The Panic Manual

Hot Docs Review: Hex (Maja Holand, 2026)

Posted on

4 May 2026

Paul

At its best, black metal is raw, visceral, and over the top in all the right ways. It’s also a genre that’s overwhelmingly male dominated and has often been associated with dodgy, far-right politics. So a trio of Norwegian women who identify as witches and bill themselves as feminist black metal could be seen as a much needed breath of fresh air, a band bringing something new to the table. They can also face plenty of opposition

That band is Witch Club Satan, and that opposition is symbolized in the film through a framing device in which the members appear in a faux courtroom as various witnesses are called to testify in a modern-day mock witch trial. It’s an interesting stylistic choice on director Maja Holand’s part, and an effective one. As the witnesses – all real people speaking on the band and its cultural impact – offer their testimony (most of it favourable), we gain a clearer perspective on Witch Club Satan’s place in the scene. And when one of those “witnesses” is no less than Jørn Stubberud (aka Necrobutcher from Mayhem), describing them as a bridge between punk and metal and possibly the next evolution of black metal, it helps to give them some greater legitimacy and to counteract the naysayers.

Those naysayers, though, are inevitable whenever anyone comes up to challenge the status quo and even more so when those doing the challenging are women. While Witch Club Satan faces its fair share of opposition and grapples with moments of self-doubt throughout their “three year plan,” they don’t let that deter them. As we follow their story, Witch Club Satan moves from being absolute novices learning their instruments from scratch to playing major European festivals in fairly quick succession. Ultimately, their journey brings them closer together as friends, and that bond is at the core of Hex, with the trio forging a strong personal connection as they continue to challenge notions of what a black metal band can be.

Hot Docs Review: The Ballad of Judas Priest (Sam Dunn, Tom Morello, 2026)

Posted on

30 Apr 2026

Paul

If you’re looking for proof of how loved Judas Priest is by metalheads, you need look no further than Heavy Metal Parking Lot, John Heyn and Jeff Krulik’s 1986 doc filmed entirely outside of the parking lot of a Judas Priest show in Landover, Maryland that same year. That parking lot was full of enthusiastic fans, stoked to see their favourite band and raving about how much Priest rules, how much other music like Madonna (“She’s a dick”) or “that punk shit” sucks, and in one retroactively amusing moment, a young woman declaring of Rob Halford, “I’d jump his bones.”

Scenes from Heavy Metal Parking Lot make their way into The Ballad of Judas Priest, Sam Dunn and Tom Morello’s examination of just what it is that makes Judas Priest one of the key bands in all of heavy metal. We’re also treated to plenty of archival footage as well as interviews with all the key players alongside celebrity fans and friends, everyone from Jack Black to Billy Corgan to the Prince of Darkness himself, Ozzy Osbourne. Morello acts not just as co-director, but our onscreen guide through this world, conducting interviews and round table discussions as well as sharing his own personal connections to the British metal masters, up to and including his role in finally getting Judas Priest inducted into the Rock and Roll Hall of Fame.

It’s not all about the good times though, as the film does take the time to delve into some of the darker points in the band’s history, including the notorious 1990 trial where they were accused of placing subliminal messages in their music and being responsible for the death of two fans, guitarist Glenn Tipton’s Parkinson’s diagnosis, Halford’s struggles with addiction, and his time having to stay in the closet for many years before finally coming out as a gay man in the 1990s. The main focus of The Ballad of Judas Priest though, is on the cultural significance of Judas Priest as one of the seminal metal bands who helped to pioneer the genre. Or to borrow a line from one of the fans in Heavy Metal Parking Lot, “Priest is number one in heavy metal, man!”

Hot Docs Review: This Is Your Captain Speaking (Nienke Deutz, Digna Van der Put, 2026)

Posted on

30 Apr 2026

Paul

Strictly speaking, This Is Your Captain Speaking is not a documentary in the traditional sense. After all, if a documentary is meant to be a work of non-fiction, then an animated short revealing people’s thoughts on what they would do if they could fly for one day doesn’t quite meet that definition. But as a document of something that did really happen – all of the interviewees did actually say these things in real life, even if it’s all just a fantasy – then yes, it’s a documentary of sorts.

Comprised of a series of interviews with residents of the same apartment complex, the film offers up some variety in their tales but they do share a lot of common ground. Certain themes run through each of their stories – freedom, exploration and adventure all come up, as does the idea of how they might use their powers to help others and work toward the common good. The idea that they would all use these superhuman powers to do something very human is both comforting and relatable.

So yes, This Is Your Captain Speaking might not be a documentary in the traditional sense, but if we consider a documentary to be a film that reveals something real and true about life? Yeah, I’d say it fits the bill.

