Free Watch Metallica: Through the Never (2013) Online Streaming

StorylineTrip, a young roadie for Metallica, is sent on an urgent mission during the band's show. But what seems like a simple assignment turns into a surreal adventure.

Movie details Metallica: Through the Never

Release : 2013-09-27
Genre : Musical
Runtime : 94 minutes
Company :

Cast

	Dane DeHaan	as	Trip
	Mackenzie Gray	as	Tall Man
	James Hetfield	as	Himself
	Lars Ulrich	as	Himself
	Kirk Hammett	as	Himself
	Toby Hargrave	as	Big Man

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Metallica Through the Never Listen and discover music at ...
Watch the video & listen to Metallica Through the Never for free. Through the Never appears on the album The Metallica Collection. Through the Never, being the ...

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Metallica - Through The Never - YouTube
Through The Never is the seventh song on the album Metallica (The Black Album). Lyrics: All that is, was and will be Universe much too big to see Time and ...

Metallica: Through the Never - Wikipedia, the free encyclopedia
Metallica: Through the Never is a 2013 American IMAX thriller concert film featuring the American heavy metal band Metallica. The film shares its name with the song ...

Metallica Through The Never
Metallica Through The Never is a 3D feature film starring members of the iconic rock band and Dane DeHaan. Exclusive release at IMAX theatres - 9/27/13 & additional ...

THROUGH THE NEVER LYRICS - METALLICA
"Through The Never" Lyrics by Metallica: All that is, was and will be Universe much too big to see Time and space never ending Disturbing thoughts,...

Metallica Through The Never | Facebook
Metallica Through The Never. 102,094 likes 42,929 talking about this. "Metallica Through The Never" is a 3D feature film starring members of the iconic rock band ...

Metallica Through the Never (2013) - IMDb
Directed by Nimrd Antal. With Dane DeHaan, James Hetfield, Lars Ulrich, Kirk Hammett. Trip, a young roadie for Metallica, is sent on an urgent mission during the ...

Through The Never Lyrics - Metallica - LyricsFreak
Through The Never Lyrics - All that is, was and will be Universe much too big to see Time and space never...

Metallica Through the Never - Movie Trailers - iTunes
Award-winning filmmaker Nimrd Antal (Predators, Kontroll) creates a groundbreaking 3-D motion picture event, Metallica Through the Never. The music ...

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Musical,

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Repo: The Genetic Opera (2008)

MARCH 4, 2008

GENRE: MUSICAL, WEIRD
SOURCE: THEATRICAL (TEST SCREENING)

NOTE – As this is a test screening, the following review may not 100% reflect the final product. Furthermore, as a lazy man who is often broke, I can’t guarantee that I’ll see the film during its theatrical release and/or update the review to include any changes. - UPDATE! - there were a few minor changes, all for the better.)

I first became intrigued by Darren Bousman’s Repo: The Genetic Opera a year or so ago, when he mentioned Shock Treatment as a sort of influence. While I’m not a die hard fan of the Rocky Horror “series”, I do quite enjoy both films, and particularly liked how utterly batshit Shock was (I still don’t have a goddamn clue what is going on during large chunks of the film), and how it managed to “outweird” the original film. Well, Repo makes both of them look sane. And I mean that in the goodliest way possible.

