Lucybespro It is a performances centric movie

Console best movie i've ever seen.

Numerootno A story that's too fascinating to pass by...

Jenna Walter The film may be flawed, but its message is not.

Woodyanders The 1980's heavy metal scene proves to be a gloriously ludicrous array of hideously overpermed hairspray-soaked coiffures, skintight leather pants, silly and immature macho grandstanding, slutty groupies with varying degrees of attractiveness, bands with equally erratic musical aptitude (it's no wonder that neither Odin nor London ever made it big, while Megadeath distinguish themselves as one of the few groups featured herein with considerable chops), appalling misogyny, and, of course, a dazzling surplus of decadence and hedonistic excess cranked to eleven. Yet somehow director Penelope Spheeris manages to still capture the humanity behind all the blatant posturing: Whether it's Steven Tyler admitting that millions of dollars of cocaine went up his nose, Ozzy Osborne candidly discussing the drab reality of rehab (Ozzy is a hoot to watch as he makes breakfast in his kitchen while clad in a bathrobe), Joe Perry remarking that at some point one gets sick and tired of feeling sick and tired, or, most memorably, guitarist Chris Holmes in a swimming pool drinking himself into oblivion while his mother sits poolside watching in silent disgust, Spheeris reveals that there's a definite dark side to the heavy metal lifestyle. It's also pretty sad and sobering to hear members of the lesser known unsigned bands admit that they are bound and determined to succeed no matter what; this speaks volumes about the tremendous pressure American society puts on people in show business to achieve a certain level of fame and fortune. So for all of the more garish aspects found throughout (for example, the clearly staged Paul Stanley interview with Stanley lying in bed surrounded by fawning hot babes), there's a good deal of pathos to be found that in turn makes this documentary worthwhile viewing.

Scott LeBrun Full disclosure time: this viewer is a metalhead, and has been for over 30 years, since discovering bands like Judas Priest and Iron Maiden. Yet somehow catching this documentary, itself almost 30 years old now, eluded him. A follow up to director Penelope Spheeris' earlier definitive punk rock documentary, its focus on the men (and women) who make hard rock and heavy metal is certainly a natural progression, since so many parental and authority figures abominated these genres as well.The film mostly consists of sit down interviews with some of the reigning kings of the genre and the confident (you could easily call them overconfident) up and comers of the era sharing their thoughts. Not surprisingly, it's the veterans like Lemmy, of Motorhead, Gene Simmons and Paul Stanley of KISS, Steven Tyler and Joe Perry of Aerosmith, and Ozzy Osbourne, that tend to offer the most interesting observations and anecdotes. There is one interview, however, with W.A.S.P. guitarist Chris Holmes, filmed as he lounges in a swimming pool while his mother (!) looks on. It goes from amusing to disconcerting in a hurry.The notion of "Sex, Drugs and Rock 'n' Roll" is very much on the minds of various interviewees here. Viewers should be prepared for some pretty frank dialogue. One thing that sobers you up quickly is seeing how many of the young turks proclaim that their lives would have no more meaning if they couldn't play their music. Obviously, the aspirations of groups like London, Odin, and Seduce for super stardom didn't pan out, and as Poison front man Bret Michaels points out, it is important to stand out from the pack in some over crowded genres.The sequences with Bill Gazzari, the so-called "Godfather of Rock 'n' Roll", only serve to add a titillation factor (not that some people will complain about that, mind you), and interviews with an anti-metal authority figure will likely get some viewers hopping mad.I found it interesting that Megadeth, one of my favorite acts from this era, are saved for near the end, given that they're one act that's portrayed as actually caring more about the music than fame and lifestyle.Overall, decent entertainment with a variable soundtrack (some of the new music is okay, some of it not so good).Seven out of 10.

mnigara These comments are appropriate as a straight reading of the film, but I don't think Spheeris meant to create a more comprehensive view of heavy metal, and I don't think she was naive about the breadth of heavy metal. I think the title says it all if read as an ironic commentary on the original "Punk Years" film. The first film is such a brilliant snapshot of a certain time, and the social problems, great music, politics, and lifestyles on display are directly and deliberately contrasted with the dummies (NOT talking about Lemmy, Mustaine, and Aero here) in the "Metal Years" film. It's as if Spheeris, after capturing such a visceral authenticity--something so intense--in the "Punk Years" film, asked What the hell happened? seven years later in the "Metal Years" film. The "Punk Years" isn't a "decline" at all, but the "Metal Years" certainly represents one in so many ways if viewed through the lens of 1981.

haildevilman I loved this. I'm one of these people. I'm not apologizing.Philadelphia (where I grew up) was not the same as LA. But we did have similar clubs and scenes. The only difference was the weather.Tight jeans. Boots. Bullet belt. Studded armbands. Bandannas. Tees with or without sleeves. Leather jackets and/or vests. And if your female? Short dresses and heels.Seeing the interviews was cool, even if they were too short. This whole film should have been longer.And it was good to see a barely known band (Odin) get the attention. Apparently, even the lesser bands got as much fun too.Chris Holmes of W.A.S.P, lounging in his pool, draining vodka while his mother looked on, was one of THOSE scenes. 'Hey ma, you can't stop ME from abusing myself.' I'm proud of these people. But I hope they survived it. It was a great ride.