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Detroit Metal City

Detroit Metal City

Comedy · 2008

Soichi Negishi moved to Tokyo to chase his dream of becoming a musician playing stylish, Swedish-style pop. Instead, he finds himself leading the death metal band Detroit Metal City, or DMC, as the costumed and grotesquely made-up "demon emperor" Johannes Krauser II. Although he hates the role and the things he has to do as a member of the band, he has a definite talent for it.

Movie details

Detroit Metal City

2008 Comedy 1h 44m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

Soichi Negishi moved to Tokyo to chase his dream of becoming a musician playing stylish, Swedish-style pop. Instead, he finds himself leading the death metal band Detroit Metal City, or DMC, as the costumed and grotesquely made-up "demon emperor" Johannes Krauser II. Although he hates the role and the things he has to do as a member of the band, he has a definite talent for it.

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 Detroit Metal City?

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

Toshio Lee

Written by

Mika Ohmori

Kenichi Matsuyama

Kenichi Matsuyama

Sôichi Negishi / Johannes Krauser II

Rosa Kato

Rosa Kato

Yuri Aikawa

Ryuji Akiyama

Ryuji Akiyama

Terumichi Nishida / Camus

Yoshihiko Hosoda

Yoshihiko Hosoda

Masayuki Wada / Alexander Jagi

Kazuma Suzuki

Kazuma Suzuki

Hidetaka Asato

Issey Takahashi

Issey Takahashi

Hideki Saji (singer of Tetrapod Melon Tea)

Minami

Minami

Nia

Court is in session

Put Detroit Metal City on trial.

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

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.