Hey music nerds, you can stop freaking out over your dad’s VHS collection. Forget Quadrophenia and Spinal Tap: the Noughties just might be when the music movie came of age. We tracked down a bunch of future-proof cult music movies from the decade we thought just kind of sucked.
Some Kind Of Monster (2004)
It’s hard to believe this movie made it out into the public realm at all, considering Metallica’s considerable egos. Easily the most funcomfortable documentary ever made, expect earnest AA-speak and rock god-sized delusions that make Spinal Tap look like One Direction.
Part of the Weekend Never Dies (2008)
French dance music innovators Soulwax rule the Noughties, tour the world and encounter LCD Soundsystem, Klaxons, Erol Alkan and Peaches in this gurning warehouse rave of a road movie.
Until the Light Takes Us (2008)
Rare footage and exclusive interviews from the corpse-painted superstars of controversial Norwegian black metal. A dark party for die-hard fanboys and casual tourists alike.
ATP All Tomorrow’s Parties (2009)
Bands, young fans and ageing Pavement groupies collide - often drunkenly - in this “post-punk DIY bricolage”, aka documentary of the bi-annual thinking hipster’s festival.
8 Mile (2002)
Eminem comes of age in a gritty feature, where the rap battle underground serves as metaphor for a constant IRL struggle to be seen - and heard. (RIP Brittany Murphy).
Loud Quiet Loud: A Film About The Pixies (2006)
Fly-on-the-wall rock-doc about the '90s juggernaut’s 2004 reunion colors in epic live footage with the awkward silences and comedowns of band life.
A panoramic snapshot of the world’s muddiest music bacchanal - featuring a very '00s “Create Your Ultimate Setlist” feature.
Anvil!: The Story of Anvil (2008)
An unexpectedly euphoric tearjerker about the little metal band who could.
Obviously. Unmissable Ondi Timoner documentary tracking the Brian Jonestown Massacre’s Anton Newcombe and frenemy Courtney Taylor of the Dandy Warhols over seven years.
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Spanning from WWI to the 21st century Eric Roth’s screenplay (based loosely on a 1922 short story by F. Scott Fitzgerald) tells the unique story of a man named Benjamin Button (Brad Pitt). He is born in New Orleans as a very old baby the equivalent of a man in his 80s who then ages backward into youth over the better part of a century. The film is told in flashback by a very old dying woman Daisy (Cate Blanchett) who recounts her tale to her daughter (Julia Ormond) from a hospital bed during Hurricane Katrina. Left on the doorstep of a retirement home one night by his father (Jason Flemyng) Benjamin is brought up by Queenie (Taraji P. Henson) who runs the place. While there he meets a young girl Daisy who will become a key figure -- romantically and otherwise -- in his life. Ben does have some grand adventures: He goes to work on a boat sees sea battles during WWII finds love with an older married woman (Tilda Swinton) -- and gets progressively younger as the decades fly by. It all manages to be alternately haunting romantic funny epic emotional and incredibly moving and will likely to stay with you a lifetime. Brad Pitt manages to deliver a thoughtful and subtle performance through all the special effects makeup and CGI. He does so much just by using his eyes. Cate Blanchett is equally fine as she plays Daisy from a teenager to an old woman and matches Pitt in bringing an entire lifetime skillfully to light. Her aging makeup is completely natural and she’s very moving in the hospital scenes opposite Ormond. Henson is just marvelous as Queenie a warm and understanding soul. Swinton is elegant and memorable in her few crucial encounters with Ben and plays beautifully off Pitt. Jared Harris (TV’s The Riches) as the colorful Captain Mike who hires Ben on his tug boat and Flemyng (The League of Extraordinary Gentlemen) as Ben’s father are also effective in their brief screen time. Interestingly Benjamin Button has been gestating for decades in the Hollywood firmament but needed time for the proper technology to catch up to it. Director David Fincher (Zodiac Fight Club) with his early background at George Lucas’ ILM proves to be the perfect choice to marry a compelling story with spectacular visual effects achievement. He did not want to do the film unless the technology allowed one actor to play the role throughout the course of the film. Remarkably they were able to achieve this superimposing Brad Pitt’s face and eyes into all the incarnations of Ben Button. In one sequence Pitt looks just like he did in Thelma and Louise. It’s an amazing feat. He has seamlessly created a unique universe without ever bringing attention to it advancing the art of screen storytelling leaps and bounds ahead of everything else that has come before. Benjamin Button is a plaintive and provocative meditation of life death and what we do while we are here. It’s the stuff of dreams.