He is part of the Remodernist film movement, which he described as the next development of Postmodernism and the transformation of existing cultural features, but "using the technology and the sensibility of contemporary rather than nostalgia".[6] "My idea of my work's importance is to see how it moves the culture to where I'd like to see it", Poe said in a 1981 interview.[7]
The New York Times reported in 2020 that Poe had lost all ownership of several of his groundbreaking films, including The Blank Generation, to Ivan Kral in a 2012 lawsuit over profits from licensing fees for showings of the film. Thereafter, Kral billed himself as the director of the film, demoting Poe to co-editor; Kral also acquired ownership, for $10 each, of Poe's films Unmade Beds, The Foreigner, Subway Riders, and Empire II. In late 2019, shortly before Kral's death, at a screening of The Blank Generation, it was revealed that Kral, or his wife, Cindy Hudson, had changed the ending of the film, switching out the original ending (depicting Patti Smith Group guitarist Lenny Kaye), for a brief biopic about Kral, followed with the credit "directed by Cindy Hudson." Although the theater screening the film had, apparently unknowingly, marketed it as the iconic 1976 work, it was a considerably different film, and Poe's name was excised entirely.[8]
^Grierson, Tim; Adams, Sam; Fear, David; Garber-Paul, Elisabeth (August 9, 2016). "25 Greatest Punk Rock Movies of All Time". Rollingstone.com. Retrieved September 6, 2020.
^Sarah Charlesworth (April 1, 1981). "Subway Riders: Amos Poe". BOMB Magazine. Archived from the original on January 10, 2019. Retrieved January 9, 2019.