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Metallica: Some Kind of Monster

Metallica: Some Kind of Monster

Documentary · Music · 2004

After bassist Jason Newsted quits the band in 2001, heavy metal superstars Metallica realize that they need an intervention. In this revealing documentary, filmmakers follow the three rock stars as they hire a group therapist and grapple with 20 years of repressed anger and aggression. Between searching for a replacement bass player, creating a new album and confronting their personal demons, the band learns to open up in ways they never thought possible.

Movie details

Metallica: Some Kind of Monster

2004 Documentary · Music 2h 20m

Critical arithmetic

One number, for now.

TMDB

7.1 / 10

Community rating

After bassist Jason Newsted quits the band in 2001, heavy metal superstars Metallica realize that they need an intervention. In this revealing documentary, filmmakers follow the three rock stars as they hire a group therapist and grapple with 20 years of repressed anger and aggression. Between searching for a replacement bass player, creating a new album and confronting their personal demons, the band learns to open up in ways they never thought possible.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Metallica: Some Kind of Monster?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Joe Berlinger · Bruce Sinofsky

James Hetfield

James Hetfield

Self

Lars Ulrich

Lars Ulrich

Self

Kirk Hammett

Kirk Hammett

Self

Robert Trujillo

Robert Trujillo

Self

Jason Newsted

Jason Newsted

Self

Dave Mustaine

Dave Mustaine

Self

Bob Rock

Bob Rock

Self

Court is in session

Put Metallica: Some Kind of Monster on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.