I had high hopes after seeing the preview for Until the Light Takes Us.  Unfortunately, the movie seemed to be a bit too awkward and disjointed to really resonate, and I felt there was more to be told with the story.  The film loosely follows the divergent paths of Varg “Count Grishnackh” Vikernes and Gylve “Fenriz” Nagell, two Black Metal pioneers with different agendas for the genre.  It takes a while, but near the end, we understand that the goal of Black Metal in Norway was always meant to be more of a sociological movement than a “scene”.  It was never meant to attack people, but rather attack and challenge authority and societal norms, but this message and it’s delivery in the movie is very soft.  Along the way we see lots of beautiful shots of Scandinavia, but learn little about the music and it’s growth.

The thing is, most people seeing this movie will be fans of Black Metal, so they will have the basic historical knowledge of the events that led to its infamy in the early 90’s.  So seeing this movie really adds nothing for them.  There is too much focus on these events and not enough connecting them to the music, or explaining the atmosphere that all of this was made possible.  I feel that there was a lot that was left unsaid, and the sudden jump from “creating a new underground movement” to “burning churches and murdering homosexuals” left me saying, “OK, I know that, but why?”  Anyone watching this movie without this background knowledge will be confused and will probably fall back to blaming the usual heavy-metal stereotypes.  There’s no narrative to the movie, and this becomes a problem when we are subjected to some rambling manifestos of people using English as a second language.  It’s not their fault, but in trying to get their point across to the viewer, they stumble for the right terms quite a bit.  In the end, I wanted to know more about Vikernes, a fascinating character that I’m not sure is a genius or insane.

Overall Until the Light Takes Us was a disappointment.  Directors/Producers Aaron Aites and Audrey Ewell stylistically attempt to paint Fenriz and Vikernes as romantic leaders of a misunderstood revolution, but they come off more as metal caricatures from an episode of Metalocalypse (especially Frost from Satyricon, who looks like a fool wearing makeup and walking around in the dark).  Anyone who’s looking to learn more about Black Metal’s rise and fall is probably better off reading Lords of Chaos or even see the bonus material for Sam Dunn’s Metal: A Headbanger’s Journey.

Mark’s Rating:

King says: “Ummm… nice makeup?”

Justin’s Review:

If Black Metal is a rebellion against Death Metal, then Until the Light Takes Us could easily be considered the Black Metal equivalent to the modern metal documentary. Lo-Fi, often aimless, yet at times… strangely compelling. Unfortunately, much like the genre it’s trying to uncover, Until the Light Takes Us gets lost in its own gratuitousness.

Now I certainly wasn’t expecting to walk into another rehashing of Black Metal’s most famous cultural documentation, but based solely off the trailer and an interesting article (care of the Onion’s A/V Club), I was excited to see what directors Aaron Aites and Audrey Ewell had came up with. From the looks of things… candid interviews with two of BM’s progenitors, a smattering of historical footage, and in the director’s own words:

Not specifically the evolution of black metal, but the re-creation and re-contextualization of media and art and everything in modern culture. We’re really interested in a lot of postmodern theory and ideas, and we see a lot of parallels with black metal and the story of black metal.”

As promising as that sounds, UtLTU ultimately ends up combining fascinating interviews (Varg and Fenriz), with sophomoric commentary (Abbath and Hellhammer), idiotic “happenings” (Frost and supposed “visual artist” Bjarne Melgaard), and a solid 45 minutes of shaky footage of Fenriz walking around and chain smoking. While there certainly is a story to tell, it gets lost somewhere in the shuffle. Or should I say somewheres? Where the film excels in unraveling the mysteries behind Varg and Fenriz (and their diverse perspectives on the the scene itself), it severely lacks in a focused approach. The presentation of random footage and insufficient narrative will easily confuse anyone who isn’t partial to BM’s sordid history; and those who are, will find themselves waiting for the “meat and potatoes” of the film to be served. It’s evident enough that the film tries to make the sad connection between a reactionary genre that was distorted by the media (and its own minions), and the full-blown parody that it’s become today; but it never really drives the point home for either side. While some might argue that’s the whole purpose of a documentary, I tend to prefer documentaries that have purpose to begin with. UtLTU left me unsatisfied, but not clamoring for more.

