{"id":6792,"date":"2026-09-18T15:00:00","date_gmt":"2026-09-18T13:00:00","guid":{"rendered":"https:\/\/www.senses.se\/en\/?p=6792"},"modified":"2026-09-18T15:03:38","modified_gmt":"2026-09-18T13:03:38","slug":"review-vi-ar-metal-dragon","status":"publish","type":"post","link":"https:\/\/www.senses.se\/en\/review-vi-ar-metal-dragon\/","title":{"rendered":"Review: Vi \u00e4r Metal Dragon"},"content":{"rendered":"\n

I am entering the press screening of Vi \u00e4r Metal Dragon<\/strong> without any direct expectations. It might sound harsh, but it is the truth. I have read a lot about this film on social media for a long time. Partly because I am an incurable film nerd and try to keep track of most things of interest\u2014and primarily things that stand out\u2014but also because it has popped up in my social media feeds periodically. Beforehand, it looked really crazy and fun, and I am particularly impressed by the fact that they actually played live for real, recorded the music, and released it on Spotify\u2014it is a solid project. A “passion project” that screenwriter, director, and producer Titus Paar<\/strong> has obviously fought extremely hard to put together. If I understood correctly, the film was shot in two weeks. And it is obvious that they called in every single soul and their mother to help out both behind and in front of the camera. And I love this kind of thing. I harbored a dream of filmmaking myself in my teens. I recorded my first stop-motion film as an eleven-year-old (Den lilla r\u00f6da bussen<\/strong>, in case anyone was wondering), studied film and editing in high school, and recorded a number of short films that no one has ever seen (just as well). With that information, it might be extra easy to understand why a project like this gets me firing on all cylinders. I also note that there are only two years between me and Mr. Paar, who has actually recorded a film in Hollywood with Steven Seagal (haven’t seen it).<\/p>\n\n\n\n

But back to this matter of expectations. I skimmed through the trailer when it was released. I didn’t really want to see it. Because I wanted to walk into the cinema without being tainted by either early reviews or self-built castles in the air. Because the truth is that the combination of low budget, fast filming, the same guy wearing many hats, and friends helping out because it’s fun can go in several directions. It can be so incredibly damn good, it can be mediocre, or a total disaster. And everything in between. I think my fear is that it will feel like exactly what it is: a group of friends who gathered and recorded something because it’s fun. Sink or swim. That it will feel extremely amateurish. That the humor will land flat. That it will be ugly or sound bad. Let’s start at the right end, because fun\u2014I can say already now that this gang definitely had that. I would have loved to tag along on that shoot. <\/p>\n\n\n\n

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Photo: We are Metal Dragon. Mattias Silvell, Andreas Rylander and Urban Bergsten.<\/figcaption><\/figure>\n\n\n\n

Before we move on to my thoughts on the actual result, let’s go over a bit of the plot and the cast. In Vi \u00e4r Metal Dragon<\/em> <\/strong>we follow a group of washed-up rockers. They started playing in a garage in the 80s and promised to never give up their dream of becoming the next Iron Maiden. Forty years later, they are still practicing in the same garage\u2014and realize that the dream will never come true. They decide to set out on a first and last tour where everything goes wrong in the most hysterically funny way. In the lead roles, we see Andreas Rylander<\/strong> as Rulle The Dragon Warden, Urban Bergsten<\/strong> as City Cool, Mattias Silvell <\/strong>as Leffe, and Titus Paar<\/strong> himself as Dr\u00e4gg. These are some truly colorful characters. Likable, crazy\u2014and they complement each other dramaturgically. In other roles, a lot of famous names flash by, some in roles as themselves. Dragomir Mrsic<\/strong>, Inger Nilsson<\/strong>, Mikkey Dee<\/strong>, Hasse Bront\u00e9n<\/strong>, Joacim Cans<\/strong>, Agnetha Sj\u00f6din<\/strong>, H\u00e5kan Hemlin<\/strong>, Patrik Larsson<\/strong>, Christoffer Nordenrot<\/strong>, Vilhelm Blomgren<\/strong>, Yohanna Idha<\/strong>, Jenny Lampa<\/strong> etc.<\/p>\n\n\n\n

Where should we start? The acting, perhaps. Everyone, possibly except some who play themselves, are experienced actors even if all the names might not be known to the general public. I have seen every single one of them in at least a couple of productions each. For example, I have seen Urban in several smaller roles, including in Fartblinda<\/strong>, and it is very nice to see him in a lead role. His character City Cool, partly together with Silvell’s Leffe, acts as the band’s more mature and stable members. Both carry the roles very well. Rylander, who has the most important role, also carries it well in my opinion, even if it occasionally grates a bit and becomes too exaggerated\u2014though intentionally, and with a twinkle in his eye. He has a fine ability to fluctuate between emotional states. Titus’ character Dr\u00e4gg is the guy with at least thirteen screws loose. He is a lot, sometimes too much, but still provides some really good laughs. For some reason, he makes me think a little of Jack Black. Maybe it’s the volume level and the facial expressions. Hasse Bront\u00e9n plays the role of Hasse “fucking” Bront\u00e9n, and it might sound corny, but it turns out quite fun. Dragomir Mrsic is nicely exaggerated as the gangster entertainment boss Zoran, who quickly finds four arch-enemies in the rock band. Those appearing in bit parts also do a good job. There are a large number of cameos that fluctuate between funny and silly\u2014exactly as intended.<\/p>\n\n\n\n

