User Reviews

I wasn't sure what to expect from this movie. Title was either "hit or miss" and I was afraid it was going to be exploitation movie. But it's not.

It was a great drama about how certain people deal with their pain, how people around them react to their, let's say unusual way of expressing their pain.

Story fallows a young girl Hera who witnesses death (by accident) of her older brother. Few years after that, she still can't cope with pain of losing her brother, so she turns to metal music as a way of escapism. Naturally, living in small community, she is often misunderstood by others. She expresses her pain on her own "unique" way, while her parents express theirs on their own (father feeling accident was his fault, while mother has trouble moving on).

Hera eventually goes on a self-destructive path because it's the only way she can deal with her loss and anger since no one can really understand how she feels. Good example of that scene is her best childhood friend who mistakes drunken sex for love, proposing to her, while she replies "Can't you see anything?"

This is a movie about human nature, nature of pain, how certain people deal (or can't deal) with pain and loss of a loved one and how people sometimes judge people by it's cover.

Guy who wrote a review here telling this movie is about "Jesus helping metalheads" just because it happens that movie has understandable priest (because you know, that can't happen in real life) clearly missed the point of the movie.

This was never a movie about "Jesus helps metalhead". It was a movie about human nature. Hera never stopped being metalhead, it was just a hint that she and her parents are moving on eventually, because they, like rest of the community are starting to understand Hera.

Without a doubt, Metalhead is the best film about a heavy metal-loving Icelandic farm girl that I have ever seen. Given the lack of access to Scandinavian films for Australian cinema audiences, films such as Metalhead remind us that film is a universal medium and that interesting screen stories can emerge from anywhere. Set in rural Iceland, Metalhead is a film that explores love, grief, family, identity, community and the healing power of music; heavy metal in particular. Director Ragnar Bragason has successfully melded humour into a story that is ostensibly about the lingering after effects on a family following the tragic passing of one of their own. The film opens with the death of teenager Baldur in an accident that is witnessed by his 12-year-old sister Hera. In the aftermath of Baldur's death, Hera finds solace in the music her brother loved so much, immersing herself in his world of heavy metal. Years later, the young adult Hera is an obsessive, posters adorning every inch of wall space in her room, Judas Priest and Dio blasting from her tape deck and a wardrobe that is exclusively black.

Haunted - both literally and figuratively - by the death of Baldur, Hera struggles to get her life in order. She is seemingly desperate to move away from the stifling confines of her family home, but is unable to actually do so whenever the opportunity arises. Hera is stuck in neutral, unable to move forward and forge her own path, unwilling to sever ties with the connection to Baldur that is the farm they grew up on. The recurring theme throughout the narrative is Hera's failed efforts to break free – either emotionally or geographically – from her memories of the tragedy. She acts out against her parents and the community as she struggles to find any meaning to her life beyond her music. In her early 20's, Hera is seemingly on a road to nowhere despite the best efforts and patience of her family and others, including new-priest-in-town Janus (Sveinn Olafur Gunnarson) and her childhood best friend Knutur (Hannes Oli Agustsson). This is not to say we can't sympathise with her though and it is great credit to the performance of Thora Bjorg Helga that she instils likability in Hera that belies her behaviours.

Of course, Hera is so absorbed by her own grief that she fails to see the impact Baldur's death has had on her parents, Karl (Ingvar Eggert Sigurdson) and Droplaug (Halldora Geirhardsdottir), who are suffering in silence, more successful at putting on a polite facade, despite being trapped in their own isolation. Karl is stoic on the surface, keeping his suffering buried deep within, focused on his responsibilities to the family dairy operation. Droplaug meanwhile, continues to struggle in her grief and, despite the passing of 10 years, simply cannot let go of her son, refusing to make any changes to his bedroom that serves as a shrine of sorts; she is often lost in her memories and oblivious to what is happening in her immediate vicinity. It is only when both Karl and Elsa are able to re-connect with each other that they are able to move forward from the pain that has haunted them for too long.

Despite the serious nature of the themes explored in the film, there are many moments of great humour, most of which revolve around the reaction of people (and animals as well for that matter) to Hera's extreme music and/or appearance. A trio of characters who appear towards the end of the film are hilarious and Bragason never opts for the predictable. Just when you think you know where the story is going and how it might all end, Hera finds herself on another path that may, or may not, enable her to find some kind of contentment. Janus and Knutur are great characters who perhaps show Hera more compassion than she deserves given the way she treats them both.

