4. The Cinematography
Getting Predators franchise-saver himself Nimrod Antal onboard to direct was a masterstroke, as not only is he a huge fan of the band, but he's accustomed to filming iconic figures and doing them justice on the big screen. Utilising 24 cameras simultaneously, the strings to this show are only visible during the wide-angles when you can see small crews running up to and around band members. It's the only thing that reminds you you're not some all-seeing eye that can swoop in and out of the entire performance at will, but for the most part that idea is definitely in full effect. With the crowd all around you, some even thrusting fists and devil-horns into the foreground, it's a huge contrast to the sweeping external cityscape, as well as letting you get right up to the gigantic flame-pods that threaten to once again engulf Hetfield à la his accident in 1992 whilst he stands alongside them. Look to number one to find the most kickass shot in the film, but with each new song comes a myriad of zooms and pans, something that's capitalised on at the climax of the track '...And Justice For All' where the onstage statue of 'Doris' comes crashing down around Lars' drumkit, accompanied by vigorous shaking and pieces of her rolling up to the screen.