Though I applaud Aites and Ewell’s commitment to the genre and their film (they did, in fact, move to Norway for several years to shoot this footage), I can’t help but feel that by taking the “artistic” approach with metal’s most infamous scene, they fall into the exact same parody they were attempting to document.

Justin’s Rating:

King says: “Is there anything more annoying than a heavy metal music critic who demands inspired, creative and intelligent cinema? Yes… and his name is Frost.”

“Until the Light Takes Us” Official Trailer:

Despite mainstream television distancing themselves ever further from what’s cool, and a handful of other disappointing “metal” ventures, 2009 surely showed us a good time.

First and foremost, this was a killer year for releases from both veterans and young-bloods alike. Quality albums seemed to be dropping on a weekly basis (including some great re-releases), and the fall release schedule was unlike anything I’d ever seen… chock full of outstanding records from the likes of likes of Baroness, Immortal, Skeletonwitch, Slayer and more. There was barely enough time to keep track of everything, and I’m certain I’ll still be listening with fresh ears well into the new year.

This year also presented us with some amazingly well-crafted documentaries in Flight 666 and Anvil! The Story of Anvil. In addition to being extremely enjoyable, both films have received critical acclaim, and hopefully, helped dispel some of the bias towards metalheads worldwide (we’re not all dip-shit losers after all).

2009 has also given us a variety of cool things to spend our money on, including but not limited to: Mercyful Fate shoes, heavy metal cookbooks, Enslaved vinyl box sets, Precious Metal, and plenty of challenging tracks for the little plastic baby guitars we all own.

From the looks of it, 2010 will continue to ride the wave of awesomeness with new releases from Dillinger, High on Fire, Meshuggah, Nachtmystium, Torche (and more); as well as fantastic tours and another promising documentary for us to enjoy. Here’s to hoping we all continue to deliver. Happy New Year y’all.

Stay Heavy.

It’s Friday night, and I’m sitting in the Music Box Theatre on Southport Ave. with giddy anticipation. I’m waiting to see Anvil! The Story of Anvil, a film critics have called the “next great rock documentary”, and to top it all off, the stars of the film will be in attendance to answer questions afterward. Over the past few weeks, I had definitely fallen victim to the whirlwind of critical acclaim given to the flick, and despite never being a fan of the band itself, I figured the heart-felt combination of characters, music and story would be a proven winner. I was right, Anvil! The Story of Anvil is worth the hype, it is a great movie that really shows the power of music and how people live when they won’t give up their dreams.

Having missed Iron Maiden: Flight 666 earlier in the week due to the laws of supply and demand, I was determined to see this heavy metal epic. We arrived at around 7:30pm… for a 9:40pm show. This turned out to be a little too early, as I secured tickets easily and had lots of time to kill. The Music Box Theatre is a fantastic place, filled with history and charm, and the crowd is filled with a nice mix of hipsters, film buffs and hard-core Anvil fans. With a box of Swedish Fish and a large Diet Coke in hand, I was ready to rock.

The movie begins rapidly, introducing us to the founding members of Anvil, their brief history at the top, and their pedestrian lives now. We soon realize that drummer Robb Reiner and singer/guitarist Steve “Lips” Kudlow are not the heavy metal megastars they should have been, but aging rockers combining a numb existence with a drive for success that seems fruitless and ridiculous. We learn about the guys from the people close to them, their family, friends and devoted fans that have supported them through the thick and the very, very thin. From there we follow the band through a depressing gauntlet as they refuse to give up their dream of rock-stardom. There’s a European tour filled with empty bars and empty promises, an album recording session that tries their patience and bank accounts, and finally an offer from Japan at a final shot at redemption. All the while hearing the doubts from others, and ultimately themselves. It’s all very Spinal Tap-ish, and if it wasn’t real, you’d think they scripted the whole thing.

