Ben Stiller reprises his role as a former model in a throwaway but amusing sequel
All Hope Is Gone
Now, the good news. The excited violence of their debut is (in-part) back: ‘Vendetta’ is pure Pantera strut, ‘This Cold Black’ is a riot of hate driven by Joey Jordison’s blastbeats, leaving these two songs among the finest in their canon. Lead single ‘Psychosocial’ is the perfect marriage of light and shade, but the title track astounds most: gloriously sludgy and frantically light-fingered at the same time, it’s a relentless assault which confirms that, when their backs are against the wall, Slipknot can hew stunning riffs from the heaviest metal. But by letting their off-beat creativity fester, Slipknot have missed their chance to finally silence the doubters; confusing considering they conquered the world without a shred of compromise. No-one’s been scared of them since last century, but ‘Vol 3…’ shocked because it was so unexpected. They needed to up their innovating significantly but haven’t, leaving ‘All Hope Is Gone’ above-average. And for a band used to being loved or hated, the middle ground can’t be where they aimed for.
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Zachary Cole Smith has overcome a multitude of problems to make this intensely powerful album
Just as ridiculous as the 1991 original, but in all the wrong ways
The 'Oscar-bait' drama fails to fully translate the emotional weight from page to screen