But how are my expectations faring? I feel we have to divide it up a bit. Let’s start with the most important thing: the humor. Humor is difficult. In my role as an author, I work extensively with humor, regardless of which genre I write. So much so that it has become something of a recurring trademark. But it is a balancing act. Even more so in film. Because a comedy is nothing if it isn’t supported by comic elements that work. It is a combination of dialogue, acting, timing, and execution. And it must be said\u2014pardon to any filmmakers I might be offending\u2014but very little comedy is made that actually works. Primarily in Sweden, I feel that it usually just becomes silly and you mostly want to buy a slightly larger cringe-cushion for the couch for every film that comes out. None mentioned, none forgotten. There are of course examples of good comedies, absolutely, but usually it feels like it simply doesn’t click. Things that should be funny on paper fall flat. On the other hand, Sweden is, paradoxically, somewhat better at comedy in the TV series format. With that said: the humor in Metal Dragon<\/em> is often corny and pubertal, bordering on slapstick. A few times I laugh because it’s almost embarrassing, sometimes without knowing if it’s funny or just silly. But. I also laugh\u2014often\u2014because it is truly funny. And because they push the boundaries in unexpected ways (Furry Festival, a certain scene after a night in a bunk bed, the Jehovah’s bachelor party). I would actually go as far as to say that Metal Dragon<\/em> is the absolutely funniest Swedish comedy I have seen in very many years. Maybe, but just maybe, since Smala Sussie<\/strong>. Often precisely because it dares to go there. Then again, maybe that says more about the often low level of my humor than the actual class of the jokes delivered. And yes. There are at least three fart and poop jokes too many, where the last one is clearly the best.<\/p>\n\n\n\n

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Photo: Vi \u00e4r Metal Dragon. Dragomir Mrsic, Vilhelm Blomgren.<\/figcaption><\/figure>\n\n\n\n

What about the plot? It’s simple, but in a good way. Everyone likes a story about has-beens, or never-has-beens, who set out for one last chance to prove themselves and follow their dreams. I do, anyway. That said, it might be noted that the film would have benefited from being cut down by at least ten minutes. Some passages can become drawn out or repetitive, and some of the musical numbers (I’ll get back to them) are too long. I like the setup where the band members promise to book one last gig each. It kind of raises the expectations and the bar for how damn crazy it can get. And crazy it gets. From performing at what they thought was a rock club and being chased by a vengeful Gago on an electric scooter to a crashed Jehovah’s bachelor party with an erect stuffed animal and … well, I won’t reveal more or go into deeper detail. I must also admit that I am surprised by the emotional weight. Perhaps partly because I am invested in the band’s development and colorful performances, but also because most characters also develop and show many different sides. Possibly, I might find a certain love story a bit tacked on, even if it is nice, but it still works. At the same time, there are small things that grate dramaturgically, as well as in the dialogue, but you know what? That happens in incredibly expensive productions by prominent filmmakers too. And those don’t even contain a third as many laughs, or bowel movements, as <\/strong>Metal Dragon<\/em>.<\/p>\n\n\n\n

The visuals, both in terms of cinematography and audiovisuals, also surprise. I mentioned that thing about a group gathering to record a film because it’s fun. I’m thinking of an amateur production with mediocre editing and camera angles, a grainy picture, and half-baked sound. We get none of that. Metal Dragon<\/em> is well-made and stylish. And actually, extra credit for the sound mix. I am often bothered by the fact that Swedish productions (foreign ones too, for that matter) have a hell of a time getting the balance right between music, dialogue, and ambience, which ultimately makes the dialogue often very hard to hear. Which in turn ends with me sitting there watching with subtitles. Even though it’s Swedish speech. Metal Dragon<\/em> <\/strong>is not one of those productions. The sound is crisp\u2014maybe someone would have written that, but it makes me think of iceberg lettuce or an early winter morning, so I’ll avoid that expression. The sound is good, plain and simple. And here comes one of the film’s absolute greatest strengths and highlights: the music. More specifically, Metal Dragon’s<\/em> <\/strong>performances. A couple of them may be a bit too long, but this is where the soul resides and the heart truly pumps. This is one of the reasons the emotional side works and I almost get a bit teary-eyed. Because damn, those musical numbers are beautiful. The sound (the crisp stuff, you know), the music, the camerawork, the editing. I get chills at times when I see them. Not an erection like Jehovas-Jacob<\/strong>. But almost.<\/p>\n\n\n\n

Vi \u00e4r<\/em> Metal Dragon<\/em> <\/strong>is, as mentioned, a passion project. It could have gone straight to hell. I have no idea if it will fly commercially. I have a strong feeling that many critics will pan it. Maybe because they have boring lives or dry humor. It grates in many ways and in many places. But it’s been a long time since I had this much fun with a comedy. I hope the audience will seek it out. Because I love that they dare. There is so much joy behind the film, and the love for the moving medium\u2014and fart humor\u2014vibrates completely through the screen. It’s hard not to get swept along. And by the way: have you not seen Titus’ short film We Hunt Giants<\/strong>, where cavemen fight dinosaurs (yes, apparently they lived at the same time according to history lessons in \u00d6sterg\u00f6tland, so what?)? Do it. It’s on YouTube and is absolutely stunningly well-made. Andreas Rylander and Urban Bergsten <\/strong>are in that one too. One of them gets eaten by a T-rex. So I’ve heard.<\/p>\n\n\n\n

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