Reviews

I had a real hard time trying to figure out a score for this film, much less an overall impression of it. Frankly, you just don't see film like this any more.

I can understand if some audiences don't get it, mainly because it feels like the Star Wars Holiday Special on a severe drug bender. But once you peel away the Sasquatch mating rituals, birthing scene and other idiosyncrasies that make up this experience, you start to piece together the meaning the Zellner brothers were most likely seeking. They posit the reason why we don't see sasquatches is because they just don't exist anymore.

Like the last days of a failing empire, this very well might be the last Sasquatch family in the Pacific Northwest. Some people won't like the reasoning behind it, but it's the usual blame falling on deforestation and human infringement. I'm sure some might derive more meaning, but this is the base understanding I took away from this film.

Sasquatch Sunset is definitely not for everyone, but if you are a curious film goer, you might find something interesting in this bizarre and completely one of a kind movie. Just be ready for weird nature stuff....because I sure wasn't.

Someone needs to give Sean Michael Argo some money, because clearly he has some interesting ideas jumping around his head. While I give him the credit for putting his ideas to screen, it's hard to give him too much credit due bare bones results.

Much like a couple other movies I have seen with him, namely Ember Days and The Cleric, Binary Samurai takes on a lot of the weird and distinct tropes he has peppered in his films. This time around he takes a stab at cyberpunk, which is interesting considering the world he built is distinct and detailed. In an alternate 1999, the internet shut down. Millions were still "jacked in" and thus their minds were lost to the digital realm and left on hard drives called nodes. These nodes are worshipped by Otaku, people devoted to technology who hide from the general populace. Samurai walk the earth killing Otaku and ronin along the way as our two leads serve an evil hacker named Demogogue. They quickly discover there is a digital entity hiding in the digital realm known as the Kami of Wires. Needless to say, that is the end of it.

Truthfully, we get little insight into what the Kami of Wires is meant to represent. Maybe a messianic figure? I don't know, it was never quite explained. The story overall is pretty vague, and overall it's hard to gauge what is really going on. I suppose one of the bad guys is a robot? Overall, the film looks pretty good for a micro-budget production, mixing in elements of Neuromancer and Snow Crash with movies like Hardware and Cyborg. So how could all of this fail?

Besides some wonky sound design, it's the weird interpretive dance. I felt like I was watching a how to video about tai chi, and it happens a lot. This whole idea was utilized as a way to differentiate the real world with the digital, and in some ways it is interesting. But it just kept going on and on, and ultimately it got silly when two characters got into a "fight."

There are elements in this story that would make an interesting movie, and the scenery and sets Argo used and created are top notch. But it falls short and ends up as another deep cut on free streaming services.

If seeing through someone's lies and deceit was as simple as the color they were projecting. Such is the case for this movie, which I watched under the title "The Cassandra Cat." In a small town in Czechoslovakia, a teacher is conveying the beauty of free thought, expression and art to his class, something that does not go over too well with the rigid and conservative hierarchy of the school's leadership. The teacher tells his kids about a cat with the ability to see through the veneer of someone's outer deception, painting them in vivid colors which clash mightily against the drab and cold backdrop of the town.

During this time, a lot of changes were happening in Czechoslovakia, especially from a social standpoint as the tenets of Soviet communism clashed with a desire for national democratic socialism. These sort of things happen when your country falls into an economic stagnation, which is visualized in the film as no one seems to really live a comfortable life. Ultimately, this film didn't see much of an audience for years as the country decided to keep its more rigid outlook on economics and free thought. Hence, this is why the film is so divisive.

The Cassandra Cat, as was once described in an old magazine many years ago, sees through the "bulls**t" that many people are projecting. If you take the glasses off the cat, your true colors come out so to speak. Red if you are in love, yellow if you are unfaithful, purple if you are a hypocrite and gray if you are dishonest. So yes, it would be quite scary to see this cat come into your town even under the guise of a whimsical performance troupe.

Ultimately, this movie speaks about the frailty of the human condition and how malleable it can be. As the final scene showcases, a person can change colors quite easily, especially when it comes to the less desirable colors of the Cassandra Cat's gaze. Only those with the purest of hearts can be the red color. Either way, its a great film to watch, witnessing how other countries were going through similar political and social turmoil like the United States.

And for all intents and purposes, the cat was adorable.