Anvil! The Story of Anvil is amazing and it deserves the credit it has received. I did feel the pace of the movie was a bit too fast, and that it hindered our need to understand Robb and Lips’ lifetime of frustration and failure. I really wanted to know more about where they have been, and more information on the blown and missed opportunities to make it big. You feel sympathetic toward Reiner and Lips, but since we do not know some of the struggles they’ve gone through, their characters at times border on parody. That being said, it is still a fantastic story and even if you’re not into metal, you can’t help but root for Anvil to succeed.

Mark’s Rating:

King says: “Unlike Anvil, my dreams are filled with foreboding visits from Grandma.”

Justin’s Review:

As an avid film fan and novice critic, I’m of the mindset that a solid docu/rocku/mocku should delve deep into the subject at hand, and present a well-rounded story or observation. While the story of Anvil appears to be a fascinating and invigorating Tragicomedy, the filmmakers of Anvil! The Story of Anvil have opted to present us with a “slice of the lives” of founding members Robb Reiner & Steve “Lips” Kudlow, rather than delving into the band’s (seemingly) rich 30-year history (which is thusly portrayed through 3 minutes of concert footage and a couple of half-assed interviews with Slash & Lars). Considering the film only clocks in at 90 minutes, I think there’s a whole lot more story to tell and room to tell it.

While it may sound like I’m being a little too particular, you have to realize that Anvil! The Story of Anvil is being touted as “A Masterpiece” and compared to the likes of “This is Spinal Tap“. I figure it’s my duty to give the film a little bit of shit that it probably deserves.

But for the most part, Anvil! The Story of Anvil largely succeeds in portraying the classic “band down on their luck” motif, inviting us into the compelling lives of two very charismatic individuals and their road to self-redemption. Pretty much everything Mark says above is spot on, and to rehash it any further would be wasting both of our time. Instead, I think I’ll head over to Best Buy, set up the tent and wait for the Flight 666 to hit the shelves (as well as put in my pre-order for Anvil! The Story of Anvil).

Justin’s Rating:

King says: “I know another band that influenced Metallica… and they too have a dvd in the works.”

“Anvil! The Story of Anvil” Official Trailer:

To call the first leg of Maiden’s 2008 Somewhere Back in Time Tour a “big production” is a bit of an understatement. The logistics of transporting the band, 70 crew members, and 12 tons of gear over 5 continents in a month in a half is staggering. Now factor in a show every other day… and oh yeah… singer Bruce Dickinson is flying the custom-built 757 that gets them everywhere. A concept so ridiculously awesome, it just screams “documentary”. Thankfully Iron Maiden agreed, and had the foresight to ask along the metal community’s favorite film crew… Banger Productions.

So here we are… April 21st… Maiden Day… the theatrical world premiere of Flight 666, the feature-length rockumentary chronicling the most ambitious tour in history (23 concerts in 21 countries in 45 days… fuck!). Rowdy Maiden fans both young and old packed the house for the near 2-hour extravaganza, and thankfully, not a one of them had to be escorted out (though the eagle-eyed Kerasotes employees did manage to stifle a few beer-drinkers’ fun).

From the opening notes of Aces High, it was obvious that Flight 666 was going to be an instant classic (and real treat to witness on the big screen). Sam Dunn and company have outdone themselves yet again… with top-notch production, excellent camerawork and brilliant storytelling which documents both the ridiculously inspired tour, and the lengths that crazed Maiden fans are willing to go to appease their Metal Gods. And therein lies the heart of the film. While Maiden’s music and live show speak for themselves, it’s the glimpse into the devotion of Maiden fans from around the world that really speak volumes here. From the Japanese girl who wants to “become Steve Harris’ daughter” to “Father Iron Maiden” to the Columbian man who is shown weeping uncontrollably after catching one of Nicko McBrain’s drumsticks, Flight 666 does a fantastic job showcasing the reaction of metalheads who are exposed to something that most concertgoers take for granted.

As a stand-alone concert piece, Flight 666 soars as well. The high-definition footage is outstanding, and they manage to include most of the hits you’d hope for (including Rime of the Ancient Mariner for all you super-nerds). On the documentary side, the film leaves few stones unturned (though I’m still curious as to where they sat 10′ Eddie on the plane), and provides an in-depth look at both an extremely talented band, and the legacy they continue to carve into metal’s long, winding road.