The film provides considerable insight for the uninitiated into the difficulties endured by those living in an environment in which the weather is a constant nemesis. Despite the aggressive nature of the music from which it gets its title, Metalhead is ultimately a temperate family drama set against the most striking of backdrops. The rugged, isolated landscape and the harsh climactic conditions of rural Iceland serve as a fitting locale for a film that threatens to topple into the darkness, but never does.

One of the most popular Icelandic director Ragnar Bragason in his last drama film entitled 'Metalhead' (Icelandic: Málmhaus) tells us a moving and poignant story with music in the background. Main character in this film is a young woman named Hera (Þorbjörg Helga Þorgilsdóttir) fascinated by heavy metal music. Her story took place in 1992 in a small cow farm located in beautiful and magic Iceland.

The tale, depicted in the film, begin with a very tragic and unpleasant event from Hera's childhood: accident on a field near the farm. As a result of it she lost her beloved brother Baldur (Óskar Logi Ágústsson) who was a huge heavy metal fan. This sad event have left its mark on further Hera's life. After the loss of brother, she escapes from a hard reality to the world of heavy metal. Moreover, Hera states that her mother Droplaug (Halldóra Geirharðsdóttir) and father Karl (Ingvar Eggert Sigurðsson) can't understand her 'world': that's why she can't find some common ground with them. She claims that other people, living in her small village, can't understand her as well. That lack of competition causing not only Hera's 'escape' in a world of heavy metal, but also in alcoholism. She brings troubles in every place in which she appears (to the party, to the butchery where she works). It is worth mentioning, that between hours of hard work on the farm and in the butchery, Hera tries also to compose her own works. One day, She goes to a graveyard to visit her brother's grave, and she plays for him her own new metal-song there. In Hera's opinion he 'is' the only one who can wholly understand her world. In the life of the main character is also present friend Knútur (Hannes Óli Ágústsson) who pretends to be metal-fan (because he falls in love with Hera), however he does not really like this kind of music. Some changes in Hera's life brings a new pastor Janus (Sveinn Ólafur Gunnarsson) who substitutes for the previous parish priest. It turns out that he has other, hidden face: he is a real 'metalhead'. Thanks to his huge music wisdom, Hera feels at least understood. After some troubles, she reconciles with the loss of brother, sees own mistakes and finds the new meaning of life.

Ragnar Bragason's film is a well told story of women, who try to find out after the death of brother. In my opinion huge advantages of this work are unique plot, beautiful filming, and very good soundtrack including for example Megadeth's or Judas Priest's songs. I think, some disadvantages of this film are the lack of expressive and memorable creation and a little trivial ending. However, I believe that this film is worth seeing. I truly recommend it to every who is fascinated with metal music or with Icelandic cinematography.

Altogether the movie has a cool visual style to it. Grief and loneliness was well displayed through the tasteful pacing of dialogue and also the farming life placed in the scenic landscape of Iceland.

When it comes to narration, general plot and the protagonists acting, the movie failed(IMO). Many situations didn't get a proper introduction or rectification, so it often felt random and strange.

!!!SPOILER!!! You see her transformation from a antisocial rebel to a silent, good girl, moving together with a friend she doesn't love and becoming a housewife within three scenes - saying all was explained symbolically isn't an excuse for that. This all leads to the story itself. Norwegian Black Metalheads (like you would expect them in Wayne's World, as a guy before me noted) appear and stay with her for days to help building the church (LOL) and played with her for the village commune - oh, and they thought the people would love it for sure. I won't comment on the audience's reaction. I thought, the movie couldn't get cheesier until I experienced the Megadeth dance-off. Also Hera's (Thora Bjorg Helga) relationship to heavy metal couldn't possibly get closer to a distorted cliché of a subculture some worried parents could have in mind.

I'll give it a 5 because I found the idea creative and the visuals nicely done.

Powerful portrait of a young woman's struggle to cope with the sudden loss of a beloved brother.

The movie begins poignantly, with death that descends out of nowhere, to a bucolic field in Iceland.

Thora Bjorg Helga (as Hera) leads a wonderful cast that includes Icelandic cinema's middle-aged dreamboat, Ingvar Eggert Sigurðsson, as a guilt-ridden dad, and Halldóra Geirharðsdóttir as his wife. I also enjoyed Hannes Óli Ágústsson as Knútur, a local guy who shows interest in Hera even though she's odd.