I'm so glad this was brought to my attention. While watching a documentary about the Minnesota Vikings, I learned about the interesting life of Carl Eller, and this movie came up. Needless to say, I had to watch it. From a genre viewpoint, it was a pretty standard Blaxploitation movie, but dang was it kinda funny.

The story is basically the saga of a peace loving biker club, who all happen to be comprised of some of the best football players in the NFL during this era of the early 70s. It was a nice time capsule so to speak, as there was strife in the NFL during this time and the players felt they were not being properly compensated. Only the best could live off the earnings of their NFL paychecks in those days, for many of those men had to get second jobs during the offseason. It only made sense to bring in some well built, hungry football players to portray a tough motorcycle club that was seeking answers for a mysterious death. The fact they got Mercury Morris, Willie Lanier, Eller, Gene Washington, Lem Barney and Mean Joe Green is quite amazing, considering the profile these players had during their time.

All of the tropes are there. Black man gets killed for dating a white woman, the brother of the man searches for answers in a nearly all white town, no one talks, some casual racism is spouted out, good guys battle racism, etc. There is nothing different about this film than from any others beyond the fact the good guys hilariously destroy a racist cafe owner's establishment. Trust me, that scene is gold.

My main critique is the end. Boy oh boy what the heck happened. It's clear they ran out of money, because even though it looked like our boys were going to get burnt and killed by the racist motorcycle gang, the movie just stops and basically tells us they won. How? Anyway, weird ending aside, it's a fun movie and worth checking out.

In all honesty, I would only recommend this movie if you are a glutton for punishment. It's bizarre, weirdly kinky and full of bad film making tropes. I have a hard time really saying anything about this film because in reality, the whole thing feels like a long running joke. Our protagonist is a woman that is clinging to the idea that she is still a sex symbol (and nailing it) while taking on bad guys that really present no danger to her. Plus, for a movie called Lady Street Fighter, she doesn't do a whole lot of fighting.

If anything, if you love the trashy B-movies of the 1970s that were equal parts midnight movie and equal parts grindhouse, then you might get a kick out of this. Beyond that, just stay away.

The guy flipping off the audience/good guy while burning to death is quite apropos.

So, apparently this movie was found somewhere in a basement, saved by Vinegar Syndrome and thrust upon the world. Frankly, I wish this was still rotting away somewhere.

First of all, I will give it some praise. It certainly was a fun premise of its time. A group of people lost in a time warp hotel on a picturesque island. The island itself seems to be alive, right down to the tables and fisherman netting. The make-up was pretty solid, and it was fun to imagine the joy the people might have had making this film. But alas, the biggest issue was the budget.

When money is tight, the less violence and blood is used. If he movie had one problem, the set-up just took too long. From a cultural perspective, American horror films routinely get to the killing. At least with this film, the filmmakers tried really hard to give us some background on these characters...which was not too necessary.

Anyway, this is a good bad film to say the least, and I praise Vinegar Syndrome for saving it. But don't expect to be wowed by this one like say New York Ninja.

Before we start the blasphemous destruction of John Carpenter's name, he did not make this straight to video tripe. Carpenter's bad movies are way too good to be on this show, so stuff it.

Now a shameless, straight to video knock-off film? Have at it. This movie in general was a train wreck and I'm glad Kyle and Bryan hated it. I'm mean, the acting and set pieces were mediocre to say the least, but it deserves to be toasted on a show like this.

Not much happened in this show, but we got not one, but three instances of Careless Whisper! They went hard on the first use of that trope and I thank them for that!

Whenever you see an ill advised sequel, what is the first thought in your head? Will I be able to follow it? Will the carefully set threads from the previous films make sense coming in blind? Will I understand the pace of the story? Good thing you don't need any of these things to get a laugh out of it.

I'm sure the guys chose the film on the "I wanna eat your "p+++y" line, but this episode was awesome due to the introduction of one of their greatest show tropes....the use of Sarah McLachlan's song Angel. It was a fitting moment in show history, mainly due to the fact the first use was very apropos to the videos that McLachlan herself said she cannot watch. A dog is playing fetch with his owner and his owner runs into the water and gets eaten by the Megalodon. Bryan's girlfriend (who at this point we still didn't have Katie's name) was sad. "Who's gonna take care of the dog?" Never mind a man just got eaten.

This all around was a great episode even though I didn't like it the first time around. From someone water skiing into a shark's superimposed mouth to a bad submarine explosion, this episode had it all.