If you weren’t celebrating MAIDEN DAY at the theater, shame on you for not buying your tickets sooner. (PWNED!) But have no fear (of the dark… sorry couldn’t resist), Flight 666 hits the shelves in Blu-ray & a 2-disc DVD set on June 9th. Run to the hills and buy the fuck out of this one.

Justin’s Rating:

King says: “As a society, you know we’re heading in the right direction when Iron Maiden command more cinematic real estate than Jessica Simpson.”

Chris’ Review:

Although it is technically a documentary, Flight 666 is the best concert film I’ve seen. As a casual Iron Maiden fan, a straight-ahead movie of a concert would probably not keep my attention for long, but this documentary had me fascinated from beginning to end.

First, I was already aware that Bruce Dickinson was a pilot and could fly the Iron Maiden tour plane, but I always assumed it was one of those Lear jets that you’re used to seeing rock stars in. I had no idea he flew a 757 airliner, like the kind you fly around the world. Holy shit! Nobody flies airliners as a hobby. Or maybe singing in the definitive metal band is his hobby. Wait, nobody could do that as a hobby either. Similar profiles throughout the film of each band member paint a convincing picture of the confounding amount of talent in this band.

Such ‘behind the music’ material could easy slip into trite self-tribute but tasteful restraint keeps the narrative focused on Iron Maiden the band, and, like everything Maiden does, unapologetically true to Iron Maiden’s brand of music and Iron Maiden fans. For those fans, the film presents a number of songs performed almost in their entirety. Mostly the hits you’d expect, but filmed incredibly close and clear. If you’ve always wondered what it would be like to see Steve Harris’ armpit in high definition on a 20-foot tall screen, I’ve seen it. Suffice it to say, the footage of these middle-aged rockers is definitely “warts and all.”

And whether you’re a metalhead or not, Flight 666 gives you a unique look into the global subculture of Iron Maiden fans. The tour starts in Mumbai, and the footage of fans in India, Central America, or Australia are all incredibly similar. A sea of black t-shirts, mostly young males, all really excited to be here. (Seriously, how many Iron Maiden t-shirts are there?) In places like Bogota, Columbia and San Jose, Costa Rica, the excitement is intense; this really could be a once-in-a-lifetime chance to see a band that basically laid the foundation of the metal culture that these young people use to define themselves.

I emphasize ‘young people’ because, as Bruce Dickinson ironically explains to the so-narrowly-target-marketed-that-he-is-culturally-irrelevant Eddie Trunk in the film, Maiden continues to draw new generations of fans in addition to the nostalgia crowd. The concept of the 2008 tour was to recreate an 80’s era Iron Maiden concert with the set from the Powerslave tour and a setlist from that era, not for the old farts to reminisce, but for the newer fans who would otherwise never have a chance to experience Maiden as fans in the 80’s did. Mercifully, the stage costumes were modern.

As befitting a band that traverses borders, cultures, and time, Flight 666 transcends beyond fan product to a view into the source of this global phenomenon. A view into the heart of the beast, if you will.

Chris’ Rating:

King says: “One time I piloted the Merciful Fate tour bus. Bad idea.”

Iron Maiden – “Flight 666: Official Trailer”

Chris’ Review:

Although I can’t count myself among them, I have to think that this extensive video package is a treat for hardcore Cannibal Corpse fans. For the casual fan or uninitiated the documentary is entertaining, but three hours of interviews covering all things Cannibal Corpse is perhaps more than you need.

It may be hard to believe that the three-hour documentary, narrated entirely by interviews of dozens of people, leaves any stone unturned but I thought some subjects may have been a little light while many subjects were over detailed. For example, as legitimate of musicians as the fine young Cannibals were, I have to think much of the band’s early notoriety was owed to their offensive album covers and lyrics. Original singer and lyricist Chris Barnes gets credit for setting the standard for death metal gore, and it was even he alone who sought comic book artist Vince Locke to draw the dead babies and zombie porn record covers for their first three albums. These details were explained in the movie but no one, not even the execs at Metal Blade, admitted that these factors defined Cannibal Corpse much more than their ‘death metal songwriting.’ It becomes a cliche how “focused” the band was on “songwriting” for every album cycle, and how the production was even “more brutal” than the last album.

