Instead of a title, the album featured four hand-drawn symbols on the inner sleeve and record label, each one chosen by the band member it represents.
It was yesterday in 1971 that Led Zeppelin released its fourth album. The eight-song album came unnamed, but soon became known as Led Zeppelin IV, ZOFO, or Zep IV.
If you were growing up in the early 70s, the importance of this album cannot be understated. It would be hard to argue against "Stairway to Heaven" being the greatest rock song of all time. You would also be hard pressed to find an album with the incredible mix of songs. From the hard driving "Rock n' Roll" to the mystical "Battle of Evermore," Led Zeppelin IV captures the brilliance and diversity of one of the all-time great bands.
If you were growing up in the early '70s, the importance of this album cannot be understated. It would be hard to argue against "Stairway to Heaven" being the greatest rock song of all time.
Did radio overplay many of the songs found on the album? You bet, but don't blame the band for that. It was more a result of radio researching songs to death and then shoving the most popular down the consumer's throat. It should not diminish or take away from the greatness of whatLed Zeppelin IV was—and still is.
The album was released at a time when FM radio was just taking off and many stations went to a rock format. Imagine DJs picking the songs they wanted to play. What an amazing rush it must have been for DJs to cue up "Stairway to Heaven" for the first time!
Some records are called great because record labels market them as such while others are called great because they stand the test of time. ZOFO falls into the later category.
See the video of "Stairway to Heaven":
Led Zeppelin IV album cover; the album actually had no name
The most important thing for any movie to establish early on is its tone. No matter the genre, a film needs to make its audience understand how they should feel as the story unfolds so that they’re willing to go along with whatever transpires on screen. A film that doesn't do that, such as the new Onslaught, runs the risk of failing to connect with viewers even if it has some interesting or fun elements to offer.
One of the biggest issues for the movie is that it fails to fully invest in its main character, Celeste (Adriana Arjona). She’s a military veteran who now lives in and manages a desert trailer park, which is filled with a motley crew of offbeat people. She also has a contentious relationship with her ex, who unexpectedly drops off their daughter, Daisy (Blake Kennedy), soon after the film begins.
Celeste has a stash of high-powered weapons, showing she hasn’t left her former career fully behind. Her expertise comes in handy when something goes wrong at a nearby military contractor facility run by Hans Kemmler (Dan Stevens), and a trio of super soldiers escapes into the wild. Trained to kill everyone in their path, it’s not long before they set their glowing eyes on the trailer park.
Directed by Adam Wingard and written by Simon Barrett, the film has elements of horror, action, and comedy, but the filmmakers struggle to find the right combination of the three. Wingard and Barrett divide the film’s focus between the trailer park and the military facility for a long time at the beginning of the film, and the quirkiness of people at the former mixed with the bold weirdness of the people at the latter keeps viewers off balance in a bad way.
Once they finally settle into the main part of the story where the super soldiers go on a rampage, the filmmakers overpromise and underdeliver. The showdown between a seemingly unstoppable group and an angry woman and her band of misfits seems destined to be highly entertaining, but comes off as underwhelming. The sequence is filled with brutality with no meaning and heroics that feel more accidental than purposeful.
The ham-fisted way in which the story plays out is disappointing since the film has a bunch of characters who could have been great if used properly. The trauma of Celeste’s military career and personal life is hinted at, but doesn't come into play as much as expected. Hans and his wife Hanna (Rebecca Hall) are completely off-the-wall, but their eccentricities seem to be apropos of nothing. The super soldiers are initially intimidating, but the climactic sequence undercuts them significantly.
Arjona has yet to fully break out despite some good roles in Hit Man and the Disney+ show Andor. She makes for a good lead here, embodying the toughness of a military veteran while still being relatable. Stevens and Hall go all in with their bonkers characters, but the story doesn’t serve them well. Comic relief comes in the form of Reginald VelJohnson and Eric Wareheim, and they do a great job in smaller roles.
A movie like Onslaught is typically one where the audience just turns off their brains and enjoys the carnage. But Wingard and Barrett try a little too hard by throwing in oddball characters that don’t add much to the story, forgetting to pay enough attention to the mechanics of the plot in the process.