In the most bizarre of scene continuations, Bryan and Kyle came back from a year long hiatus. In so many words, they came back in an incredible way. The man who would ultimately become a legend in the series, Neil Breen, makes his first appearance. Ironically, they used Fateful Findings rather than his first film Double Down (which they ironically did a failed review for).

Needless to say, we needed this to get back on a roll. It was nice to see this and still ranks as one of the best reviews in the duo's filmography. Needless to say, someone made claims on this episode once and thankfully it came back. YouTube really needs to get their stuff together so fake people can't issue takedown claims.

Now I am not saying this about the review. Bryan and Kyle rightfully roasted and destroyed this movie as it should have been. I'm just saddened by the fact it was ever made in the first place.

Stephanie Meyer is awful, so awful I don't care if I spell her name wrong. She is a blight o the Arizona landscape and the worst thing to happen to this state since Global Warming and Doug Ducey. Her prose is awful and worthy of a trash bin, but since movie executives are awful people and only see dollar signs instead of art, we were gifted with this atrocity. I'm glad Bryan and Kyle are one of the few who have rightfully take it down a peg.

As for the review, the duo were great because we saw the side of them that pop up frequently in this series....both hosts losing their damn minds. It is the first and thankfully not the last time!

What I mean by the title is this....this was really the first time Bryan and Kyle found a groove that worked for them. While Kyle has always been the straight man in the reviews, both hosts lost it repeatedly when reminiscing about the abject weirdness of the film.

Ben and Arthur has some muddied perspectives about sex, marriage and cultural mores, but none of those things were conveyed properly in the film. This episode was the first time we were introduced to what I like to call, "Hyterical Bryan," where he loses it so badly that one has to conclude he is high. Both of hosts lose their minds frequently, and point out The Room and Birdemic as the peers of this said movie. The best moment has to be from the debate point "how much more serious can you get after killing someone? Spiritually, this is the true first episode of the series.

One month after releasing their first episode, we get a second episode from our daring duo. Ironically, they chose a movie from a 1990s stalwart, the legend himself, Lorenzo Llamas. You may know him from the epic syndicated show Renegade, which should be lampooned more for its silliness.

The episode definitely had an issue with length and taking points, mainly because the movie just was not terrible enough by bad movie standards. So one can say it was a misstep, but it was still pretty entertaining. From reveling in ridiculous murders that happened in the movie to the duo's first video game argument, this episode felt like the precursor to the modern episodes.

When beginning any venture as a YouTube personality, it's tough to get the ball rolling. The good thing for Good Bad and Bad Bad, Kyle and Bryan both work in film and television related industries and thus, their show looked good from the outset.

The only downside of course was the subject matter. Robo Vampire is just an awful film, and the two correctly surmised the movie was two movies in one. The observations are funny through, from comparing the lead bad guy to Edgar Allen Poe and also making a joke about 20 drunken writers making the film, it's a good start to a series that had modest beginnings.

M83 has made a career off making music that heavily appears to the youth of the world. From the Hurry Up We're Dreaming album, they put together a quadrilogy of music videos about a group of super powered children. From the album Youth = Weekend, we get more videos of young people witnessing an alien first contact. Heck, they contributed songs to the Divergent series, which is about the youth of a dystopia rebelling against their society. It's a marketing campaign that has worked perfectly. While attending a recent concert in Phoenix, it's pretty astounding to see so many young fans for a group that has been making music for 20 years.

Anyway, this video is far more abstract and thus doesn't have an interesting artistic narrative. Instead we get three youths running into a strange world of imagery and color, experiencing euphoria, pain and self examination. All the while, some omniscient being is watching them, most likely seeking explanation to their actions. Either way, a great song off the new album Fantasy, to say the least.

Quentin Dupieux never seems to make a conventional movie, and for that, I love him. The bizarre imageries of his imagination makes me curiously wonder what his daily thought process is. For Cigarettes Causes Coughing, it's yet another subversive trek that will leave you confused and wanting more explanation.

The American advertising made this look like a weird take on Marvel movies, but as usual, it morphed into something else entirely. We have a superhero group that is in malaise, breaking due to other conditions of the typical human experience. Jealousy, selfishness, family obligations and so forth are making them ineffective in the field. So what is needed? A group retreat.