The movie is based on a play (which Bousman directed a version of a few years ago, before he entered the world of Jigsaw), but since I haven’t seen it I don’t know how close the film follows it. There is no real “main plot”, but instead a series of interconnecting stories about a group of folks with ties to a futuristic organ donor/replacement company called Geneco. The film’s central character is Shiloh, played by Alexa Vega, aka the chick from Spy Kids (she’s like 20 now, so it’s OK to think she’s hot, right? Hope so.). She is suffering from some blood disorder and kept largely confined to her bedroom by her dad, played by Anthony Head (Giles!). Unknown to her, he works as a Repo Man for Geneco; killing and “taking back” organs from patients who failed to keep up with their payments. Geneco is run by Paul Sorvino, who is dying, and his kids (Paris Hilton, Bill Moseley, and Ogre from the band Skinny Puppy) are fighting one another over who gets to run the company once he passes. Sorvino also holds a grudge against Head, and there’s also an opera singer (who is also Shiloh’s godmother) and a grave robber who is over-medicating the surgery obsessed Hilton. While some plots are justifiably given more screen-time than others, it’s to Bousman’s credit (as well as the screenwriters, Terrance Zdunich and Darren Smith, who also appear in the film) that the film weaves so many different story threads while never once really pausing to let the audience take a breath, yet maintains coherency and a pace that builds and builds at a steady rate.

Also, this isn’t Rocky Horror or Nightmare Before Christmas, where the best musical numbers come in the first half and then the film sort of treads water for a while – here the best numbers come near the end. In fact, the one concern I had with the film was that it took 15 minutes to get to the first song that would make for enjoyable “stand-alone” listening (many of the “songs” are just a verse explaining story details). The opening of the film is a graphic novel style prologue explaining what has happened to the world in the future and how Geneco came to be – I’d rather they had a big number with these plot elements explained in the lyric. But the way the film just builds and builds up more energy as it unfolds is pretty astonishing, so in a way the “slow” feel of the first few scenes makes total sense – think of it as a roller coaster with a 10 foot climb rewarded by a 100 foot drop.

The cast is about as random as one could get (Paris Hilton and Bill Moseley as brother and sister? Giles playing a murderous boogeyman?), but there isn’t a single weak link in the cast. In fact, I must admit that Hilton is QUITE good in her role, both acting and singing (all of the primary characters sing their own songs). I usually can’t stand her in anything, but she won me over here. Moseley also has some great moments as the most violent character in the film, and it’s nice to see Head finally play the “Ripper” he never got a chance to be on Buffy. However, the godmother character, played by Sarah Brightman, doesn’t get to work with the other characters as much, so her scenes have a slight disconnect, and she is sort of MIA (other than TV screens) for the first half of the film – I would have liked to have her given something earlier on that would make her importance to the second half of the film have a bit more resonance.

The movie’s also just damn hilarious. Moseley singing “I’ll shoot you in the face!” to a guy offering him decaf is possibly the best moment in movie musical history. There’s also a rocking number called (I think) “I’m 17!” by Vega, who rocks around her room while two of her stuffed animals headbang along and Joan Jett shows up out of nowhere to provide the guitar riffs – I was laughing my ass off the entire time.

As for the violence/gore, it’s pretty over the top, but also sparsely displayed throughout the film. I would say it’s about as violent as Sweeney Todd (but also about 20 min shorter), and it doesn’t stick out as much as it did in Todd, since the over the top slashing and “repossessing” is just as nutty as everything else in the film.

I’m sure that Lionsgate will market the film as “Saw meets Rocky Horror” or something to that effect, but that would be selling it short. While it’s certainly an easy way to describe it, the real hook for me was just the sheer originality and insanity of it all. You know how Sweeney Todd was almost all songs, but would occasionally “stop” and just have dialogue? No such thing here. There were a few songs that I really dug and wanted to applaud after, as is sort of customary for musical films, but the problem was: I couldn’t. My applause would be interrupting the next musical segment. I just hope people give the movie a chance and appreciate, if nothing else, the sheer originality on display. Anyone reading this site knows how many horror movies I endure, so when I see one that never ONCE reminds me of other movies (even the obvious comparisons – Todd, Rocky Horror, etc, only came to mind in generalized thoughts), and is able to totally suck me in and keep me entertained almost nonstop for 90 minutes, I get pretty thankful and happy. Sure, I love my formulaic slashers and action movies about guys taking over some sort of vehicle only to be thwarted by a rogue cop, but I secretly crave for more movies like Repo; where I am almost at a loss as to how I can review it or recommend it to others. It truly does need to be seen to be believed, and I hope you fine folks not only do just that, but enjoy it as well.

