Roger xf187 首页Ebert Home

权力的真理

亚美尼亚美人音乐家Serj Tankian.庆祝自己在“真相”中,一个关于一个新的怒金属乐队系统的新纪录片,作曲家和抒情者转向活动家,作曲家和画家。To be fair, there’s a fair bit to celebrate, especially when it comes to Tankian’s successful attempts at fundraising and generally raising global awareness for the Armenian genocide of 1915. But “Truth to Power” often focuses so much on Tankian’s perspective that crucial, or maybe just convincing musical performances are omitted in favor of self-aggrandizing talking heads interview footage, most of it with Tankian, who produced “Truth to Power” with his Serjical Strike production company. This, unfortunately, also makes sense given that Serjical Strike has released only five albums in the last 11+ years, and all of them are composed and/or performed by Serj Tankian.

不过,自从2006年获得格莱美奖后,唐健并没有创造出新的唱片长度纪录以来,唐健一直面临着众多粉丝的批评。因此,一部像《权力的真相》这样的纪录片应该关注谭建在这几年里的所作所为,这是有道理的,因为他似乎相信,一个倒下的制度,只不过是他们提高粉丝政治意识的能力。

Tankian认为Down 2015年亚美尼亚音乐会的系统是乐队的一个象征性的高峰,这可能是正确的。但根据《权力的真相》(Truth to Power)中提出的证据,很难说他和作家/导演加文·霍瓦尼西亚(Gavin Hovannisian)(“1915”)是否正确地认为,这场音乐会对亚美尼亚总理尼科尔·帕辛扬(Nikol Pashinyan)在2018年历史性选举中的当选产生了重大影响。主要是因为我们没有听到帕希尼扬详细阐述这个理论:坦基安解释了他的话,霍瓦尼西亚用帕希尼扬的简短片段支持他的明星证词,承认他参加了唐的演唱会,并感受到了唐演唱会制度的启发。太好了,但是如果帕辛扬只是对一个摇滚明星在镜头前的采访表示友好,那么为什么Tankian是唯一一个被赞扬贡献的乐队成员呢?

显而易见的答案是,哈瓦尼西亚人从来没有提出过,除了一些模糊的摄像机上的评论,从一个向下鼓手系统John Dolmayan.:Tankian和他的带人这些日子不同意这一天,这可能解释了为什么歌手/歌曲作者/吉他手达蒙马拉卡人几乎没有在“真相上,”甚至在档案音乐会镜头期间。尽管Malakian给出了下一个名字的系统。

“Truth to Power” is often irritating because only Tankian’s perspective seems to matter, and it’s often expressed through interview footage of him, presented in profile, talking into negative space about little things like the “commercially motivated” concept of “bands staying together” or about "moving the goal posts" of what could "be discussed in popular music.” "I don't want to come across that I know everything,” Tankian says, his head surrounded by stock footage of exploding mushroom clouds. But: “whatever statement I make is based on an injustice occurring somewhere that I want to rectify.” I wonder if this hyperbolic generalization can be applied to the scene where Tankian reads a bunch of random internet posts from alienated fanboys, like this one guy who claims to represent “the entire metal community.” What injustice did that guy commit, beyond mouthing off online?

如果他选择了不坦克的活动或撰写或人格 - 并更详细地考虑了,霍瓦尼尼亚的纪录片将更加令人信服。即使是2015年亚美尼亚音乐会的系统也是如此发生了追求的兴趣,即使它作为一个携带型号的问题的答案,Hovannisian在接受面试中询问了电影的面试:“音乐可以改变世界?”我的意思是,当然,但你可以从2015年音乐会上显示更多的说明性镜头吗?或者在这个80分钟的纪录片50分钟的50分钟前再次带来它?

Never mind the fact that neither Malakian nor Tankian have made an across-the-board good album with their respective post-System of a Down bands (Malakian has come closest with Scars On Broadway, but even that band can’t touch System’s lesser efforts). If Tankian wants viewers to take seriously the notion that “as you grow as an artist, you have more to give,” then it would probably help to get into the details of what makes his post-System of a Down activities an essential step forward for him, let alone his art/work. I don’t see that in “Truth to Power,” and it’s not for want of trying.

现在在精选影院和虚拟影院播放。

西蒙亚伯拉姆

Simon Abrams是一个本土的纽约人和自由胶片批评者,其工作已经出现在纽约时报虚荣博览会村庄的声音,和其他地方。

正在播放

阿卡萨,我的家
关于父亲的电影
找到'Ohana.
土地
身体经纪人

电影学分

权力电影海报的真理

权力真相(2021)

评分NR.

80分钟

Serj Tankian.作为自己

John Dolmayan.作为自己

Shavo Odadjian.作为自己

David“Beno”Benveniste作为自己

汤莫琳作为自己

里克鲁宾作为自己

Carla Garapedian.作为自己

导向器

最新博客帖子

评论