I'll see any movie that's shot in Iceland, and really enjoyed the scenery here. I just wish I knew where that snowscape was filmed -- could it have been Iceland's forbidding Highlands? If so, it's not realistic that our heroine ventured where few could survive...

Normally with an Icelandic film I hungrily grasp for snippets of the language, which I've been trying to learn. I was at a loss here, as the only version I could find had French subtitles, and I was so busy deciphering them I missed most of the native tongue. But I got the gist. Thankfully, the dialogue in this film is no-frills, just like the terrain.

As a 67-year-old mom and professional person, I wouldn't have given metal a chance if this film wasn't set in my favorite foreign land. But the movie does well in showing how such a loud and tortured form of -- can we call it "art?" -- can offer catharsis to someone in pain. The concert scene deftly displays how this musical form can draw anyone in. Now, that's a feat!

There are deeply evocative scenes in this film. That skillet full of steamy fish made me nostalgic for plates I've savored in Reykjavík and Ísafjöróur. And the final explosion of uninhibited dance -- I wanted to be there. Frábært!

Hera, as a young girl on her family's farm, witnesses her older brother Baldur die in a freak accident while riding a tractor. Later, as a teenager, Hera gets into the heavy metal lifestyle and music Baldur enjoyed. She lives in a tiny community where her newfound choices don't exactly go over well. Her father and mother struggle with the motions she goes through. They attend church, while she only rebels against it. Hera not only picks up heavy metal, both listening to it and playing it, she also takes to more violent, destructive behaviour; this all culminates in a very serious act of vandalism and arson. She is at odds with the people and place where she lives. Everything feels too ordinary and small for Hera, and so her rebellion grows large.

The whole film is essentially about Hera's struggle, however, we also get an eye of what her parents go through in their own struggle to deal with death. Aside from the family there is also the great character of Janus, a new priest in the town. He is secretly a very cool guy underneath the black clothes and the collar; in a very suggestive scene, or at least it is at the start, Janus takes off his shirt to reveal to Hera a tattoo. He then proceeds to tell her he loves Iron Maiden, Venom, Celtic Frost, among others. His taste in music transcends the priestly garb, and he even gives a line similar to "don't judge a book by its cover", or maybe it was exactly that – I can't remember now. I really like that the film included Janus as a character because this shows the multiple lives a person can live; they are not defined by their occupation, nor are they defined by the music they listen to. However, Janus gives off signals Hera misinterprets. Their relationship isn't what she thought, and it sets her off further against God; this being one of the threads running through Metalhead.

I think any drama truly thrives on its performances. Above story, above mood or setting or plot, the actors and actresses of a film, or any performance truly whether it's on screen or onstage, really carry things; if they do a bad job, the film can fall flat. On the other hand, if they do even a mediocre job a film that might not have been any good without them becomes really worthwhile. In Metalhead, the performances give even more punch to a great story.

Thora Bjorg Helga, as Hera, really does a spectacular job portraying a young woman trying to find herself while also mourning the loss of someone whom she loved very much. Hera clings to music as a means of identifying herself. She also immerses herself into music because it helps her still keep Baldur with her in spirit. There are beautiful scenes where we get to watch Hera go through intense emotion while she puts the dark soul in her inside the music she plays.

There are some other solid performances in Metalhead to round the film out. Such as Sveinn Olafur Gunnarsson as Janus, the heavy metal rocker priest, and also Ingvar Eggert Sigurðsson who portrays Hera's equally trouble father Karl.

The finale of the film is absolutely beautiful. There is a final moment of catharsis in the moments before credits roll on Metalhead which almost made me cry. I couldn't believe it. The whole time you watch the film there are moments where you actually hope for a good end to everything. Most times, even while watching a terrifying film like a horror or maybe a thriller, I find myself looking for a grim ending because honestly, in my opinion, those are more interesting film-wise. Happy endings don't usually jive with me because they are too heavy handed, too smug. On the contrary, I think the moments closing out this film are absolutely perfect, not only for the plot, but also tonally. It just, simply put, works – damn well. The tragic and heavy tone throughout much of Metalhead, including what I feel are some excellent moments of dark comedy, all play well with the end. Some endings can take the tone and throw it out, however, this one hits its mark, and strikes a fair balance where everything comes out slick.