Vain as the film may be, the point is effectively made that Cannibal Corpse is a band with a work ethic and talent that has kept them relevant in the genre they helped create.

But their self unawareness persists: did anybody out there actually care that Cannibal Corpse was the band in the background on some scene in Ace Ventura? This is played up in the documentary like proof that Cannibal Corpse made it to the big time. For me, being the band that stands in when the script calls for ‘heavy metal band’ is not a notable achievement.

On the other hand, many important topics were covered: Credit to the band and the producers for not glossing over personal issues between the many former members of the band, while still keeping the details personal; the question of why so many death metal bands came from Florida was approached, if not answered; the fact that multiple members of Cannibal Corpse were former members of Monstrosity is addressed; Ice-T was interviewed. A detailed family tree of the late 1980’s death metal scene in Buffalo, New York was missing from my life, but that void has been filled. Actually the start of the documentary struck me as a good description of how any scene happened in the era just before websites, e-mail, and file sharing. Let’s just say there was a lot of copy machines, cassette tapes, and driving involved.

Again, the target audience for this material is obviously those who can’t get enough Cannibal Corpse, and whether it’s their techniques for making home movies or a guided tour of every place they ever practiced, the Centuries of Torment documentary delivers. Add four more hours of live concert footage, music videos, and extra interviews, and you’ve got quite a weighty package of death and gore.

Chris’ Rating:

King says: “I actually have a Hammer Smashed Face, that’s why I’m always wearing this shit.”

Justin’s Review:

Whether you’re a veteran hesher who’s still rocking out to that Butchered at Birth tape stuck in the cassette deck of your Z28, or his MySpace-haired-Job-for-a-Cowboy-loving-douche-bag kid… this DVD is for you.

I think it’s safe to say, if you’re a fan of metal… this DVD is for you.

Hell… if you’re a fan of DVDs… this DVD is for you.

In fact, I think I’m going to e-mail my mom right now and tell her to add it to her Netflix Queue.

Put simply… Centuries of Torment sets the new standard for quality music DVDs. Going well beyond your run-of-the-mill, multi-camera live show (combined with stupid backstage antics that no one gives a shit about), Centuries of Torment is an in-depth look at one of the world’s most vile group of nice dudes.

Disc one features a three hour Biography-style documentary, highlighting Cannibal’s sordid career… a fascinating look at their transition from stereotypical 80s burnouts to death metal masters, and everything in between. While it’s true, as Chris points out, that this is “perhaps more than you need”… it has to be said that this IS Cannibal Corpse we’re talking about. Not exactly the types to sugar-coat anything, let-alone their 20-year retrospective. In addition to detailing the highs and (hilarious) lows of their career, the film delivers a candid look at every Cannibal album, injecting studio footage, a wealth of interviews, and a brutal trip down memory lane.

Disc two features your run-of-the-mill, multi-camera live show(s) (combined with the parent-filmed, grainy basement shows of yester-year), spanning their entire career. Topped off with a heaping dose of Cannibal music videos, this disc is worth a once-through.

Disc three (also known as “Bonus Chunks“) contains a multitude of featurettes, ranging from the dissecting of Cannibal’s album covers, to brutal stories from the road, to sick individual member profiles. Pretty much every gory detail the historical biography didn’t cover (and then some). If learning more about narcoleptic bus drivers, partying with Cher, and Corpsegrinder’s nasty t-shirt funk sound as hilariously entertaining to you as they do to me, Bonus Chunks is definitely worth your time.

Between Sam Dunn and the fine folks who bring you Centuries of Torment, I think it’s safe to say we have a lot to look forward to in the world of metal on film. Let’s just hope that other filmmakers look to it for inspiration, as Centuries of Torment has raised the bar pretty fucking high.

Justin’s Rating:

King says: “This DVD got me so excited for Cannibal, I bought this “Skull Full of Maggots” collector’s cup off ebay!  It’s time for tea!”