What say you?

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Musical, Weird,

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Sweeney Todd (2007)

DECEMBER 8, 2007

GENRE: HERO KILLER, MUSICAL
SOURCE: THEATRICAL (PRESS SCREENING)

It’s kind of weird when you think about it: Tim Burton is probably the most high profile director associated with the macabre, and yet only 3 of his films are rated R (and one of them is Ed Wood, which is only R for language). Sweeney Todd is the 3rd (after Wood and Sleepy Hollow), based on the musical that I never saw or probably ever will (sorry, Broadway, but lower your fucking prices! Or at least make the seats more comfortable).

As a film it certainly works better than other filmed versions of stage musicals (in particular Schumacher’s Phantom of the Opera, a film without almost anything that even approaches quality entertainment). The cast, with one exception, feels right at home both in the acting and the singing (Alan Rickman in particular – I listened to the stage version of “Pretty Women” and found the film version to be far superior). Also, the film doesn’t seem to stop cold for a song, which is a problem that plagues other musicals. Not every song is here (“The Ballad of Sweeney Todd” is one lamentable omission; at least, according to the people I have talked to who HAVE seen the musical. Maybe you should read their review instead of mine), and that’s a good thing: they seem like they are more focused on making a good film than making sure everything from the stage version is included.

The one cast member who seems a bit out of place is Sacha Baron Cohen as Pirelli. He’s not BAD, but his character is so cartoonish and loud that he sticks out like a sore thumb next to the rather dry and subdued black humor of the rest of the film. It doesn’t help that the audience I was with laughed every time he was in the shot, regardless of what he was doing. Granted, his presence cements the idea that the film isn’t supposed to be taken too seriously, but it still distracts. I’d rather they came up with a different way to get the purpose of his scenes across (Sweeney making his presence known on Fleet Street) that retained the tone of the rest of the film.

There’s also a very curious cameo by Anthony Stewart Head. Nothing I can find suggests he was ever in the stage version, and he’s not exactly the type of household name actor one would include for a cameo, so it’s very strange. He says one line and is never heard from again, nor is he credited. Whatever.

Like all musicals, some songs are better than others. "Pretty Women" was my favorite, though I also enjoyed "A Little Priest" and "Epiphany". Surprisingly, Burton did not employ frequent collaborator Danny Elfman to conduct the score (in fact this is only the 2nd film of Burton’s in which Elfman did not contribute). Again, having not seen the stage version I don’t know if the instrumental portions are the same in the film or if they are new, but either way I enjoyed them.

Finally, I should note the gore. It’s insane! There’s almost a dozen quite bloody throat slashings in the film, with the red stuff spraying all over the walls, other characters, and camera lens. Of course, the hypocrisy on display is lamentable (why can Tim Burton get away with it in an R rated film but not Adam Green?), but what can you do? Needless to say, any fear I had that the film couldn’t be considered a horror movie were quickly erased.

What say you?

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Hero Killer, Musical, Revenge,

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Phantom Of The Paradise

DECEMBER 2, 2007

GENRE: COMEDIC, HERO KILLER, MUSICAL, WEIRD
SOURCE: THEATRICAL (REVIVAL SCREENING)

For the 2nd time in one technical day, I found myself at the New Beverly Cinema in LA. While Slumber Party Massacre was a midnight movie as part of an unrelated series, tonight began “The Wright Stuff”, a 2 week festival in which Edgar Wright, genius behind Shaun of the Dead and Hot Fuzz, would be showing his favorite movies, and bringing surprise guests. Tonight kicked off with a double feature celebrating songwriter Paul Williams. First was Bugsy Malone, which wasn’t horror, so who cares about that (for the record - OK film, great songs). After that was Phantom of the Paradise, an early Brian De Palma film that I had never gotten around to seeing, despite some BC-centric perks (for example, many have said that some of the songs are Steinman-esque, and now, having seen it, I am inclined to agree).