I have to give the movie a 9 out of 10 star rating. I have one small problem with Metalhead. I felt they could have used a little more time on female relationships. They explored the mother slightly because there were some fascinating shots and bits of scenes where we really got to see her almost in the same light as Hera. But I don't think they really got enough of it in there. With the inclusion of Janus and Hera's father Karl, it felt as if there was a lack of more female presence in movie. It isn't necessarily something that detracts from how beautiful or successful in its goal Metalhead is in the end. Personally, I feel it's just something that would've made this a little stronger overall.

There are some big, great aspirations here concerning faith, music, forgiveness, and other themes. I think Metalhead delivers on most levels. It is worth the money and time to see something not typical of most dramas: a middle-ground view of ideas about death, love, heavy metal, and religion.

It could have been a perfect movie, if they depart with the Oslo crew from the very first meeting, like "I'm sorry, we're different, we're designing churches here, not burning them... I'm outgrown off metal sorry" And again, instead of a "Oslo career" branch, they're having a twisted "party" for grown-ups (relatives and parents) which leads nowhere for the story. Also, the range of music she is listening to is quite too wide, from Dio, Priest and Maiden to Obituary, this is more like a "hey we know what 90ies were like" than a real person preferencies pattern (even an evolution). I think this movie has some solid points, but overall lacks consistency and strong plot line. They could have done it better.

I don't do this thing often, but this film really needed a review written by... well, a metal-head. I mean, just like many of you, I was hooked by the poster and, of course, the film's name. That's exactly what they want,except for the fact that this was just the first one of a series of really big mistakes. First of all, if you want metal- heads to come to watch your movie you better make a movie they like or at least show some respect. The plot is as cliché as it can be: a 12 year old girl has to deal with the lost of her older brother, who happens to be a metal-head. Then guess what? Yes: she becomes a metal-head herself in the name of the fallen brother! I think I got something in my eye, excuse me... Don't get me wrong: at this time I was excited about the idea and really happy to watch a hot chick wearing Slayer and Megadeth shirts the whole time, but eventually it all went down. Hera (the metal-head) is a confused teenager that really hates everyone and everything. And I guess the idea is that you have to feel sorry for her and understand her pain, but you just can't do it. Unlike other movie anti-heroes, this girl is just so annoying. She's not charismatic at all. She makes you want to slap her all the time. Then there's the other big problem: it seems that the director is trying to tell you all the time that becoming a metal-head is only for confused heart broken people: if you find God, get closer to your family, grow up and start to deal with your child traumas, eventually you'll be cured from that teenage-weird-disease called "Heavy Metal". And that is pretty much what this movie is about. Really. Oh, and let me tell you about the priest: this is the best priest in town... maybe in the world. He's is a metalhead himself, he's got tattoos, he's comprehensive and he won't succumb to flesh temptations. The man is a true man of God, but you, metalhead, are just too stubborn to open your heart to him and talk. But wait, 'cause then there's the other big fat mistake: they had to mock the Black Metal inner circle in the dumbest way possible. By the end of the film and out from nowhere you suddenly have three new characters: Øystein, Per and I'm not sure about the other guy, but obviously they're "Mayhem". The Wayne's World version of Mayhem. That was completely unnecessary and stupid. I'm not supporting the church burnings in Norway, but man, I felt like they where telling me all the time: "Hide your kids from metal and TV; keep them in the God's herd; give'em love, talk to those confused creatures and eventually the'll be 'normal people'". The scene where this black metal version of Beavis nd Butthead help to rebuild a destroyed church while the priest mock them is just too much. What do you expect us metalheads to say after the film, Mr director? Really. "Damn it! Thank you God! After watching this touching film I ran home to talk to my family with my heart open and now I'm fu++ing cured, I'm not a metal-head anymore!" You have to be kidding me... Don't waste your time.

Absolutely rubbish. After losing a brother girl goes anti-social, acts super arrogant and immature. I was giving it a hope that this movie would turn to another direction, but it didn't. The whole thing ended as "growing metal phase out" and then everything was fine. I'm sorry but I'm not, I surely did not like it at all.

The first ten minutes has such a brutal scene I almost didn't continue. I'm glad I watched to the end. But seeing the movie is a traumatizing, depressing event in and of itself. Hard to recommend and I won't watch it again.