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“Urchin” is rich in confidence without a penny of do-gooder pity.

The germ of an edgy fantasia about an isolated pop icon’s ego death is swimming somewhere in the DNA of “Hurry Up Tomorrow,” but it’s been flattened into a superficial, tear-stained pity party.

Olson’s talent for portraying characters with scrappy determination and grit lends realism to DJ’s struggles and creates sympathy, but not pity, in the viewer.

But the performance allows no room for pity, a feat even truer of his costar Moore, a crucial figure in future L.A.

LeBlanc never moves her camera away from the ground level; there are no policy prescriptions, no litanies of statistics and no melodramatic statements about pity or persistence.