Led Zeppelin performing live – Featured image for Becoming Led Zeppelin (2025) documentary review.

Becoming Led Zeppelin

The Documentation

Some music documentaries tell you why a band matters. Becoming Led Zeppelin just lets it happen.

This isn’t a behind-the-music exposé – no scandalous detours, no dirt-digging. Instead, it’s a clean, carefully assembled history. A film that understands Led Zeppelin’s story doesn’t need embellishment to be interesting. The band’s formation, their relentless early touring, their creative philosophy, their refusal to play by industry rules. All unfolds in a way that’s patient, immersive and strangely elegant.

What makes Becoming Led Zeppelin special is its restraint. It doesn’t oversell the myth. It just connects stray dots across vast distances. Showing how Jimmy Page’s disciplined career as a session musician intersected with Robert Plant’s wandering, near-destitute bluesman existence. How John Bonham’s monstrous drumming, fine-tuned from endless small club gigs, gave Zeppelin their engine. Their first album wasn’t a fluke but a precise and calculated creation. It was built by four people who had already invested their 10,000 hours.

Best Left Unsaid

The film is packed with footage – early performances, studio work, tour clips. But it also knows when to let moments breathe. A perfect example: we see Jimmy Page using a violin bow on his guitar multiple times. We hear what it does, we see the technique – but nobody in the film ever explains it. Same goes for Plant’s vocals. Nobody outright says, “These early lyrics were improvised,” but the evidence is there. The film trusts you to pick up on it.

Zeppelin didn’t just play music – they played against history. While humanity was landing on the Moon, LZ was burning down concert houses on Earth. Their timeline and mythology seem almost deliberately intertwined. Additionally, the way they conquered America wasn’t by appeasing radio stations or chasing hit singles. They tore through it by playing live. They succeeded by being an album band in a singles era and a performance band in a radio era.

There’s a looseness to the storytelling that works. No cheap nostalgia grabs, no faux-deep analysis – just a methodical unraveling of how this band came to be. The camaraderie is the most striking part. Page’s instrumental mastery combining with Plant’s unique improvisational vocals.

When performing at music festivals, Bonham would often mirror the techniques of fellow drummers – and visa versa. Similarly, Plant’s air guitar solos mimicked Page’s riffs with sheer enthusiasm.

These moments, though different in form, were both flavors of the same phenomenon. This was an intuitive connection that bridged musical styles, personalities, and performance styles. It added layers to Zeppelin’s raw energy. These guys weren’t just in a band – they were obsessed with music. They refined, expanded and lived inside of it.

The Truth

Does it drag in the final stretch? Sure. Most documentaries do. But that’s a minor flaw for a film that’s more about absorption than revelation.

If you enjoy a well-crafted documentary, Becoming Led Zeppelin is worth seeing. Even if Zeppelin isn’t your favorite band. The musical craftsmanship is impressive. The obsession and sheer commitment to doing things their way make it all fascinating to watch unfold.

Like all great things, Becoming Led Zeppelin knows exactly where to end.

★★★★ ★★★★

TLDR? Short editorials located at IMDb and Letterboxd. Or read up on another doc at An Inconvenient Truth.

Red Hulk in Captain America: Brave New World

Captain America: Brave New World

A friend’s drunken gesticulation spills wine onto your lap. The appetizers drown beneath the tide from the upturned water pitcher. You wipe yourself off. Try to salvage what’s left.

That’s Captain America 4 – better than most of Marvel’s post-Endgame output, yet still inadequate.

Much holds attention – until it doesn’t. Some things we can set aside:

A) The shadow of Endgame. A title so bad it borders on evil. Suspension of disbelief never recovered, and that condition remains incurable.

B) Marvel’s “More = Better” philosophy. Introducing a new Falcon feels rushed. Forced upon the audience before Sam Wilson’s Captain America can find his footing. Danny Ramirez’s performance struggles under Anthony Mackie’s shadow, often feeling artificial. Meanwhile, the film stacks its supporting cast with characters that feel more like a demographic checklist than an organic ensemble. The one thing Neo-Falcon can’t be is Hispanic, right? That would be too obvious. Good stories don’t aim for the bullseye; they earn their way there.

