It’s something we’ve seen time and time again over the last few years: a massively successful band venturing into cinemas with a movie that’s part concert film, part documentary. Everyone from Ghost to Pulp has given it a go, and while it’s often gratifying seeing such stars unload their hits on the big screen, the behind-the-scenes looks sometimes lack. Like autobiographies with glaring omissions, these self-produced reflections give subjects the chance to downplay difficult truths.
This is why it was so interesting when Linkin Park announced their intention to wade into the genre. Arguably the biggest nu metal act of all time, their 2000 debut Hybrid Theory having defined a generation, their story has become one of resilience following frontman Chester Bennington’s suicide in 2017. They reformed in 2024, with new vocalist Emily Armstrong and drummer/producer Colin Brittain, then endured the scrutiny of Armstrong’s past ties to Scientology to (quite quickly) reach the mountaintop for the second time in their careers. In the last two years, they’ve topped charts with the From Zero album, put on their biggest-ever gig at Wembley Stadium and become the first band with a female singer to headline Download.
Directed by turntablist/co-founder Joe Hahn, it would have been easy for Unshatter to focus solely on the positives: the fact that the six-piece are back on top of the musical world, and how big and passionate the crowd was when they played São Paulo’s Allianz Parque stadium on their reunion tour. But Hahn, a proven director with 2014 feature-length thriller Mall under his belt, tells a gripping, heart-rending story.
Within 10 minutes, the members open up about the impact of Bennington’s death, how it sent them hurtling in disparate directions. They later admit their heartache after longtime drummer Rob Bourdon refused to return, and singer/guitarist/keyboardist Mike Shinoda reveals his complex feelings over guitarist Brad Delson’s initial reluctance to get involved.
Hahn also shares studio footage that captures difficult talks about the band’s future (should it be called Linkin Park anymore?) and offers intriguing easter eggs, such as Shinoda’s early demo for comeback single The Emptiness Machine. The sole elephant in the room is the backlash towards Armstrong’s history with Scientology: a knotted, possibly dangerous topic, given the church’s power and reach.
The São Paulo live footage is less prevalent here than in other recent rock-docs, but it’s integrated brilliantly. The highlight is watching Armstrong record Heavy Is The Crown in the studio, then the jumpcut to her screaming it before 55,000 people. Discussions of how she’ll handle Bennington’s parts are followed by the rap metal barbs of Bleed It Out, which evidences what the other members say about her filling the old singer’s shoes without being a carbon copy.
Ending with archival video of Shinoda and Bennington together onstage, Unshatter is reverent without falling into hagiography. The anguish of losing a friend and bandmate, and the emotional minefield of continuing afterwards, is never shied away from. Even the most obsessive fan will see new things – and probably gain extra respect for how Linkin Park have scaled nu metal’s peak all over again.
Unshatter hits cinemas on Tuesday, September 30, via Trafalgar. The soundtrack is out now via Warner.
(LouderSound)
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