Studio 666, 2022.
Directed by BJ McDonnell.
Starring Dave Grohl, Taylor Hawkins, Nate Mendel, Pat Smear, Chris Shiflett, Rami Jaffee, Whitney Cummings, Leslie Grossman, Will Forte, Jenna Ortega, Jeff Garlin, and Lionel Richie.
SYNOPSIS:
Legendary rock band Foo Fighters move into an Encino mansion steeped in grisly rock and roll history to record their much anticipated 10th album.
Is there a more hype opening than a title card displaying “a Foo Fighters production”? Let’s say the alternative rock band is not a bunch of pretenders of love for the horror genre. They also have the good sense to realize that they are not trained actors and probably can’t carry a serious movie, so Studio 666 has been infused with an abundance of juvenile humor, B-movie schlock, impressive practical gore effects and blood-sprays, cheesy CGI whenever appropriate (there’s an electrocution effect that clues one in early to the low-budget charm the band is going for), and a surprisingly thoughtful and self-deprecating story about musical writer’s block and deconstructing rockstar celebrity fame.
Frontman Dave Grohl and company have also found the right fit for a director in BJ McDonnell, boosting a combination of music video credits collaborating with metal legends Slayer and below the line film production cred (a prime example is Malignant, for which he was a camera operator on, because barring whatever one thinks of that nutty flick, there is a similar streak of insanity here that also feels more focused). The story cooked up by Grohl has also been entrusted to screenwriters Jeff Buhler and Rebecca Hughes, also on the same wavelength as this madness.
Studio 666 opens with a brief flashback to a spacious and lavish Encino home in the 90s used as a recording studio for a fictional heavy metal band. Concerningly, Jenna Ortega plays an unnamed character crawling across the ground, desperately trying to get away from someone about to murder her. Someone or something has gone wrong in this house, making it a hellish legend.
In other words, it’s the perfect place for inspiration as the Foo Fighters record their tenth studio album. After a hilarious conference meeting with the band’s outspoken crass manager (Jeff Garlin), it’s settled that the band will check out the still fancy but less classy location to see if it’s suitable for recording. Immediately, Grohl senses some sinister energy (complete with quick cuts to the tragedy that occurred), setting up a dark and moody environment for conjuring up musical magic. He also comes down with a case of “musical constipation,” unaware of how to transform his intuitions into a banging new track.
Aside from the supernatural forces rearing their heads over time (the filmmakers wear their inspiration on their sleeves, whether it be from shots of blood filling up inside a lightbulb or a cursed book that somewhat resembles Evil Dead‘s Necronomicon), Studio 666 is also unabashedly goofy and all the better for it. There’s a food deliveryman played by Will Forte practically copying Grohl’s look down to the facial hair, who is brave enough to say that Moby is still superior to their music while asking if his demo album could be listened to in the following sentence. For some reason, this abandoned and haunted home also has a next-door neighbor played by Whitney Cummings, quick to flirt with anyone in the band horny enough to reciprocate. Such additional characters and shenanigans also offer the other band members opportunities to stand out with their material ((a necessity for those approaching this as another horror movie rather than a silly and scary time hanging out with the Foo Fighters)).
At the same time, Grohl remains fixated on putting together an epic song. As for that song, Grohl does find something spoilerish that helps him get the piece going and then some. This also comes at a cost, as Grohl mercilessly berates his friends and bandmates continuing to add to a riff that’s already 25 minutes long (And I thought Dream Theater songs were long), developing an out-of-control ego. It’s as if Grohl (the character) is trying to come up with the masterpiece of his career, and even if the recording sessions occasionally feel repetitive, there is definite enjoyment from trying to catch some of the influences as the song changes up its sound as they work on different segments.
Simultaneously, the band is getting killed off one by one in comically gruesome slasher fashion, most notably with a more creative and brutal chainsaw kill (it feels as if it’s drawing inspiration from A Nightmare on Elm Street) than anything seen in last week’s Texas Chainsaw Massacre. Why would anyone want to keep recording if they are getting killed, you ask? Amusingly, Grohl convinces the rest of the band to honor their fallen friend. It may not be subtle, but some sharp, self-aware strings are plucked on celebrity culture and being famous and rock ‘n roll legends. And even though it’s a stretch to say any acting is good to hear, the camaraderie and the band have with each other and the supporting cast goes a long way.
There’s never any question where Studio 666 is headed, although there are some nice surprises within a finale that’s also juggling way too much. Some of the climax would have clicked better if the film had bothered exploring the previous tragedy and characters more while also cutting down some of the more repetitive recording aspects from the Foo Fighters. Nevertheless, it is a blood-splattering, infectiously fun time with the Foo Fighters where its frontman isn’t afraid to knock himself down a few notches. Good luck resisting.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
