TaryBiggBall It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Guillelmina The film's masterful storytelling did its job. The message was clear. No need to overdo.

Dana An old-fashioned movie made with new-fashioned finesse.

Klaudia (hildrseidkona) One of the most popular Icelandic director Ragnar Bragason in his last drama film entitled 'Metalhead' (Icelandic: Málmhaus) tells us a moving and poignant story with music in the background. Main character in this film is a young woman named Hera (Þorbjörg Helga Þorgilsdóttir) fascinated by heavy metal music. Her story took place in 1992 in a small cow farm located in beautiful and magic Iceland.The tale, depicted in the film, begin with a very tragic and unpleasant event from Hera's childhood: accident on a field near the farm. As a result of it she lost her beloved brother Baldur (Óskar Logi Ágústsson) who was a huge heavy metal fan. This sad event have left its mark on further Hera's life. After the loss of brother, she escapes from a hard reality to the world of heavy metal. Moreover, Hera states that her mother Droplaug (Halldóra Geirharðsdóttir) and father Karl (Ingvar Eggert Sigurðsson) can't understand her 'world': that's why she can't find some common ground with them. She claims that other people, living in her small village, can't understand her as well. That lack of competition causing not only Hera's 'escape' in a world of heavy metal, but also in alcoholism. She brings troubles in every place in which she appears (to the party, to the butchery where she works). It is worth mentioning, that between hours of hard work on the farm and in the butchery, Hera tries also to compose her own works. One day, She goes to a graveyard to visit her brother's grave, and she plays for him her own new metal-song there. In Hera's opinion he 'is' the only one who can wholly understand her world. In the life of the main character is also present friend Knútur (Hannes Óli Ágústsson) who pretends to be metal-fan (because he falls in love with Hera), however he does not really like this kind of music. Some changes in Hera's life brings a new pastor Janus (Sveinn Ólafur Gunnarsson) who substitutes for the previous parish priest. It turns out that he has other, hidden face: he is a real 'metalhead'. Thanks to his huge music wisdom, Hera feels at least understood. After some troubles, she reconciles with the loss of brother, sees own mistakes and finds the new meaning of life.Ragnar Bragason's film is a well told story of women, who try to find out after the death of brother. In my opinion huge advantages of this work are unique plot, beautiful filming, and very good soundtrack including for example Megadeth's or Judas Priest's songs. I think, some disadvantages of this film are the lack of expressive and memorable creation and a little trivial ending. However, I believe that this film is worth seeing. I truly recommend it to every who is fascinated with metal music or with Icelandic cinematography.

Alucard Venom I wasn't sure what to expect from this movie. Title was either "hit or miss" and I was afraid it was going to be exploitation movie. But it's not.It was a great drama about how certain people deal with their pain, how people around them react to their, let's say unusual way of expressing their pain.Story fallows a young girl Hera who witnesses death (by accident) of her older brother. Few years after that, she still can't cope with pain of losing her brother, so she turns to metal music as a way of escapism. Naturally, living in small community, she is often misunderstood by others. She expresses her pain on her own "unique" way, while her parents express theirs on their own (father feeling accident was his fault, while mother has trouble moving on).Hera eventually goes on a self-destructive path because it's the only way she can deal with her loss and anger since no one can really understand how she feels. Good example of that scene is her best childhood friend who mistakes drunken sex for love, proposing to her, while she replies "Can't you see anything?"This is a movie about human nature, nature of pain, how certain people deal (or can't deal) with pain and loss of a loved one and how people sometimes judge people by it's cover.Guy who wrote a review here telling this movie is about "Jesus helping metalheads" just because it happens that movie has understandable priest (because you know, that can't happen in real life) clearly missed the point of the movie.This was never a movie about "Jesus helps metalhead". It was a movie about human nature. Hera never stopped being metalhead, it was just a hint that she and her parents are moving on eventually, because they, like rest of the community are starting to understand Hera.

