Metallica: Some Kind of Monster

Directed by Joe Berlinger and Bruce Sinofsky, Metallica: Some Kind of Monster is a documentary film about the making of Metallica’s eighth studio album St. Anger that went on for two years as the band is dealing with a backlash, personal issues, departures, and all sorts of demons. The film is an exploration into the seminal thrash metal band as they tried to find their place in the world of music as vocalist/guitarist James Hetfield, drummer Lars Ulrich, and guitarist Kirk Hammett also tackle many things the band had been trying to ignore. The result is a fascinating documentary from Joe Berlinger and Bruce Sinofsky.

Since the early 1980s, Metallica was one of the founding fathers of the thrash-metal movement that combined the energy of punk with the power of metal that was seen as an alternative to the more popular glam-metal movement that dominated much of the 1980s. A series of classic albums starting with their 1983 debut album Kill ‘Em All to 1991’s The Black Album helped Metallica become one of the most popular metal bands ever despite some setbacks that included the tragic death of bassist Cliff Burton in 1986 in a bus accident during a tour in Europe. Former Flotsam and Jetsam bassist Jason Newstead would replace Burton for a near-15 year tenure where it was part of Metallica’s most successful period.

The film begins with the news of Newstead’s sudden departure from the band in January of 2001 as it was another of string of bad news for Metallica who were also dealing with the backlash in their battle against the Internet file-sharing service Napster as well as charges that they‘ve sold out as the band‘s recent records from the mid-1990s to the 2000s showcased the band adopting a more mainstream sound with such albums in Load, Reload, the Garage Inc. covers album, and the S&M live orchestral album. From early 2001 to the release of St. Anger in June of 2003, the film explores two years in the life of Metallica where James Hetfield, Lars Ulrich, and Kirk Hammett struggle to make the album with longtime producer Bob Rock who would play bass during the recording of the album. Also on board during the sessions is Phil Towle who is known as a performance enhancement coach as he would often analyze many of the issues the band was going through during these two years.

Directors Joe Berlinger and Bruce Sinofsky would appear briefly in the film during a crucial moment when James Hetfield returned from rehab in 2002 following his abrupt departure due to alcoholism and other personal issues as they met with Hetfield about whether he would be OK if filming continued. During the course of the film, former bassist Jason Newstead is interviewed as he revealed a lot of the reasons for his own departure and his own criticism of the band turning to Phil Towle for help. Hetfield would respond to Newstead’s reasons for his departure where he admitted to being responsible for Newstead’s departure. Other issues touched upon the film were Cliff Burton’s death in 1986 as well as personal issues between Hetfield and Ulrich as they had founded the band where the two finally become angry with one another.

Original lead guitarist Dave Mustaine, who would form another successful and influential thrash metal band in Megadeth, would appear in the film during one of Ulrich’s therapy sessions with Towle as it indicated a lot of the frustrations that Mustaine had to deal with from Metallica fans over the years. It would also play to a meltdown Ulrich would have following a show he, Hammett, and Rock attended for Newstead’s new band Echobrain as it’s one of the film’s unintentionally funny moments. Hammett is definitely the most reasonable person in the band as he tries to defuse his own ego while he would finally express his disdain about not doing guitar solos for the new album. With the help of cinematographer Robert Richman, the look of the documentary remains simple with its approach to handheld cameras to showcase a band trying to make a new album.

Editors Doug Abel, M. Watanabe Milmore, and David Zieff also help out to shape the film by including some montages with footage of Metallica‘s past as well as news footage relating to the band to showcase their trials and tribulations with some additional work from sound editor Andy Kris to provide some of the sound textures of layering of news footage and such. Especially as it relates to Newstead’s activity as he would play with the metal band Voivod as well as play bass for Ozzy Osbourne which adds a hint of irony as Newstead’s replacement would eventually be another former bassist of Osbourne in Robert Trujillo.

Metallica: Some Kind of Monster is a remarkable film from Joe Berlinger and Bruce Sinofsky about the band and the making of St. Anger. While the album itself wasn’t one of Metallica’s finest recordings, the film does manage to showcase in a very engaging light that allowed fans to connect with them as well as see the men outside of the world of being musicians. In the end, Metallica: Some Kind of Monster is a phenomenal film from Joe Berlinger and Bruce Sinofsky.

