King Cohen offers a taste of nostalgia for a few different reasons. For those who are already familiar with his work, it’s a warm, cozy throwback, with an almost Spielberg-esque feel, for the hordes who grew up watching his films. For those who didn’t (myself included), it might also take you back in time to those 10-15 minute documentary short films you saw in theme parks or museums before going on a ride or into an exhibit.

This time, it’s a feature-length documentary on the acclaimed work and eclectic career of maverick writer, producer, and director Larry Cohen, who is best known for B-movie auteur films like Black Caesar, God Told Me To, Q, The Winged Serpent, The Stuff, and Phone Booth. The film boasts an impressive cast who contribute to his story through live interviews (including industry icons Martin Scorsese, John Landis, Michael Moriarty, Fred Williamson, Yaphet Kotto, Traci Lords, and more) as well as Cohen himself in a frenzy of passion for his bizarre and bold visions. The large array of archival stills and footage bring insight into the work, process and legacy of a career spanning more than 50 years.

Now, here’s a disclaimer: I have an attention span the size of a teaspoon–so results may vary. But I absolutely adore a great documentary so long as it catches my attention, whether that be through editing, content, etc. And though I don’t like to compare works to others, I feel that it’s necessary.

With the sharp rise of production quality and compelling content on platforms such as Netflix and YouTube, the bar for documentary filmmaking has been set so high. (Sorry James Cameron, you’re not responsible for this one.) Whether that be through features or a series, the documentary has transformed into something so cinematic that even people with short attention spans–and there are a lot of those in the year 2018–can be invested given it’s a subject that is of interest. And though the life and works of Cohen are inherently compelling themselves, the overall product of King Cohen as a film isn’t noteworthy, and talking heads that the cameraman directs to look at him/her (not the camera lens) aren’t substantial for 100 minutes.

(Don’t get me wrong though–I’m always down to listen to Scorsese talk forever).

Either way, it’s an incredibly informative story of the life and work of a man with a bizarre vision. If you don’t know who Larry Cohen is, you certainly will at the end of King Cohen. For documentary buffs, I urge you to form your own opinions based on other works you’ve seen lately. Maybe you can teach me something.