Metallica Through the Never


Metallica Through the Never

Critics Consensus

Imaginatively shot and edited, Metallica Through the Never is an electrifying, immersive concert film, though its fictional sequences are slightly less assured.



Total Count: 66


Audience Score

User Ratings: 13,872
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Movie Info

Award-winning filmmaker Nimród Antal (Predators, Kontroll) creates a groundbreaking 3-D motion picture event, Metallica Through the Never. The music-driven feature film combines a bold narrative and spectacular live-performance footage of one of the most popular and influential rock bands in history to produce a bracing, raw andvisceral cinematic experience. Emerging young star Dane DeHaan (The Place Beyond the Pines, Kill Your Darlings, The Amazing Spider-Man 2) portrays Trip, a young roadie sent on an urgent mission during Metallica's roaring live set in front of a sold-out arena. (c) Picturehouse

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Kirk Hammett
as Himself
Lars Ulrich
as Himself
Jeremy Raymond
as Waving Guy
Dennis Funny
as Himself - Rioter
Matthew Hoglie
as Audience Member/Rioter
Stephanie Keane Patterson
as Herself - Audience Member
Lindsey Rose Stevens
as Audience Member
Bob Parsons
as Audience Member
Savkovic Nikola
as Audience Member
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Critic Reviews for Metallica Through the Never

All Critics (66) | Top Critics (25)