Joe Berlinger & Bruce Sinofsky Films: (Brother’s Keeper) - Paradise Lost: The Child Murders at Robin Hood Hills - (Where It’s At: The Rolling Stone State of the Union) - Paradise Lost 2: Revelations - Paradise Lost 3: Purgatory

© thevoid99 2014

Paradise Lost 3: Purgatory

Directed by Joe Berlinger and Bruce Sinofsky, Paradise Lost 3: Purgatory is the third part of a trilogy of films relating the 1993 child murders at Robin Hood Hills in West Memphis Arkansas where three teenagers were accused of the crime. Starting with its first documentary in 1996 and its follow-up in 2000, the third film follow Damien Echols, Jason Baldwin, and Jessie Misskelley Jr. as they each serve prison sentences for the crime. When their defense team and support group uncover more proof of their innocence, it leads to secrets of incompetence relating to the case as well as a new suspect. The result is a more thrilling yet evocative film from Joe Berlinger and Bruce Sinofsky.

In the first two films about the murders that happened back in 1993, a lot of fingers were pointed at Damien Echols as being the supposed ringleader of the murders as part of a Satanic cult ritual. Echols, Jason Baldwin, and Jessie Misskelley Jr. all have maintained their innocence as the most of the film’s first half is a look back at the previous films with new comments from lawyers and various people from the previous films. Particularly as Echols’ attorney talks about the evidence that was overlooked leading to the 2007 press conference that revealed new evidence that proved that the three men are innocent. What is more shocking is the new suspect that is presented in the form of Terry Hobbs, the stepfather of one of the murder victims in Stevie Branch.

While Hobbs maintains his innocence while going into a defamation suit against Dixie Chicks singer Natalie Maines over comments she supposedly made. There is some evidence about the fact that he is a suspect which is presented by John Mark Byers, the stepfather of victim Christopher Byers, with facts about Hobbs’ whereabouts on that day. The Byers character, who had been a prominent figure in the previous films, is shown in a more restrained light as he has dealt with loss as well as being a suspect. Since he didn’t kill the children, he revealed his own faults of accusing the three men who had been suspected. Through the new evidence revealed, he becomes a supporter while receiving an apology letter from Echols who had suspected him years ago.

The film also picks up where the second documentary left off as Echols was facing a death sentence as he, Baldwin, and Misskelley kept fighting through appeals with help from the West Memphis 3 support group and their attorneys. Misskelley reveals more about what happened on the day he made his false confession which showed more injustice from the police department. A former secretary for a lawyer revealed that jury tampering had happened because someone wanted to be a foreman for the jury in the Echols-Baldwin case back in 1994.

The structure of the film is much tighter than its predecessors due to the fact that the film is presented in chapters. The first one is a prologue about everything told in the previous films and the second and third chapters are about the new evidence and suspicions towards Terry Hobbs. Then comes this epilogue at the time the film was in post-production where it revealed something that could’ve prevented a trial and more appeals to happen in the coming years. What Echols, Baldwin, and Misskelley are given is in the form of a compromise which would end the film. Yet, it’s an unsatisfying one considering the legal circumstances that is presented. Not surprisingly, there is a sense that justice was not served and the fact that the real killer is still loose somewhere. The accused aren’t satisfied nor are their families and the families of the victims. It’s a very mixed reaction considering what the three men had to do to be freed.

While the direction of Berlinger and Sinofsky is still the same in their approach to open the film with aerial shots of West Memphis. Yet, there is a more sense of control to that presentation as it isn’t as overt while they get to be on camera in a few instances as they talk to Echols in an interview and deal with the aftermath of the case. With camera work from Robert Richman and wonderful editing by Alyse Ardell Spiegal to gather all of the old footage to create new ones. The technical work is still stellar as the music features a haunting ambient score by Wendy Blackstone as well as songs from Metallica.