Before I begin rambling about the movie proper, I just want to point out how much you are missing if you don’t go out to your local revival theater, ESPECIALLY if you happen to be an LA resident and thus your revival theater is in fact, the New Beverly. Because, over the course of 3-4 hrs, I saw:

• Scott Caan try, unsuccessfully, to start his motorcycle. It took him a good 5 minutes' worth of attempts to get it going.
• Quentin Tarantino sang a song from Ishtar (a “secret” 3rd film that I was too tired to wait around for)
• A mini-Grindhouse reunion of sorts, as not only were Edgar and Quentin there, but Eli Roth showed up and ate one of my friend’s cookies (I assume that he had other reasons for being there, but they were good cookies so I dunno).
• Mary Elizabeth Winstead (also from Grindhouse!). She didn’t do anything interesting, but have you seen her? She’s hot.
• The guy who plays Superman in front of the Mann’s theaters (LA folk will know the one) WITHOUT his Superman costume on! He had it with him, of course, but he was wearing something else.
• The Hudson Hawk trailer (before Ishtar - I am sure you can figure out the connection)!

Also, because he’s a bit absent-minded, my friends and I ended up paying for Edgar Wright’s quesadilla and diet coke. Since I got my Hot Fuzz DVD for free I guess it evens out.

Plus, you know, movies! Phantom was a lot of fun, but the finale was very abrupt (and really needed another song). Horror + Musical is not a very common mix, so it was understandably appealing to me, lover of all things atypical. And, like I have mentioned before, the only time I enjoy the Phantom of the Opera story is when it is being “modernized” in some way (Phantom of the Mall, Argento’s Opera...).

However, in addition to the Phantom story, this one also has elements of Faust and Dorian Gray, plus, being a De Palma film, several smaller homages to other movies/stories. And, while I doubt it was intentional, the killer’s get up looks quite much like that of the Prince of Space, so that’s always a plus.

One thing that struck me as odd – the film was shot 1.85:1, but had a split screen segment (in fact it’s one of the films highlights). You’d think that De Palma, who is a master of the wide image, would want to go scope for this reason, but alas. Carrie was like this as well. It’s crucial to see the whole image, and this was pre-pan&scan VHS anyway, so you gotta wonder why he wouldn’t want to give himself more room to work with. Hell, Blow Out, when shown on TV, even goes back to widescreen during the split screen segment. Speaking of Carrie, as is the norm at the New Beverly, some “themed” trailers showed before the movie, in this case other De Palma movies. The Carrie trailer spells Stephen King’s name wrong (“Steven”). He’s a writer, that’s a fineable offense! Misspelled credits make me sick!!!

Paul Williams’ songs are fantastic; I might even have to pick up the soundtrack. The first ballad that William Finley sings on the piano is worth the cost alone (I say cost because I was unable to find it on the torrent sites). Williams himself plays the “real” villain of the film, yet doesn’t sing as much as I was hoping. In fact, it barely qualifies as a musical; there’s only like 5 or 6 songs in the whole thing. But without the songs the film would be nowhere near as memorable, making it all the more impressive how much impact they have, considering the relatively small amount of time of the film that is devoted to them. Jessica Harper (she was damn hot back in the day) has a few songs as well, and made me want to watch Shock Treatment again. “Bitchin’ in the kitchen, or cryin’ in the bedroom all niiiiiiiiight!” And then of course, there’s Beef:

For a PG movie it’s pretty insane, I can’t imagine how a kid would react to it. It’s one of those movies that makes you wish the rating system reflected the audience the film was intended for – it’s kind of odd that on a surface level, the MPAA is saying that the (PG-13) Harry Potter movies are less appropriate for children than a movie about a guy who kills a whole bunch of folks trying to get revenge on a drug using devil worshiper who stole from him.

What say you?

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Comedic, Hero Killer, Musical, Weird,

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