Interesteg What makes it different from others?

Platicsco Good story, Not enough for a whole film

Portia Hilton Blistering performances.

Kirandeep Yoder The joyful confection is coated in a sparkly gloss, bright enough to gleam from the darkest, most cynical corners.

mmushrm The follow up to Metal: A HeadBangers Journey, Global Metal is rather disappointing.Its failure lies in trying to compress a global metal scene into a 90 minute feature. It states that its purpose was an anthropological study into the heavy Metal scene globally and how (if at all) it adapts and reinvents itself in each culture. By trying to do this, it reduces its study into snippets and soundbites. Brazil (sepultara), Japan (Marty Friedman (Megadeth) and X-Japan, China (Tang Dynasty), Indonesia, India and Mid East. Imagine cramming all of this into 90minutes.This would have been better served if it was a multi episode documentary done on A&E or Discovery.The plus, the music. I admit to listening to metal since my childhood (Iron Maiden - Number of the Beast). Nothing gets the old heart rate up then the a good solid metal gallop. Also the introduction of some bands that we would not normally hear of in this side of the world. (Unfortunately most of the time is spent on bands (western) we all know).Well worth a watch but don't expect an anthropological study.

borkoboardo It was all clear, after the roots and influences of metal were told in "Metal - A Headbanger's Journey" the next chapter was about to begin: What happens to Metal if it goes global?I guess "ambitious" is the best word to describe the second metal documentary of Sam Dunn and Scott McFadyen - it will probably never win an Oscar - but even more hearts of metal fans. I am really thankful for the fact that the two didn't get carried away too much with certain topics. It is very interesting - especially from an anthropological point of view - to see how foreign cultures react to something almost completely western. Metal doesn't incorporate as many commercial aspects as other global trends, it transports different messages which are more genuinely reflected by the fans worldwide. I think the statement of the film is Bruce Dickinsons, who claims that kids all around the world reach a state in their development where they just want to get up, scream and go wild. It think this is the base for this film - it is normal that young people have a lot of compressed energy and anger to let loose. The times of the easter rabbit, santa clause and gnomes is over. They realize that reality is cold and tough - Metal offers them a valve to let release these feelings. It's nothing bad, in fact it should be considered a treatment. Let them go wild. But in many cultures this behavior is not welcome and mostly not understood. This film tries to explore how kids (and adults) try to be understood and not be linked to extremist thoughts or low lives.At some points it is explained very well, at some others it unintentionally mixes politics with culture. Although Metal definitely has certain political aspects the messages are interpreted in a very different way around the globe and unfortunately this documentary doesn't fully capture these impacts. The comments of some artists, especially Tom Araya from Slayer are rather dull and prove that some musicians have no idea of the real consequences their fans face in different parts of the world. Is this good or bad? The film leaves these decisions to the viewer...I for myself really enjoyed this journey and though it has ups and downs it draws a very impressive momentum of a genre that has mostly chosen to go its own way.

Andrew Pelechaty In 2005, Sam Dunn's documentary 'Metal: A Headbangers Journey' explored one of the most misunderstood and maligned music genres.His follow-up 'Global Metal' (inspired by the range of worldwide fan mail for M:AHJ) sees Dunn travel to Asia, South America and the Middle East to discover the impact of Metal in non-western society.The most striking thing is how Metal is used to express emotions forbidden by either the country's culture (such as the polite, ultra-organised and workaholic ways of Asia) or the oppressive regimes of the Middle East (a planned trip to Iran had to be diverted to UAE when Dunn wasn't allowed into the country). The doco climaxes with an epic Iron Maiden concert in India, which drew 30,000 fans. The atmosphere is astounding.Throughout his journey, Dunn interviews Metal legends such as Max Cavalera, Tom Araya, Kerry King, Bruce Dickinson and Marty Friedman as well as everyday fans. While Dunn is a proud Metalhead, he never lets his passion get in the way of his job and lets the interviewers and the music (there's a number of clips from domestic Metal bands in each region) tell the story.If nothing else, 'Global Metal' proves that if Metal can exist in oppressive environments then it is truly one of the most diverse and all-encompassing genres.

freddysdead2002 I am appalled at the high rating for this film, especially those claiming this is MORE metal than Dunn's previous effort -- "Metal: A Headbanger's Journey." At least "Headbanger's Journey" had a point. This is documentary film-making at its worst. The thesis of the doc is quickly abandoned by spending 75% of its time on American and European bands. Nothing new is discovered... We spend our time chock full of Maiden, Slayer, Deep Purple. We go to precious few locations and discover in all of South America -- home to legions of awesome death metal -- just ONE band? SEPULTURA!? In Japan, we listen endlessly to Marty Friedman (!?!?). We profile X-Japan, one of the crappiest pop metal bands in existence, and then barely skim over the only EXTREMELY popular Japanese black metal band -- Sigh. Not only do we only see them briefly recording in the studio, we don't even HEAR the actual recording session or talk with them about how they are one of the pioneers of the immense genre. What is this guy out to discover? It's pretty obvious that the filmmakers are not privy to the vast expanse of amazing metal bands, numbering in the hundreds of 1,000's worldwide. We get very little indication of what the music in each country sounds like, and instead, we're subjected to Mr. Dunn walking along famous landmarks with underscores by Slayer and other American metal. Discussions are not probing. Everything in this documentary is simply WRONG.I've visited many of these areas and can attest that there are metal heads out there.. everywhere, bursting at the seams. There are SO many bands out there -- extreme, weird, interesting -- and movements waiting to be discussed. The political nature of these areas is simply glossed over and would've provided a much more in-depth and engrossing piece.This needed to be WAY more full of bands NATIVE to each area, and entire continents are skipped over.It's fairly clear that the filmmakers did most of their miniscule research on the internet (they even state this when they go to China) and didn't even dig deep into sites such as Encyclopaedia Metallum, which illuminates instantly more about this world than this documentary could've ever hoped to achieve.This film is an abomination to metal and should not be pushed onto the public as true information. At least "Metal: A Headbanger's Journey" was a decent primer on the subject. I watched it with my girlfriend at the time, and she instantly understood what I saw in the genre. This film is simple tripe. Under-researched, over-funded, and without substance.