Audience Reviews for Metallica Through the Never

  • Nov 15, 2014
    Awesome. An amazing mix of kickass Metallica concert with interesting otherworldly journey/battle occurring in downtown Toronto. This kept me on the edge of my seat and totally rocked. Check this out!
    Stephen S Super Reviewer
  • Jul 06, 2014
    An over-the-top though very entertaining concert Metallica concert brought to life through the eyes of a stage crew member (Dane DeHaan) who begins to not be able to tell what reality is anymore, thus suffering apocalyptic hallucinations that threaten to spill over into the show. Admittedly, I am a huge, huge Metallica fan, so the concert itself is pretty great. However, the subplot involving DeHaan fails pretty hard, to the point where it is just utter nonsense. Still, when the focus is on the show and the visuals Metallica puts on display, it is impressive and enamoring. In the end, it feels unbalanced and confused as to what it wants to be, and the result is a mixed bag.
    Dan S Super Reviewer
  • Feb 21, 2014
    A roadie goes on a mysterious errand during a Metallica concert. The parallel narrative successfully breaks up the tedium of pure concert footage, but it's basically just a 90 minute music video that will be a must-see for fans of the band and of little interest to others. To me, every Metallica song sounds like a man furiously yelling at his malfunctioning washing machine.
    Greg S Super Reviewer
  • Feb 11, 2014
    Well, James Hetfield, it would appear that we are finally here in Never-Never Land. Yes, people, I'm aware that this film is actually named after the song "Through the Never", but come on, like you remember that track off of "The Black Album" sooner than "Enter Sandman". Shoot, Metallica didn't even go through the trouble of putting "Through the Never" into the live set featured in this film, although it's not like they had much time to play a whole lot in this live performance, which is apparently so short that they crowbarred in a fictional narrative on the side and still only got this film up to just over 90 minutes. You know that they cut this concert down a little bit, but then again, I'm more used to those crazy-long live performances by Bruce Springsteen, or progressive rock bands, or, well, plenty of other upbeat rockers who show that I'm not exactly hardcore enough for thrash metal, let alone Grand Master Thrash by the ironically charming thugs who started it all. Yeah, come to think of it, I reckon I've gotten my fill of Metallica for a while with this film, although I don't think this will be enough for Dane DeHaan, who is so greasy-looking that I just knew he had to be a fan of thrash metal, but might just be doing this film because it was next up in his marathon of being in every other film in 2012 and 2013. Man, this film's pseudo-story outside of the concert is so over-the-top that they may as well have Andrew Detmer of "Chronicle" show up, maybe with the Predator, although I might just be saying that because "Predators" was Nimród Antal's last and, if my memory is correct, only film. Yeah, Antal hasn't done too many memorable films, but rest assured that he has a new one with this effort, which still has some issues that are hard to forget. Now, the narrative doesn't need to be all that special in a film that is mostly about live musical entertainment, yet there's much to be desired within this film's fictitious subplot, as underdevelopment behind the Dane DeHaan's near-silent lead Trip character, as well as conflict motivation, make it hard to get invested in all of the surrealistic happenings. I can't help but subscribe to the feeling conveyed in Rotten Tomatoes' consensus that the narrative is "slightly less assured" than the presentation of the concert sequences, and it's hard to ignore that when the film finds difficulty in keeping organic with its juggling of both driving aspects of this musical thriller. A surrealistic thriller and a theatrical concert experience, this effort is two fairly different films combined, and not consistently organically, as the simplicity of the presentation of Metallica's concert often goes overcomplicated when the band's music is forced into the context of, maybe even somewhat interrupted by the narrative, which is made all the more effective by the harsh tone of the music, yet is made all the more lazy-feeling when it finds itself overshadowed by the essentially plotless live show that outstays its welcome too much for the structure of the final product to be all that balanced. Pretty much all of the problems you're expecting out of this film are present, and about as severe as one might fear, not being so severe that you can't get fairly well-invested in both the fun narrative and funner concert, yet nonetheless being distancing as a reflection of just how questionable of an idea this film is in the first place. Okay, perhaps the film isn't so much questionable as an idea, as it's pretty refreshing as a concert film, and not just because concert films this high in profile aren't as prominent as they used to be, and yet, while this film is about as well-done as it can be in plenty of places, just what kind of cinematic reward value are you expecting out of a film that simply uses its thin narrative as an obligatory break in the monotony of seeing a simulated live performance? This could never be all that strong of a film on a general standard, and while it is well-done enough to come to that point, natural shortcomings stand, stressed by some storytelling issues and structural inconsistencies that further hold back a film whose lack of depth was never to make for all that compelling of an effort. That being said, the fact of the matter is that this film is pretty well-done for what it is as both a stylish account of a thrilling live show and as a narratively nifty thriller. This story isn't as inspired as it probably could have been, let alone as inspired as the presentation of Metallica's live performance, being too undercooked and over-the-top for its own good, although it remains pretty entertaining in its being just so creatively surreal, with dynamic set pieces and a pretty solid lead performance by Dane DeHaan. Granted, DeHaan isn't given the material to be all that solid, so really don't expect him to be nearly as revelatory as he has been in other, more narrative-driven recent projects for him, but do expect him to utilize convincing expressiveness in order to project the slick presence, human fear and quiet intensity that make the Trip the roadie character an effective avatar for the audience in the midst of a chaotic plot which is further sold by inspired direction. Nimród Antal can't fully make up for the questionable structuring within his and Metallica's script, yet he's fairly clever in playing with Metallica's intense music in the context of the narrative in order to establish tension within this thriller, which at least keeps consistent in entertainment value thanks to Antal's celebration of outstanding technical style. The film is about as stylistically creative as they say, at least a concert film, with snappy editing by once-regular Oliver Stone and Cameron Crowe collaborator Joe Hutshing, as well as haunting plays on bleak coloration and lighting by cinematographer Gyula Pados that are both fitting and visually handsome. Really, there's not a whole lot to praise, as surely as there's not much to complain about within this film which simply doesn't leave you with much to talk about, as the final product is what it is: a well-done, yet simple adrenaline ride that is primarily a vehicle for tunes which must be delivered pretty successfully if the film hopes to be successful. Yeah, to tell you the truth, while I have a fair degree of respect for Metallica, in spite of their being major inspirational figures within the extreme and alternative metal movements (Hey, I'd be more willing to get over Nirvana more-or-less killing rock's commercial prominence if they didn't drop the standard for musicianship to a record low along the way), I've never been particularly crazy about all of their overly noisy compositions and harsh songwriting, James Hetfield's overstylized vocals, and, well, plenty of their songs' simply running together (Well, I, even as an anti-modernist of a music buff, am a fan of DragonForce, so maybe a lack of diversity isn't all that legitimate of a complaint), although I must admit that as overblown, if not, quite frankly, questionably mixed as they are in the studios, they sure do know how to put on a live show, where, even without the cinematic style that this film applies, a flashy visuals, subtle musical formula adjustments, and, most of all, the band's palpable chemistry and energetic charisma go a long way in selling tightly structured and driving tunes that, in spite of the aforementioned noisiness and repetition, in addition to Lars Ulrich's underwhelming drumming abilities' failing to match his personality in terms of liveliness, go anchored by Robert Trujillo's thumping bass work and Hetfield's and Kirk Hammett's solid guitar playing, highlighted, of course, by some thrillingly rapid-fire lead soloing by Hammett (Hey, you also have to dig the soulful, if too short one that Hetfield delivers for the ending to "Nothing Else Matters"). Whether it be the always particularly well-done "For Whom the Bell Tolls", or the epic "One", or the definitively thrashing "Master of Puppets", or the colorfully structured "Enter Sandman", as well as plenty of other Metallica hits, both commercial and cult, hit-or-miss classics are delivered about as well as they can be here, and that is well enough to make for quite the satisfying show, which may not but be enough to make for an especially satisfying feature film, yet certainly joins stylish direction and a fun story in playing an, if you will, "instrumental" part in making this quite the decent offbeat concert flick and thriller. When it's time to fade to black, if you will, the natural shortcomings of this more-or-less depthless are emphasized enough by an undercooked and overblown side narrative, and by uneven structuring, to keep the final product firmly secured just shy of rewarding, but through a fairly fun story that goes carried by Dane DeHaan's engaging lead performance and by Nimród Antal's stylish direction, - flavored up by sharp editing and haunting cinematography - and is broken by a worthwhile concert, "Metallica Through the Never" entertains about as thoroughly as it can as an unconventional thriller and tribute to the chaos crafted and inspired by true legends in metal. 2.75/5 - Decent
    Cameron J Super Reviewer

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