Hot Docs Review: Black Zombie (Maya Annik Bedward, 2026)

Posted on

28 Apr 2026

Paul

Stretching back to George Romero’s classic Night of the Living Dead, zombies have been an ever-present staple of the horror genre in particular and popular culture in general. But while Romero pretty much single-handedly established the modern concept of the undead, zombies have much deeper roots in Haitian history and culture. In Black Zombie, director Maya Annik Bedward explores those roots and their deeper cultural implications.

With a variety of talking heads expounding on the subject (including various experts and academics, folks who’ve worked on zombie films, actual Haitian Vodou practitioners and, surprisingly, Guns N’ Roses guitarist Slash), the film touches on the pop cultural ubiquity of zombie stories, but focuses largely on the history of zombie lore, its roots in “voodoo,” and its cultural connections to slavery and colonialism. A deep dive into the origins of zombies, Black Zombie is a compelling film for both dedicated zombie fanatics and curious newcomers alike.

Hot Docs Review: Nekai Walks (Rico King, 2026)

Posted on

27 Apr 2026

Paul

Early on in Nekai Walks, we hear Nekai Foster speak about how life immediately following his tragic shooting felt like a waking nightmare.

At just 16 years of age, Foster was the victim of gun violence and facing the very real possibility that, if he makes it out of this alive, he still may not ever walk again. Nekai Walks tells the story of his journey to recovery as director Rico King examines not only Nekai’s personal struggle, but the overall issue of gun violence and its impact on our society.

One key thing that stands out about Nekai is his attitude as he faces his self-described nightmare with not only perseverance, but a fair bit of positivity. While it’s clear that he’s been deeply impacted by his injury, not just physically but mentally and emotionally, we never get the sense that he’s giving up. It certainly helps that he’s got a strong support system, not only from his family and the health care workers at the hospital, but also from King himself, who clearly became quite invested in Nekai’s life while making the documentary.

And while Nekai’s story is the heart and soul of the film, driving much of its narrative, Nekai Walks delves a lot deeper into the bigger issues, covering a broad range of subjects as King also looks into the stories of others impacted by the scourge of gun violence across our city. Elementary school teacher Devon Jones speaks on the impact of gun violence on youth and the importance of community involvement and education, while Imo Lewis, currently serving a life sentence for murder, speaks regretfully on his actions as a young man while contemplating what can be done to deter others like him from going down that path. One of the most moving scenes comes towards the end of the film in an interview with the mother of Jordan Manners – though nearly 20 years have passed since his killing, the hurt is still evident as she speaks on the loss of her son.

Ultimately Nekai Walks is a very powerful and, yes, a very moving story about resilience in the face of adversity and the hope for a better future.

Concert Review: Glixen, Trauma Ray, April 24, Hard Luck Bar

Posted on

26 Apr 2026

Paul

“Dance a little bit.”

Those are not words one necessarily expects to hear at a shoegaze concert, but that’s exactly what Glixen lead vocalist Aislinn Ritchie said to the crowd at Hard Luck Bar on Friday night. And while it’s true that shoegaze might not be the first genre that comes to mind when you think dance music, Glixen did indeed get the crowd moving.

For anyone who remembers shoegaze the first time around, it’s interesting to contrast the new school with the OG shoegazers. One obvious difference is modern shoegaze’s metallic tendencies, with a lot of the younger bands indebted just as much to acts like Deftones as they are to MBV or Slowdive. One other significant difference I observed while watching Glixen and their tourmates Trauma Ray on Friday – not all that much actual gazing at their shoes.

“We missed you,” said Ritchie at one point midway through Glixen”s set, noting that this was their third time in Toronto. The crowd, in turn, were happy to have them back, while the band seemed pretty hyped up to be playing before a rather packed house. In fact, for much of their show, Ritchie was all smiles, a contrast to the band’s dense, sludgy guitar work. Definitely feeding off the crowd’s energy, Glixen put on an impressive show – the combination of crushing guitars and Ritchie’s light, ethereal vocals hit with real force.

For their part, Trauma Ray had a relatively chill and unassuming stage presence, content to bang their heads and rock out while cranking out some heavy, hazy riffs, though they did call the crowd out at one point for not quite cheering loud enough when they gave a shout out to opening acts Knifeplay and Her New Knife: “This is a sold-out show and I only heard like, 30 of y’all cheering.”

Running through most of their recently released Carnival EP as well as a few off of last year’s Chameleon, Trauma Ray inspired a fair bit of moshing over the course of their set. And moshing definitely counts as dancing.