But we don't see any real hashing out of emotions or team building per se, it's mostly just existential dread and stories about the inevitability of death. It's always a tough sledding to figure out what Dupieux is trying to convey, simply because his version of reality is rarely coherent. Amidst the washed out color of the worlds he creates, he leaves all meaning for the viewer to decide. What would happen if Nick Fury was in the middle of a love triangle with Black Widow and Captain Marvel? It's one of those weird scenarios that I am sure Dupieux thinks of while sipping his cognac.

The trick to watching these types of meaning is to understand there might not be one, or it might require some reading to figure it out. On the other hand, they sure are strange and entertaining anti-film.

Willem Dafoe has defined his career with a lot of risky ventures, especially when it comes to characters heavily seeking some form of self enlightenment. With his newest project, he takes on the grotesqueries of art and life by showcasing the canvas of his disheveled and imperfect body.

Dafoe plays a near over the hill Art thief who is trapped in the luxurious apartment of a well to do art dealer. Pretentious and lacking function, the apartment serves as an artistic representation of the modern capitalist mindset. While we can see the flashy and eye pleasing layers from the surface, it lacks functionality and depth. You can't survive on condiments and crackers, and what exactly is the point of a heavily chlorinated reflecting pool.

From an allegorical sense, the art in the apartment encapsulates the modern human condition. All of the art misrepresents the human form, twisting the subject or obstructing the view, never allowing us to see a perfect representation. We never truly get to see the people in the artistic works for who they are...much like Dafoe's character. We know he is intrepid, but what life must a person live where he is removed from the world yet so easily forgotten? At one point he claims each man is his own island. His character might as well be on another planet.

It's an interesting work to say the least as Dafoe descends into madness, eating dog food and fish, making up oratories of the apartment staff who frequent the building. We see the trajectory of life and death as Dafoe kills the expensive fish for nourishment and watches an injured pigeon pass away. Eventually the home turns into one of the pieces of art adorning the over the top apartment, gruesome and discombobulated.

I commend Dafoe for always taking on these sorts of projects, but it can be disturbing to see what an artist is willing to put himself through. I'm also thankful the ending was somewhat simple and direct, for I was fearful it might give us a rather wink-wink kind of pretentious ending which was frequently eluded to due to the type of art on display. Thankfully the film makers thought better of it.

Over the course of the last 20 years, a lot of wannabes have sought out to be the next bad film movie maker. Dreams of being Tommy Wiseau trying to act like James Dean or failed attempts at turning eagles into evil avatars of Earth's destruction have been imitated to no avail. A good "bad film" needs to come from the heart, which is why people like Neil Breen and Scott Shaw exist in all of their beautiful ego driven glory. And then you got the DIY movement.

Every state in the union has one I'm sure, but Arizona presents a unique setting due to the topography and the ability to shoot year round. Aliens and dystopic futures are perfect for my home state. So Clay Moffatt and his friends have carved out their own straight to video niche and in the process, created Pocketman and Cargo Boy.

It was a silly concept, but as each film continues to move along, the story got more convoluted. What started as a cheap Spy Kids knock-off evolved into Doctor Who. Jaden Hill was just a good run of the mill agent and by the third film....he's a time lord? And he is messing with the time lines of the universe? It's pretty amazing Moffatt came up with this idea before the film Everything Everywhere All At Once hit the theaters. Can't even accuse him of stealing that idea so bravo!

It made sense I guess. The availability of some actors was evident as cast changes were made, and the shortness of the film implies everyone involved didn't have much time to spare. You can even say Jaden Hill's messing with the universe was a way to explain the cast changes, like him changing history came with dire consequences. They had a story there, they just didn't have the time or budget to make it happen.

Of course, this film still has all the tenants of Tubi streaming flare, like bonkers ADR and over the top, clear as day one take acting moments. But hey, they tried, and it's way more than I am doing while I sell paint to the world. Someone needs to give Moffatt a budget because he clearly has ideas to make a film....just doesn't have the means.

I'm man enough to admit I watched this show, but I'm also man enough to admit this show kinda stunk. But it was fun I guess. During a time where dating shows were frequent and often times syndicated, Bzzz was no different from the odd assortment. From a show that gave people surprise makeovers to shows where people were chained together, Bzzz was kind of the puritanical show amongst all these concepts.

Annie Wood (who I had a huge crush on) would introduce multiple suitors through a looking glass, and the person involved would have to choose the person they want to date of "buzz" them out. Simple concept. Humiliating in a sense but what do I know, I'm not attractive enough to get on these kinds of shows.

