You can't accuse Adrian Grenier of being unaware of the ironies directing this movie. During his documentaryTeenage Paparazzo, he makes ample references to the looking-glass fact that he himself is a pretty-boy actor who stars in a TV series about the craziness and rewards of fame (Entourage), who is making a film about the camera-toting insects who also feed off the great celebrity machine. He's taken for his central figure a 13-year-old paparazzo named Austin Visschedyk; so arresting was the sight of this tiny kid clamoring for his photograph that Grenier decided to focus on the boy as the subject of his documentary--a way of exploring why a child would be so obsessed with celebrity culture these days, and what that says about us, and… you know.Teenage Paparazzois less successful as a piece of social inquiry than it is a profile of this specific kid, although Grenier does get a collection of grown-up paparazzi on record about why they do what they do, most of which comes down to a "We have to pay our bills, too" rationalization. One longtime photographer lets it slip how much he would die to be in Grenier's own movie-star shoes, a rare moment of authentic envy showing through. Grenier also brings in some of the big names of celeb culture, including a reliably clueless Paris Hilton (and, inevitably, Perez Hilton), Eva Longoria, and Brooke Shields. More jaundiced and articulate observers, such as Matt Damon and Alec Baldwin, give the goods on what it's like to be swarmed by paparazzi. All this adds up to not much more than you'd probably already known about the phenomenon, except for the very personalized spectacle of Austin running around the streets of L.A. at night, wondering whether Lindsay Lohan might be exiting a restaurant somewhere. And that is indeed a sobering sight.--Robert Horton