Metallica: Some Kind of Monster

This is probably the first documentary about Metallica that didn't make you feel good. All of the older documentaries show a band that was personable and fun-loving, rocking like no one else can. They showed us the Metallica we were proud to call ourselves fans of. But with Some Kind of Monster , we see a band full of weather-beaten rock stars, burned out (an understatement), tired, desperate, and aggravated. It broke my heart to watch this, but it was a damn fine documentary.

Frankly, I'm glad this was released. Because the average semi-informed fan of Metallica (like myself), has only seen the headlines over the past ten years - which served to make the band look like they were becoming complete pricks. I love Metallica. But the wall of negative stuff that was thrown at us in the past decade has tainted our view of the band. This documentary straightens some of it out. While I don't believe that was the goal of the film, it is a fortunate side-effect.

I know the Metallica of the 80's is gone - beer flying, 9-minute epic metal songs, and the long hair - but hopefully, our favorite rockers still have the fire within to bring us a few more great albums. Metallica showed the world that heavy metal (and I mean *heavy*) didn't have to use gimmicks and make-up to be mainstream. All it needed was the right attitude and talented musicians to play it. I've seen them live nearly 20 times. Nobody can do it like Metallica. Nobody.

I don't know how they do it, but although Metallica lost me as a fan many years ago (sometime in the mid 90's), they still manage to release DVDs that are totally intriguing. "Cunning Stunts" was an intense concert movie that let you feel the energy of a Metallica gig, where even songs from "Load" and "ReLoad" sounded good. Now, "Some Kind Of Monster" is something even more special. Really special. As far as rock films go, this one is right up there with "The Kids Are Alright" and "The Last Waltz".

Joe Berlinger & Bruce Sinofsky are always there in time to catch the most important facial expressions, quotes and actions. The movie almost runs too perfectly, as if the whole thing had been scripted. The emotions of the band members and those around them seem so genuine, though, that it's hard to have any doubts about the movie's authenticity. It must have been a terrible stressing for the band - especially in a situation like this - to have cameras around them all the time. Throughout the whole movie you feel like you're in the room with one of the biggest rock bands on the planet and the cool thing is, that you really get a look behind the image, behind that Rock 'N' Roll dream. What you find are three guys that are just as unsure about themselves, their friendship and their career as everybody else is. Hetfield, Hammett and Ulrich try to be honest throughout the whole documentary and everybody comes across as a more or less normal person (Ulrich and his ego are more than just a bit annoying, though, and it's sad to see that the band still doesn't seem to have the tiniest bit of respect for their former bandmate Jason Newstedt, who had to put up with a lot of crap for almost 15 years). A whiny appearance by former band member/Megadeth frontman Dave Mustaine sticks out as the most moving/funniest moment. It really must suck to feel like he does, regretting everyday that you've been kicked out of one of the biggest bands on earth. Respect for such an honest statement in front of the cameras, though.

"Some Kind Of Monster" entertains for more than 120 minutes (and there's more on the DVD) without ever getting boring. The weird thing about this documentary is, that it's never about the music, but more about the process of a band recording itself. Whoever said that this one is a must see for Metallica fans, documentary fans and anyone in between got it right. It's more than your usual VH1 special. This one REALLY takes a look "behind the music" and a very exciting one at that.

First of all, let me say I'm a Metallica fan so this review is unevitably biased. But then again, what review isn't? We all know Metallica are great business men, so the first question that arises is: is this movie a marketing tool? Even though I'm sure the movie will be a commercial success, my answer to the question is no.

Metallica's record company wanted the movie to accompany Metallica's 2003 release St. Anger as a weekly series of 30 minute reality TV to get the word out about the album. Metallica not only rejected that idea, but even decided to buy out the record company and release this a year later as a movie instead. We can only thank them for it.

This movie is certainly not a commercial for Metallica. We get to see the ugly side of Metallica. And it's ugly alright. We see Lars calling James a dick, shouting 'fuck' right in his face and getting drunk while selling his millions of dollars art collection. We see James yelling at Lars, slamming the door, checking in for rehab and after that demanding everyone to only work from 12 to 4. We see Kirk being a sissy the entire movie.

The title of the movie refers to James; he explains how Metallica has been a beast to him over the years. But Metallica has undoubtedly been a beast to others as well. Dave Mustaine is one of the most successful musicians in heavy metal with his band Megadeth, but apparently is still haunted by him being fired from Metallica. Nevertheless, the movie is ultimately about James' 'coming of age', changing from an angry alcoholic to a man who has managed to balance his personal life with the life in Metallica.

I have one beef with the movie. Around the end Lars says Metallica have proved that it's possible to make an angry record through positive energy. While I believe him when he says that, I do have to say I hardly saw any of that energy in the movie. In fact, it's a small miracle they managed to finish the album at all.