Paradise Lost 3: Purgatory is a superb film from Joe Berlinger and Bruce Sinofsky about the West Memphis 3 and the murders they were accused of. For those who hadn’t seen the previous films, it does give viewers a chance to see what was shown in those films without really needing to see them. For those that had seen the previous films, it would give them a chance to piece out everything else that had seen to figure out what was missed. In the end, Paradise Lost 3: Purgatory is an excellent and provocative documentary from Joe Berlinger and Bruce Sinofsky.

Joe Berlinger & Bruce Sinofsky Films: (Brother’s Keeper) - Paradise Lost: The Child Murders at Robin Hood Hills - (Where It’s At: The Rolling Stone State of the Union) - Paradise Lost 2: Revelations - Metallica: Some Kind of Monster

© thevoid99 2012

Paradise Lost 2: Revelations

Paradise Lost 2: Revelations is a sequel to the 1996 documentary about the murders that occurred at Robin Hood Hills in West Memphis, Arkansas. Directed by Joe Berlinger and Bruce Sinofsky, the film explores the aftermath of the trial that accused Damien Echols, Jason Baldwin, and Jessie Misskelley Jr. of killing three eight-year old boys back in 1993. Notably as Echols faces a death sentence as a support group and lawyers try to help their case out where they uncover new evidence and a possible suspect. The result is a more intriguing yet brooding documentary from Joe Berlinger and Bruce Sinofsky.

In the second part of the Paradise Lost trilogy, a support group of the West Memphis 3 try to keep the case open for the public as its alleged ringleader Damien Echols faces a death sentence in 2000. While Jessie Misskelley Jr. and Jason Baldwin are currently serving different sentences, both maintain their innocence as Misskelley reveals that his confession was false due to the threats and badgering he received from the police. Misskelley’s attorney from the first case chooses to stay on as he also helps out Echols and Baldwin with help from a defense expert and the support group where they would uncover a piece of evidence overlooked from the previous case.

With the mothers of Echols and Baldwin talking to the filmmakers as well as Misskelley’s father, the one person that is up and front about the case is John Mark Byers. The father of one of the victims in Christopher Byers, Byers is definitely the scene-stealer of the film as he becomes confrontational towards the support group as he becomes a suspect. Particularly as his wife Melissa had died mysteriously in 1996 as her cause of death remained inconclusive. Yet, Byers is also known for various incidents relating to theft and assault while there is a very crazy scene where he returns to the crime scene to make a gravesite for the accused in a very strange ritual with fire.

While Byers is among one of the most interesting people in the film, it is still about the case as a more subdued Damien Echols reflects on the first film and everything else that has happened. Notably as Echols fights for his appeal after he felt the lawyers in the first film didn’t do an adequate job in defending him once the support team, Misskelley’s attorney, and others find evidence that could prove their innocence. What is revealed proved that there wasn’t just a sense of incompetence by the defense attorneys and those who are supposed to look into the autopsy. It also proves that there could be a cover-up.

The direction of Joe Berlinger and Bruce Sinofsky does repeat some of the same visual traits such as the aerial shots of West Memphis and moving the camera around the actual crime scene. The approach is more different as it utilizes more news footage and material from the previous film to reveal what happened then as the people who were previously interviewed reflecting on the past. There’s scenes where Berlinger and Sinofsky get a chance for Echols to speak via speakerphone for an online chat he has where he briefly gets to talk to his mother. With the help of cinematographer Robert Richman and editor M. Watanabe Milmore, the film’s look and editing approach to the film is still the same but there’s also a much tighter feel to the pacing that keeps it from lagging. The film’s music is once again supplied by Metallica which adds to the film’s haunting quality as Baldwin’s mother finds herself relating to the song Nothing Else Matters which is played a few times in the film.

Paradise Lost 2: Revelations is a mesmerizing yet suspenseful documentary from Joe Berlinger and Bruce Sinofsky. The film is a brilliant yet superior follow-up to its predecessor as it unveils more clues and secrets about the possible innocence of the West Memphis 3. It also creates a very interesting character in Mark Byers as a man trying to deal with loss as well as maintaining his belief that the three men did kill those kids. It’s also a film that allows someone to go back and watch the first film and see what got overlooked and figure out that there could be more that is missing. In the end, Paradise Lost 2: Revelations is a remarkable yet powerful film from Joe Berlinger and Bruce Sinofsky.