I will say this, it was a great way to start goofy conversations with a college instructor I had the hots for.

P. T. Anderson has a very unusual and distinct style which has created a hallmark for the type of storytelling and visual spectacle he engages in. Some films it seems like he is the perfect torchbearer for Stanley Kubrick, engaging in long drawn out shots and showcasing non-conformist relationships. And then there are strange outliers like this film.

Having finally seen it after 20 years, it's hard to really gauge what Anderson was aiming for. Much like David Fincher needed a massive departure from Seven, The Game and Fight Club when he made Panic Room, Anderson went rogue as well after three consecutive films which showcased a certain style in Hard Eight, Boogie Nights and Magnolia. Rather than long and drawn out scenes of coherent and well placed dialogue, this film is one chaotic scattershot of Robert Altman dialogue scenes and long experimental "in the moment" shot composition. It's seems like little planning was put into the film and everything was shot on the fly, but it all makes sense.

Barry Egan is chaotic neutral, triggered by his bullying sisters and lashes out frequently, yet can't admit to his problems. Hence, the oddly shot and cobbled together scenes of the first half of the movie reflect who he truly is. Jon Brion's score reflects this mood, taking on some cues from Damon Albarn's Ravenous score. It is not until he meets Lena Leonard when the film stabilizes, indicating his mood evening out in addition to being more truthful about who he is. While the film finalizes rather abruptly, we get the idea the world is about to be more calm for Egan.

I won't say this is a perfect film, but it was certainly a necessary reset for Anderson. Much like Licorice Pizza (to rather poor results) made us long for his dark period pieces, Punch-Drunk Love allowed us to reset the expectations that allowed Anderson to seek out new avenues and thus, present the world with some of his best work.

Either way, an interesting and chaotic film.

Now, I am not the biggest horror movie fan out there. I don't gleefully wait for Halloween movies or talk in detail about the old horror franchises. Occasionally, I will check out a movie that doesn't seem to fall into the usual tropes of the genre. So Barbarian looked interesting to me, and the first half of the movie certainly got my attention, but then Justin Long shows up.

I don't hate Justin, but dang his appearance just took the air out of the movie. While some people didn't mind the left turn he brought to the proceedings, I think adding him in just created a major tonal shift that turned me off to the movie. It seemed the moment he showed up, the entire movie just lost its way.

I wasn't particularly fond of the reveal as well. I was hoping it would be something more grounded and real rather than surreal and pedestrian. What looked like a potential modern look at urban horror morphed into a predictable horror movie.

The only thing I can really give credit to is the settings and the attention to detail these settings had. They were really engrossing and interesting, but it was too bad they couldn't create a better story out of it. Horror movies in general are pretty predictable, and unless you have a really unique concept or a unique vision, it's just gonna be another horror film to me.

There are a few things that make this film somewhat watchable. It's short. You can find it free in most places. I guess that is it. You know it's bad when the commercials that pop up time to time have more production value than the movie. It begs the age old question....just because you have the drive and money to make your own schlocky Tubi level horror film, should you make that schlocky Tubi level horror film. Maybe you can use that money for lottery tickets and win enough money to hire some more talented people to make a more interesting version of your film. Just saying.

Anyway, it's hard to be too cruel, but this movie is bad. Holy smokes. I mean, the premise is pretty cool from a distance. New couple moves into a house with a mysterious door that is shackled in the basement. What's behind the door? Why do the neighbors conspire to kill the new owners to open that door? I mean, we got something to work with, but beyond that, it's just bad.

The acting is just atrocious. The build-up of tension is non-existent due to terrible cinematography and lackluster music. And then that ending. Woof. Bring alcohol with you because you will need it. Personally, the guy that made this movie should have polished this up and tried shopping around for making it himself. Kind of a shame.

It took 40 years, but I finally got around to watching the animated movie everyone had kinda recommended I should watch. Time doesn't really change your perception of a piece of art, but one can look back into a prism and see just how they would have fallen for the piece of art back in the day. Fourteen year old me would have loved it, while 44-year old me finds it interesting and nostalgic. Go figure.