C) Leila Taylor’s presence. She feels like an obligatory inclusion rather than a necessary part of the story. Leila is played by Xosha Roquemore. Her name alone seems selected for “diverse casting” appeal. Leila never justifies her role. If the President’s head of security is female it makes sense she’s trained by the Black Widow program. But that position already belongs to Ruth Bat-Seraph. So what purpose does Leila serve? She adds nothing to the plot, yet still lingers in the frame, another checkmark in the studio’s balancing act.

D) The de-elevation of hand-to-hand combat. The Captain America films were once defined by their fight choreography – grounded, inventive, and precise. Every blow in Captain America: The Winter Soldier feels deliberate. Not here. The fights are sloppier, less tactile and increasingly reliant on CGI bandaids.

E) The imaginary earpieces. Half the crew on set wears a surveillance headset, yet heroes send transmissions telepathically.

A devoted fan forgives these flaws, but there’s a breaking point. It arrives with the scene – the one reeking of cheap reshoots.

Cap and his new Falcon brawl with lazily costumed thugs, their masks concealing their identity as recycled stuntmen. (Deadpool 3 suffers the same issue – this needs to stop.)

A group of FBI agents in tactical gear walking through a wooded area, all wearing helmets and masks with 'FBI' prominently displayed on their uniforms.

The choreography is amateurish. The thugs wield tasers instead of guns. Filmmakers hastily tie up any loose ends with CGI trickery. Cap’s shield ricochets in whatever direction they need it to.

The scene is so obviously shot on a soundstage. So inessential. So painful.

Please stop titling films after novels when the texts don’t relate (looking at you Wonder Woman 1984!)

Is it even worth trying one soaked croquette?

★ ★ ★ ★

Fractions of this review available at IMDb and Letterboxd.

Still from Nosferatu 2024 – Lily-Rose Depp in hospital gown – nosferatu review

Nosferatu

Undracula:

Bram Stoker’s Dracula is an engrossing read. John Badham’s and/or Netflix’s Dracula (1979 & 2020) are also worth their weight in runtime.

Those who’ve ingested such elevated vampiric horror won’t enjoy this remake.

The 1922 silent film is derivative Stoker. Plus a remake, in and of itself, is derivative. Thus…

Nosferatu (2025) = Derivative2

The math checks out.

Nosferatu Review

A frayed story is obvious from the opening “jump scare,” a cowardly directing crutch. The footage quick cuts to a bloody screaming demon face, the high-pitch strings. The volume is too loud. The viewer feels self-conscious on the filmmakers’ behalf.

The shadow footage is shameless. This isn’t artistry – it’s a shortcut. A cheap way to fill screen time without requiring actual performances or engaging cinematography. Nosferatu films shadows lengthening over a miniature landscape. Candyman (2021) relies on shadow puppets to tell part of its story. Neither should be accepted as worthy of the big screen. It’s a visual gimmick that requires little effort yet masquerades as style. To sum it up: Shadows stretch, but creativity does not.

Nosferatu (2025) ends up being an exercise in mimicry without purpose. This remake drags itself through the motions of horror homage without generating a single moment of true unease. Even fans of the 1922 version will find this outing joyless, stale and hollow. The sound design overwhelms, the lighting choices feel smug and the pacing is all but non-existent. For a film trying so hard to be haunting, Nosferatu (2025) mostly just haunts your patience. Skip it.

B Movie

Conjures feeling akin to viewing Friday the 13th, a fellow derivative B movie. A feeling of somehow even less than inadequacy. At least F the 13th is mostly inoffensive. Nosferatu has a gruesomeness that sticks to the tongue.

Final Review: Nosferatu (2025) Don’t waste time and money. Enjoy a real Dracula instead.

★★

Check IMDb or Letterboxd if brevity’s preferable.

Enjoy punishing yourself? Check The Substance.