Joe Berlinger & Bruce Sinofsky Films: (Brother’s Keeper) - Paradise Lost: The Child Murders at Robin Hood Hills - (Where It’s At: The Rolling Stone State of the Union) - Metallica: Some Kind of Monster - Paradise Lost 3: Purgatory

© thevoid99 2012

Paradise Lost: The Child Murders at Robin Hood Hills

Directed by Joe Berlinger and Bruce Sinofsky, Paradise Lost: The Child Murders at Robin Hood Hills is the story of the murder of three eight-year old boys in West Memphis, Arkansas as three young teenagers are accused of murder. The documentary explores a small town being torn apart by these gruesome murders which leads to a trial as these three teenagers try to maintain their innocence. The result is a very harrowing yet evocative documentary from Joe Berlinger and Bruce Sinofsky. Paradise Lost is a harrowing yet chilling documentary about the West Memphis 3 and the murders that happened.

The documentary tells the story of an entire year from the day of May 3, 1993 when the bodies of Christopher Byers, Michael Moore, and Stevie Branch were found at a ditch in the woods of West Memphis, Arkansas. Three teenagers named Jessie Misskelley Jr., Damien Echols, and Jason Baldwin were accused of the murders as its first hour focuses on the murder and Misskelley’s confession that led to the arrest of Echols and Baldwin. Notably as some believe that Misskelley’s confession was false and forced upon a kid who was scared. The film’s following hour-and-a-half focuses on the Echols/Baldwin trial as they are accused of Satanic rituals which they deny while Christopher Byers’ stepfather Mark is alleged to be a suspect because of a knife he had.

Throughout the story, the parents of the victims and the accused are interview as they each share their own feelings about what happened. The victims parents including Mark Byers each express their own hatred for the accused as Byers hopes that the day they die, he spits in their graves for what they did. There’s a scene of Byers and Michael Moore’s father having a shooting practice at a pumpkin which express the hatred these two fathers have for these teenagers.

Though directors Joe Berlinger and Bruce Sinofsky don’t try to portray any of the people interviewed as caricatures but as real people dealing with grief and in the situations they’re in. Particularly the accused as they’re often seen as being different because they wear black, have interest in the occult, and listen to heavy metal music. The most interesting person of the accused is Damien Echols who truly understands what is going on as he and Baldwin try to maintain their innocence. Even their family backs them up while there’s a scene where the girlfriend of Misskelley’s father tries to tell him to cut him off.

In the presentation of the film, Berlinger and Sinofsky create a documentary that is set in this small Arkansas town with aerial shots of the town as well as wandering, hand-held camera work on the actual location where the bodies are found told in the span of nearly a year. The duo choose to create a film where they observe everything that is happening as they let everyone from the families, the accused, attorneys, and various other locals get a chance to say something where they’re revealed to be just human beings that have something articulate to say. They’re not these poor, rural people from the South but real people who are affected by these murders.

Through the camera work of Robert Richman and the editing provided by Berlinger and Sinofsky, the film explores a lot of what happens through news footage of the trial and various news reports. While the film is quite long for its 150-minute running time where the pacing does lag a bit in some of the interviews and conversations between lawyers. It does reveal what goes on and what the defense team tries to do while there’s also some people who try to help the families deal with the media over the case. The film’s soundtrack is largely dominated by the music of Metallica that plays to the dark mood of the case as it’s the music that Echols and Baldwin are fond of.

Paradise Lost: The Child Murders at Robin Hood Hills is a very gripping yet unsettling documentary from Joe Berlinger and Bruce Sinofsky. While it’s not an easy film to watch as it features some very graphic and gruesome images of death. It is still an intriguing one that uncovers the West Memphis 3 case and how it would progress in its following films. In the end, Paradise Lost: The Child Murders at Robin Hood Hills is a haunting film from Joe Berlinger and Bruce Sinofsky.

Joe Berlinger & Bruce Sinofsky Films: (Brother’s Keeper) - (Where It’s At: The Rolling Stone State of the Union) - Paradise Lost 2: Revelations - Metallica: Some Kind of Monster - Paradise Lost 3: Purgatory

© thevoid99 2012