By BRENDAN TENAN
Contributing Writer
Metalheads around the world rejoiced a little over a year ago when it was first announced that the legendary Metallica were filming a concert movie.
From the moment it was first announced, it became apparent to fans that this would not be an ordinary concert film. There were reports of 3D cameras being used to film the band in concert; that the footage used in the film would be from multiple shows they performed in Vancouver, and a special stage and set pieces were being used as well.
The end result, Metallica Through the Never, is an exciting and imaginative take on what can be a rather predictable film style. Unfortunately, the film’s ambition and desire to go off the beaten path in presenting something new to audiences ends up doing more harm than good to the overall experience.
Often times a concert film is more like a documentary, with a modest crew following the band backstage and filming from the audience and outer edges of the stage. Fans of Metallica know that the thrash metal icons rarely, if ever, take the conventional route when doing anything worthwhile.
The performances filmed for Metallica Through the Never, as a result, were designed specifically for the movie. Everything from the ground up: the stage, light plot, pyro, sound system, etc. was created for the movie. As a result, there were as many as twenty-four high definition and 3D cameras filming the band from a multitude of angles and focus lengths.
The cameras were able to get many incredible shots of the band and helped capture the energy and intensity one experiences at a Metallica concert. The stage and massive light plot reportedly featured one million LED lights, most of which comprised the floor of the stage itself and made for some tremendous effects. Perhaps the most memorable use of the stage LEDs came during the opening number “Creeping Death,” when blood starts seeping across the stage in a tribute to the famous scene from The Ten Commandments (which the song was inspired by) where Charlton Heston’s Moses turns the Nile River into blood.
Other highlights included classic set pieces from past Metallica tours, such as the statue of Lady Justice from the …And Justice for All tour, a giant electric chair and Tesla coils from “Ride the Lightning”, and a field of large white crosses from Master of Puppets
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In addition to the spectacular effects, the band looked and sounded fantastic. It’s hard to believe that Metallica has been cranking up the amps and playing mosh pit-inciting riffs for over three decades, especially since none of the music they played sounds dated.
The band still plays with a great deal of energy and excitement, which the crowd reciprocates to them in kind. Metallica’s lead singer and rhythm guitarist, James Hetfield, sounded particularly strong, while the twin guitar harmonies played by Hetfield and lead guitarist Kirk Hammett were as crisp as they’ve ever sounded.
The rhythm section, anchored by bassist Robert Trujillo and drummer Lars Ulrich, were locked in from the beginning as the group charged through classics like the aforementioned “Creeping Death” as well as “For Whom The Bell Tolls,” “Fuel,” “Master of Puppets,” “…And Justice for All,” and “Enter Sandman,” among others.
The only real downside to the entire movie is the subplot involving a roadie named Trip, played by Chronicle star Dane DeHaan.
Trip is given a task by Metallica’s road manager before the band finishes their opening number. He has to find one of their trucks, which ran out of gas, in the middle of Vancouver and retrieve a bag containing “something the band needs,” and he must return with the bag before the show ends.
In the short time between Trip entering the arena in the film’s first scene to setting off on the task he’s been given, the city has become a nightmarish, apocalyptic hell.
Trip encounters protesters fighting police squads in full riot gear, dozens of dead bodies strung up to light poles, and a masked man wielding a sledgehammer that can perhaps best be described as a steam-punk inspired version of one of the Four Horsemen of the Apocalypse.
On top of that, the movie never reveals the contents of this duffel bag that the band so badly needed.
It’s apparent that both Metallica and director Nimrod Antal (Predators) did this deliberately. They wanted to create a sort of twisted Wonderland that Trip has fallen into by going down the wrong rabbit hole.
The problem is that there’s no logic whatsoever that’s used to explain what’s happening, or why. Just because the filmmakers want to create something that’s open-ended doesn’t mean they’re excused from providing any exposition that will inform the audience.
Despite what most creators of big budget cinema believe, the audience still needs a reason to care about the characters, the decisions they make, and what’s happening around them. Without that, the audience will be confused and disinterested in a significant portion of the film.
Granted, they may be entertained by the great action sequences and beautiful camera work that Metallica Through the Never boasts, but even the incredibly talented DeHaan isn’t able to salvage this mess of a subplot.
While the confusing and chaotic subplot is a definite drawback to the film, Metallica Through the Never is still overall a good movie and a rather unique addition to the formulaic concert film canon.
This movie is definitely worth seeing in 3D, thanks to the use of 3D cameras during the filming of the concert footage and scenes with Trip.
If you are a fan of Metallica and have never had the pleasure of seeing them play live, or just simply can’t get enough of them, then this movie is definitely worth your while.
It also would be good for aspiring filmmakers to see some impressive camera work, lighting, and sound editing. However, for the average moviegoer this does not need to be high on your list in terms of things to see.
One final piece of advice to those who go see Metallica Through the Never: don’t think about it too much, just enjoy the show. Your brain will thank you later on.
Grade: B
