Metallica: Some Kind of Monster

Metallica is indeed one of the most successful heavy metal bands in existence. However, this documentary, Some Kind of Monster, also exposes them to be one of the most bereft. I will leave it to the readers imagination where bereft should be placed. This doco does not give a flattering portrait of the band members. Some Kind of Monster is absolutely unflinching in revealing the underlying psychological dynamics of the band. I give Metallica credit for exposing themselves on camera so brutally.

Much humour comes from the fact that as the band members characters are revealed. They often come off as a real life spinal tap. It is such, that an outsider, who had never heard of Metallica, might perceive this documentary as a mockumentary. Kirk Hammett comes off particularly as a good guy who is just not very clever. Stating that things work themselves out for the better or worse, but they work themselves out. Well duh... Also, after getting some creative lyrical input, all he can add is 'Your lifestyle determines your deathstyle.' Probably one of the dumbest lines that I have heard in a while. Even for a metal band.

The main 'issue' that this doco reveals is that Metallica needs to ride off into the sunset.The three band members are burnt-out and only really making their music for money. All of the bandmembers have moved on and grown up from the angst ridden, angry twenty-somethings that they once were. Hetfield is now trying to be more of a family man. Lars Ulrich is more into art and seems more like he wants to be a dealer rather than a drummer. Even Kirk Hammett, who is the peacemaker in the band looks like he needs to move on. All of these guys would probably be happier if they called it a day and went their separate ways. It would also be easier on their fans, who by my quick glances at amazon, are not happy with Metallica's latest release.

It is not until they hire a new bassist, Danny Trujilo, that a new life in the band seems to appear. The band complains about showing up for practice, for coming up with music. They complain about having to be in a studio. Excuse me? These guys are making millions and they are complaining about having to spend some time in the studio? Oh to be a rock star with over 500 guitars! This lack of enthusiasm only adds to my theory of burn out.

Metallica illustrate how far they are now removed from their macho roots by hiring a therapist. Former bassist, Jason Newstead puts it best by saying how lame it is that they can't sought it out themselves. However the ego's of Hetfield and Ulrich are absolutely rampant and probably need some control through negotiation. Also, their producer is to obsequious to really confront their unbridled self indulgences.

Ulrich is possibly the most irritating man in rock. He absolutely rails against napster. But he also owns an impressive art collection that is worth millions of dollars. The hypocrisy is terribly confronting. This is revealed when he sells the paintings and gets drunk as they are auctioned. Because of Ulrichs grandstanding soapbox routine about napster. The inherent decadence of this scene totally annoys the viewer.

Ulrich talks, talks, talks and then talks some more. He pontificates pointlessly on the beginning and ending of art. Managing to completely sound pretentious. His father also steps in to state that their work just isn't much cop. Absolutely infuriating him! But the thing is he never actually says anything. Vapid, manipulating and annoying. But then Hetfield is a total control freak. The struggle for control of the band is a constant issue between these two characters. The funny thing is that because they are both such control freaks, they accuse each other of having major control issues.

The therapist himself doesn't really seem to do anything except be very serene with being paid 40,000 dollars a week. It is even revealed that he intends to move from his home and set up a base with Metallica. It is plainly obvious that the therapist has observed a major cash cow just waiting to be milked. Eventually the band remove him, but without some major group therapy work first.

What is also interesting is when Dave Mustaine shows up as part of the therapy. A whiny Mustaine bleats about how he was thrown out of Metallica. This is nonsensical because although Megadeth are not as successful as Metallica, they still have sold 15 million albums. When I was a teenage their was always someone wearing a Megadeth t-shirt! What is even more nonsensical is that Mustaines assertion that they are number two. Hey! Maybe back in the eighties Dave! The therapy session between Dave and Lars is never really resolved. Dave moans about being kicked out and Lars is so egocentric, he is incapable of caring.

What is more telling about these guys is the world that they live in. For instance, they are asked to appear on M.T.V's ICON at the end of the doco. They are given a standing ovation in a small M.T.V music studio. This endless adulation that they receive obviously does these guys no good. It is just a reminder to the viewers how artificial the worlds are that celebrities live in.

Overall, this is a very good doco that cuts right to the heart of Metallica. If you are a fan you should definitely see it. If you are not, you should still see it. It is a fascinating look into the lives of Rock Stars and how they are not as bulletproof as they would like to think that they are. As a docu it is excellent and really gives you the 'real' Metallica. 9 out of 10.

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.

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.

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.

I saw this film at the True/False Film Festival in Columbia, Missouri, and was fortunate enough to hear some Q&A from the director after.

The two words that best describe Some Kind of Monster are "brutally honest." This is a no-holds-barred look at a band that has played together for two decades and is on the verge of disintegration from internal conflict, external pressures and creative stagnation. We see the members of Metallica not as icons, but as flawed individuals in a close, but often tumultuous relationship that has lasted longer than many marriages. At a fundamental level the seem to love each other, but as with many long-term relationships, they sometimes reach the point that they cannot stand the sight of one another.

Can they survive? Well, the mystery is obviously abated by knowing how the story ends (the production of the album St. Anger and the subsequent tour); but it in no way detracts from this interesting examination of the process of separation and reconciliation.

Central to the story is not only tension the band members experience in once again trying to bottle the lightning of musical success, but the fundamental changes taking place in James Hetfield's life as he enters rehabilitation for drug and alcohol addiction. While Hetfield's personal battle takes place off-screen, we see the powerful impact it is having on the rest of the group.

Some truly standout moments include the interaction between Lars Ulrich and his father Torben (an amusing and brutally honest character); the long-delayed meeting between Lars and Dave Mustaine (who was kicked out of the band in the early 80s and went on to found Megadeath); a long band meeting which consists mainly of screaming obscenities; the band's search for a new bassist; and the almost surreal scene of Hetfield attending his daughter's ballet recital.

If you wish to see the members of Metallica as icons, then Some Kind of Monster is probably not for you; however, if you would like an up-close view of them as very real human beings, then I highly recommend this film. Love them or hate them, you will bring something away from Some Kind of Monster.