Last Days Here (2011)
Average Rating: 6.9/10
Reviews Counted: 19
Fresh: 16 | Rotten: 3
No consensus yet.
Average Rating: 7.2/10
Critic Reviews: 7
Fresh: 7 | Rotten: 0
No consensus yet.
Average Rating: 4.1/5
User Ratings: 346
Cult rock legend Bobby Liebling has been churning out genre-defining hard rock for over 36 years as the lead singer of the band Pentagram. Various acts of self-destruction, multiple band break-ups, and botched record deals have condemned his music to obscurity. Frozen for decades in his parents' basement, Bobby is finally discovered by the heavy metal underground. With the help of Sean 'Pellet' Pelletier, his friend and manager, Bobby struggles to overcome his demons. Directed by Don Argott and
Mar 2, 2012 Limited
Jul 31, 2012
IFC Films - Official Site
Watch It Now
A deft and weirdly affecting portrait of how a drug-addicted man-child knocking on death's door manages an astonishing resurgence.
In its latter stages, the doc becomes not only a bromance, but also a romance, and maybe even a redemption story.
Unexpectedly flouting its doomy title, "Last Days Here" invests the standard, washed-up rock-star tale with surprising sweetness.
The filmmakers mine as much as they can from supportive parents and ex-bandmates, but notably, you won't leave humming a single riff.
An affectionate look at a self-destructing maniac and his supporters that bluntly reveals Liebling's total abjection without mocking him.
Engaging and emotional and funny in surprising ways. And I have to be honest: when I like a rock doc that means it's something very special.
Harrowing and at times quite funny, Last Days Here is the latest and maybe the best in what seems to have become a trend - documentaries about obscure rock bands who somehow have maintained a small but devoted following...
Complemented by a terrific score from Stars of the Lid (between assorted Pentagram tracks), this is maximum r&r all the way, with heart to spare.
The bottled chaos that once was Bobby Liebling and the band Pentagram did not age well.
Despite the miracle of the concluding uplift, the message is overwhelmingly that drugs will drown out the power of sex and rock 'n' roll.
A living horror show, rocker Bobby Liebling's sad, appalling tale is told in a film that will have some niche appeal but little else.
The fact that Last Days Here cares more about Liebling's personal redemption than his professional triumph is ultimately a saving grace, a telling demonstration of the film's well-ordered priorities.
This potential rock-doc tragedy reveals a bromance of idol and idolator.
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