So how do I critique such a work? Do I go back in time and compare it to it's cool temporaries, the 2D Era of Disney and the rotoscoped images of Rankin-Bass? From the point of view, the animation holds up fairly well, even if it looks choppy in some spots. This was the era before the 80s cartoon boom created a uniform, simplistic approach to animation that was meant to be broad and cater more toward selling toys. And 14-year old me can certainly say one thing....it's like the animators idea of the ideal female body was incepted right out of my pubescent head.

What I didn't realize was the story would be an anthology. While a couple of the stories seemed rather silly, there was some cool storytelling that would be perfect for the sci-fi and medieval imagery that metal bands were using in those times. Plus a story about an orb that stirred up evil where ever it went was like an old Rush album from the 70s. This format did have an added benefit at least. With a slow and often times disjointed story, the anthology style did allow you to engage in different stories.

Is this film a triumph of animation? Depends on your age, I guess. Is it essential viewing for all rock and metal lovers? Of course!

It's pretty cool what we have done with artificial intelligence these days. When you ask a computer to make a script for a film about dancing, it's pretty amazing how it could come up with something....wait, what was that? This was written by a person? You mean this was a serious project not some weird attempt at proving A. I. is sentient? Wow. Just wow.

Okay, that changes the tone of this review severely. I mean, I was under the impression that the tourism council of Panama City-in conjunction with other contributors--used an A. I. to make the strangest tourism video ever made. But this was made with legitimate intentions? Well, I am at a loss to continue with this review. I mean, this movie was awful. Just outright awful.

I will say this, it was a pretty good "awful" movie. The dance scenes were fun to watch. The women were largely attractive. The great Gary Daniels is in this film. I mean, It has the goods to be thrown into the pantheon of one of the greatest bad films of all time. If The Room is Citizen Kane, Champagne and Bullets is The Rock and Birdemic is The Birds....then this one has to be akin to Hello Dolly or Guys and Dolls. I don't know, you decide what the good movie equivalent is to it.

Anyway, I have to go to my computer. If this poorly written film can be made, then the bad ideas kicking around in my noodle should also be cogent and sincere.

So here we go. Yes, I do like metal and various forms of metal, but it's pretty obvious I was not a fan of the party anthem, hair and glam metal scene so many people fell for. I prefer thrash, punk, hardcore, death and black....so to see the absolute verbal refuse flowing out of the mouths of the interviewees is just pure cringe.

Where to begin. It's pretty obvious the people interviewed for the film were delusional. While some of the same tropes were spoken about from Spheeris' previous film, it just didn't have the same impact as the primary motivation was fame and money. If part 1 of the Decline series was the rejection of capitalism, then part 2 is the abject bootlicking of that economic system. It's just didn't have the same impact, for nihilism seems much more "rock and roll" than trying to attain some shallow perception of "making it."

Everything about the film was rather pretentious, from Paul Stanley doing an interview with a bed full of models to just the ridiculous clothes that 90% of the people wore in this film. I guess one can say this was the 80s in a nutshell, and I can say this is example No. 1 of the outright emptiness of the decade.

I especially loved the delusion of Odin, from the fact they never really made it to the fact the lead singer sounds like Dr. Rockzo from Metalocalypse. The whole pursuit seemed aimless until they got some brevity from Dave Mustaine of all people, who's band Megadeth illustrated how superior they were to the brain dead party animals talking about trying to make a name for themselves. But that was metal in the 80s I guess. Alice Cooper implied making music that makes you think is a good thing...it's just you didn't see much of that in this movie that is for sure.

Nothing in this world is going to make you think your personal is not valid. While many people will willfully put you down and say this about certain things, ultimately the individual has the final say on their preferences. The only real caveat to enjoying the things you enjoy, is how accepted is it in the mainstream society? We currently live in a world where bland pop singers are labeled as generational talents, even if their music is a focused grouped crime against humanity. So when hardcore and punk started becoming a thing in the mid to late 70s, it is easy to imagine the pristine ivory towers of music labels scratching their head when they first heard these assaults to the senses. It was not for the masses, and regardless of how hard many in today's nostalgic driven culture will try, punk and hardcore will always be their own thing.

What I especially liked was the brutal and no holds barred look into the lives of these rock pioneers. No lavish life styles to speak of, daily struggle with finances and definite addictions. While the people involved have a rather sad view of the world, they don't seem to have any direction in regards to fixing the issues. Nihilism is a hell of a drug, which is most likely what they are high off of.

I will say this. Watching this documentary gives you the perspective of how hard it is to go against the grain.