Héctor Castañeda I don't do this thing often, but this film really needed a review written by... well, a metal-head. I mean, just like many of you, I was hooked by the poster and, of course, the film's name. That's exactly what they want,except for the fact that this was just the first one of a series of really big mistakes. First of all, if you want metal- heads to come to watch your movie you better make a movie they like or at least show some respect. The plot is as cliché as it can be: a 12 year old girl has to deal with the lost of her older brother, who happens to be a metal-head. Then guess what? Yes: she becomes a metal-head herself in the name of the fallen brother! I think I got something in my eye, excuse me... Don't get me wrong: at this time I was excited about the idea and really happy to watch a hot chick wearing Slayer and Megadeth shirts the whole time, but eventually it all went down. Hera (the metal-head) is a confused teenager that really hates everyone and everything. And I guess the idea is that you have to feel sorry for her and understand her pain, but you just can't do it. Unlike other movie anti-heroes, this girl is just so annoying. She's not charismatic at all. She makes you want to slap her all the time. Then there's the other big problem: it seems that the director is trying to tell you all the time that becoming a metal-head is only for confused heart broken people: if you find God, get closer to your family, grow up and start to deal with your child traumas, eventually you'll be cured from that teenage-weird-disease called "Heavy Metal". And that is pretty much what this movie is about. Really. Oh, and let me tell you about the priest: this is the best priest in town... maybe in the world. He's is a metalhead himself, he's got tattoos, he's comprehensive and he won't succumb to flesh temptations. The man is a true man of God, but you, metalhead, are just too stubborn to open your heart to him and talk. But wait, 'cause then there's the other big fat mistake: they had to mock the Black Metal inner circle in the dumbest way possible. By the end of the film and out from nowhere you suddenly have three new characters: Øystein, Per and I'm not sure about the other guy, but obviously they're "Mayhem". The Wayne's World version of Mayhem. That was completely unnecessary and stupid. I'm not supporting the church burnings in Norway, but man, I felt like they where telling me all the time: "Hide your kids from metal and TV; keep them in the God's herd; give'em love, talk to those confused creatures and eventually the'll be 'normal people'". The scene where this black metal version of Beavis nd Butthead help to rebuild a destroyed church while the priest mock them is just too much. What do you expect us metalheads to say after the film, Mr director? Really. "Damn it! Thank you God! After watching this touching film I ran home to talk to my family with my heart open and now I'm fu++ing cured, I'm not a metal-head anymore!" You have to be kidding me... Don't waste your time.

mistercsays1 Without a doubt, Metalhead is the best film about a heavy metal-loving Icelandic farm girl that I have ever seen. Given the lack of access to Scandinavian films for Australian cinema audiences, films such as Metalhead remind us that film is a universal medium and that interesting screen stories can emerge from anywhere. Set in rural Iceland, Metalhead is a film that explores love, grief, family, identity, community and the healing power of music; heavy metal in particular. Director Ragnar Bragason has successfully melded humour into a story that is ostensibly about the lingering after effects on a family following the tragic passing of one of their own. The film opens with the death of teenager Baldur in an accident that is witnessed by his 12-year-old sister Hera. In the aftermath of Baldur's death, Hera finds solace in the music her brother loved so much, immersing herself in his world of heavy metal. Years later, the young adult Hera is an obsessive, posters adorning every inch of wall space in her room, Judas Priest and Dio blasting from her tape deck and a wardrobe that is exclusively black.Haunted - both literally and figuratively - by the death of Baldur, Hera struggles to get her life in order. She is seemingly desperate to move away from the stifling confines of her family home, but is unable to actually do so whenever the opportunity arises. Hera is stuck in neutral, unable to move forward and forge her own path, unwilling to sever ties with the connection to Baldur that is the farm they grew up on. The recurring theme throughout the narrative is Hera's failed efforts to break free – either emotionally or geographically – from her memories of the tragedy. She acts out against her parents and the community as she struggles to find any meaning to her life beyond her music. In her early 20's, Hera is seemingly on a road to nowhere despite the best efforts and patience of her family and others, including new-priest-in-town Janus (Sveinn Olafur Gunnarson) and her childhood best friend Knutur (Hannes Oli Agustsson). This is not to say we can't sympathise with her though and it is great credit to the performance of Thora Bjorg Helga that she instils likability in Hera that belies her behaviours.Of course, Hera is so absorbed by her own grief that she fails to see the impact Baldur's death has had on her parents, Karl (Ingvar Eggert Sigurdson) and Droplaug (Halldora Geirhardsdottir), who are suffering in silence, more successful at putting on a polite facade, despite being trapped in their own isolation. Karl is stoic on the surface, keeping his suffering buried deep within, focused on his responsibilities to the family dairy operation. Droplaug meanwhile, continues to struggle in her grief and, despite the passing of 10 years, simply cannot let go of her son, refusing to make any changes to his bedroom that serves as a shrine of sorts; she is often lost in her memories and oblivious to what is happening in her immediate vicinity. It is only when both Karl and Elsa are able to re-connect with each other that they are able to move forward from the pain that has haunted them for too long.Despite the serious nature of the themes explored in the film, there are many moments of great humour, most of which revolve around the reaction of people (and animals as well for that matter) to Hera's extreme music and/or appearance. A trio of characters who appear towards the end of the film are hilarious and Bragason never opts for the predictable. Just when you think you know where the story is going and how it might all end, Hera finds herself on another path that may, or may not, enable her to find some kind of contentment. Janus and Knutur are great characters who perhaps show Hera more compassion than she deserves given the way she treats them both.The film provides considerable insight for the uninitiated into the difficulties endured by those living in an environment in which the weather is a constant nemesis. Despite the aggressive nature of the music from which it gets its title, Metalhead is ultimately a temperate family drama set against the most striking of backdrops. The rugged, isolated landscape and the harsh climactic conditions of rural Iceland serve as a fitting locale for a film that threatens to topple into the darkness, but never does.