Michael M. Bilandic’s “Hellaware” is cleverly, if absurdly, titled —the portmanteau of “Hell” and “Delaware” conjuring up the fiery depths into which this film's protagonist sinks after a fateful trip to The First State. But it also could be seen as a mashup of “hella” and “aware,” which could aptly describe the pretentious Brooklyn artsy hipsters that populate the protagonist’s milieu: highly self-conscious, self-styled individuals, whose “art” is all style and no substance. In reaction to that, “Hellaware” is a cynical, caustic, and often very funny send up of not only the current commercial art world but the entire borough of Brooklyn. In doing so, the film manages to make a very silly and stereotypical Insane Clown Posse-esque rap rock group look like the good guys.
Nate (Keith Poulson) is our protagonist, and eventual anti-hero, a struggling artist frustrated by the successes of those around him who are celebrated for their gimmicky, quasi-outsider art. He snaps when Lexie (Kate...