Even though not everyone is a fan of Metallica, I can recommend everyone to see this movie. See, this movie is not about the music. It's about people. People who struggle with themselves, with each other and with the outside world. It's also a unique look inside the workings (and non-workings) of a world class band and into the lifestyles of the rich and famous. This documentary is a landmark that upstages the album which creation it was originally supposed to document.

It's 2001. Metallica is making a new album and rents out space in the Presidio. Bassist Jason Newsted had left the band in frustration and starts his own band. The group is in therapy to work out their dysfunctional relationship. They continue to fight as front man James Hetfield leaves to enter rehab. Former Metallica guitarist Dave Mustaine explains the effects of his ejection from the group to Lars Ulrich and Kirk Hammett even with his subsequent success with Megadeth. After a year, James finally returns with new focus on sobriety and less time on the music. They slowly try to rebuild the band with new bassist Robert Trujillo.

This is a brave documentary from Metallica. They're showing many of the ugly struggles behind the scenes. It is personal and messy. The most compelling scene is Dave Mustaine's breakdown reunion. James and Lars' complicated work marriage with each other fills most of the rest of the movie. It's not necessarily a fun watch but it is interesting. It's probably much more compelling for Metallica fans but it's also a human story for everybody else.

They mention, in the documentary, that maybe the film won't make money. It didn't. About a month after release, it's relegated to single late-night showings, and hasn't even earned one million dollars, nationwide, according to boxofficemojo. That's sad.

The film starts out unintentionally funny. They bring in the overpaid shrink who starts blathering on to the extent you expect Hetfield to stand up and tell him to get gone. But, no, Hetfield actually has an epiphany, thanks to 'Dr. Phil'. It's only at the end, if one sits through this thing, that you see 'Dr. Phil'. thinking of selling the homestead and moving to Bev-r-ley with that $40K a month paycheck (it's more than a lot a lawyers get), when Hetfield and Ulrich sort of cuss him out, tell him the gravy train is slowing down, and Hetfield dismissively leaves saying, Ah, let's play some music. But he still thanks the 'doc' later on. The whole thing is just sad to see. Even so, however comical his epiphany, getting off addiction is still very worthwhile. A shame it couldn't have been a little less embarrassing for Jim.

As good a guitarist a Kirk may be, this film makes him out to be not merely 'egoless', because he's clearly not, but practically effeminate. He seems more himself on his ranch. And he falls back into 'the wimp' role when he's with the band. Maybe if he just wore boots and a white Stetson he'd remember who he is a little better. I don't know.

Lars seems like some squirrely brat, most of the time. His father tells him not to settle. But Dad's in there bopping his head up and down to some truly awful tunes. The 'St. Anger' album was maybe the band's worst. But everyone was playing by the old rules, the old template, and thought there would be big money in this.

That's what they tell Trujillo, who actually had some life to his playing - for what one thinks of brain-dead Ozzy, he sure has picked his sidemen well. They give him the million up front. I wonder if he ever saw much more beyond that? They should have cashed him out for more than that! He harked back to the energy of Mustaine and Hetfield. Even Mustaine has the 'wimp factor' on his side, in this film, nowadays.

Did Metallica have to be toasted to play and compose like Metallica? Did they have to be 'monsters' to write Orion, or Master of Puppets? I don't agree. Or is that to argue that Trujillo is completely zonked in this film? I don't see that. I think the anger is real. I think the anger, the pettiness, particularly of Ulrich, is real in this film. I don't think it's put on. But the difference is that the style of metal is limited. And they don't want to try variations on the old themes, which is really the only way they'd maintain their success. They can't bring themselves to do that. And they don't want to become a folk, or pop band - or a jazz band.

So they play around in the Presidio, and goof in the studio, and have the greedy yes men saying that a least a few songs are outstanding (none were). But they want to try something new. And they've got nothing. They look like amateurs, not the band that released Nothing Else Matters, and so many others.

If they can't go back to the drawing board, if they just can't bring themselves to do that, or if there is just no longer any inspiration or nothing more to steal, then perhaps with a Trujillo they could openly recapture the first Garage Days effort where they cover 'Dope'head and Sabbath and others. They played Sabra Cadabra as well as Rhoades or Zakk. It was a great cover of that song. Some of the other covers were outstanding, even the Skynyrd stuff.

If they can't build on Puppets or Nothing Else or the rest, then maybe they could just re-establish themselves exclusively as a top cover band and cover Alice Cooper (as with the Humanary Stew album, arguably one of the best cover/tribute albums ever made). There's so much they could cover, so many bands and songs that may never otherwise really 'break through'. And then they wouldn't be so bored out of their minds that they might release another film such as this, even in the hope it might earn so much a cool million (after expensese, etc).

They'll be missed.