Last Days Here

Name: Last Days Here
Genre: Documentary
Released: March 2, 2012
Duration: 91 min
Rating: 71

2012

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Generally favorable reviews based on 9 Critic Reviews

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Movie Details & Credits

Sundance Selects | Release Date: March 2, 2012 | Not Rated

Summary: The film studies the storied and tumultuous life of heavy metal legend Bobby Liebling and features the music of Liebling’s band Pentagram. (9.14 Pictures)

Director: Demian Fenton and Don Argott

Genre(s): Documentary

Rating: Not Rated

Runtime: 91 min

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Critic Reviews

Sam Adams

Feb 29, 2012

The fact that Last Days Here cares more about Liebling's personal redemption than his professional triumph is ultimately a saving grace, a telling demonstration of the film's well-ordered priorities. Read full review

Gary Goldstein

Mar 22, 2012

It's the offbeat love story at the heart of Liebling's resurrection that provides the film's most powerful - and touching - surprise. Read full review

Marc Savlov

Apr 18, 2012

As depressing as it may sound on paper, directors Argott and Fenton have crafted a deeply disturbing but equally moving documentary. Read full review

Charles Gant

Feb 26, 2012

A surprise back-from-the-brink redemption proves reliably engaging in rock-doc Last Days Here, tracking three years in the life of cult musician Bobby Liebling, whose band Pentagram never capitalized on its early promise. Read full review

Jeannette Catsoulis

Mar 1, 2012

Nevertheless the fierce loyalty of Mr. Liebling's nearest and dearest is extremely touching, and Last Days Here - despite its stinginess with back story and early performance footage - works hard to reveal the man beneath the four-decade heroin habit. Read full review

Melissa Anderson

Feb 28, 2012

An affectionate look at a self-destructing maniac and his supporters that bluntly reveals Liebling's total abjection without mocking him. Read full review

Joshua Rothkopf

Feb 28, 2012

A middling entry in the growing genre of tragic, never-quite-made-it rocker docs, this doesn't have a bona fide genius at its core (The Devil and Daniel Johnston), nor a compelling clash of Spinal Tap–ready egos (Anvil! The Story of Anvil). Read full review

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