlet. Punk wasn’t rebellion; it was instinct. And by the time he was drumming in iconic venues, the war for stability had already begun.

That early material is presented not with sentimentality, but clarity. There’s no glorifying the suffering, no framing it as an origin story to justify later fame. Instead, we’re given snapshots of a boy surviving, a teenager raging, and a man reckoning. What ties those moments together isn’t a timeline but a tone. The film jumps between periods, often without traditional structure, yet maintains cohesion through visual contrast and thematic consistency. It’s a balancing act, and while not always seamless.

One of the film’s strongest choices is the contrast between the past's chaos and the present's relative peace. Watching the subject on stage in archival footage—feral and relentless—next to scenes of him leading a martial arts class with a calm demeanor is startling in the best way. These visual parallels do the heavy lifting, making it clear that rage hasn’t vanished; it’s been redirected.

The narrative is further enriched by interviews that never feel forced. Flea, Ice T, Henry Rollins, and others provide thoughtful insights, not just compliments. Their presence isn’t about fame—it’s about perspective. Their memories and reflections don’t just add credibility; they make the subject feel like part of a cultural moment rather than an isolated case study.

That said, the film stops short of fully exploring the wider world in which this story unfolded. It touches on the New York hardcore scene but never dives into it. The absence of several key voices from that era stands out—not because they’re essential to the story, but because their omission leaves a noticeable gap in context. A broader set of opinions could have added some needed tension, perhaps even a challenge to the subject’s version of events.

Similarly, the documentary brushes past some of the more complicated chapters—legal battles, fractured friendships, and creative disputes—all acknowledged but not examined. These elements could’ve added another layer of complexity and helped explore the politics of legacy within a scene that often prides itself on authenticity.

The film shows a man trying to be better, parent better, teach better, and still be angry without letting that anger destroy him. And that effort feels genuine. There's no voiceover insisting on his transformation; it's shown through consistent, small actions. This approach is more impactful than a dramatic monologue or a tearful apology.

Technically, the film does well in setting its tone. Director Rex Miller brings a steady hand, using grit and restraint to guide the audience through decades of volatility. Some scenes are jarring in shifting between periods or emotional registers, and the sound design occasionally wavers with awkward cuts. But overall, the editing succeeds in stitching together a fractured life without artificially smoothing the edges.

What keeps the film grounded is its refusal to sanitize. The subject isn’t presented as a hero, and there’s no attempt to absolve him for past violence or missteps. Instead, we see someone still carrying the weight of his history, trying to reshape it into something constructive. That honesty is rare in this kind of storytelling, which gives the film its bite. A man who once fell prey to a culture that in the present day is the definition of hatred has managed to separate himself from the stereotypes and the core of what it means to be one.

It also resists the urge to draw grand conclusions. There’s no definitive answer about what it all means, and that ambiguity works in its favor. We’re left with a series of moments: a man raising his kids, leading students through drills, offering advice that feels hard-earned. Those images say more than any voiceover could.

As a character study, the film hits its mark. It doesn’t strive for myth. It offers context, shows contradictions, and embraces discomfort. Doing so paints a clearer picture of a life that’s still evolving. That message—that growth can happen even when the past is never fully behind you—carries far beyond the stage or the mat. The most striking thing here isn’t the music, the violence, or redemption. It’s the work—the constant, imperfect effort to take rage and pain and make them into something useful. That’s not just the film's heart—it’s what gives it lasting power.

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[photo courtesy of LIGHTYEAR ENTERTAINMENT, TRUST RECORDS COMPANY]

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Chris Jones
Entertainment Editor

Chris Jones, from Washington, Illinois, is the Mail Entertainment Editor covering Movies, Television, Books, and Music topics. He is the owner, writer, and editor of Overly Honest Reviews.