Generally favorable reviews - based on 9 Critics

Critic score distribution:
  1. Positive: 8 out of 9
  2. Negative: 0 out of 9
  1. Reviewed by: Sam Adams
    Feb 29, 2012
    The fact that Last Days Here cares more about Liebling's personal redemption than his professional triumph is ultimately a saving grace, a telling demonstration of the film's well-ordered priorities.
  2. Reviewed by: Gary Goldstein
    Mar 22, 2012
    It's the offbeat love story at the heart of Liebling's resurrection that provides the film's most powerful - and touching - surprise.
  3. Reviewed by: Marc Savlov
    Apr 18, 2012
    As depressing as it may sound on paper, directors Argott and Fenton have crafted a deeply disturbing but equally moving documentary.
  4. Reviewed by: Sara Stewart
    Mar 2, 2012
    Riddled with sores, his lips locked on a crack pipe, the "sub-basement"-dwelling subject of this cult-rock doc initially seems plucked from an episode of "Intervention," or maybe "Hoarders."
  5. Reviewed by: Jeannette Catsoulis
    Mar 1, 2012
    Nevertheless the fierce loyalty of Mr. Liebling's nearest and dearest is extremely touching, and Last Days Here - despite its stinginess with back story and early performance footage - works hard to reveal the man beneath the four-decade heroin habit.
  6. Reviewed by: Melissa Anderson
    Feb 28, 2012
    An affectionate look at a self-destructing maniac and his supporters that bluntly reveals Liebling's total abjection without mocking him.
  7. Reviewed by: Charles Gant
    Feb 26, 2012
    A surprise back-from-the-brink redemption proves reliably engaging in rock-doc Last Days Here, tracking three years in the life of cult musician Bobby Liebling, whose band Pentagram never capitalized on its early promise.
  8. Reviewed by: Bill Weber
    Feb 29, 2012
    Gambling on the unlikely redemption of a doom metal fuck-up, this potential rock-doc tragedy reveals a bromance of idol and idolator.
  9. Reviewed by: Joshua Rothkopf
    Feb 28, 2012
    A middling entry in the growing genre of tragic, never-quite-made-it rocker docs, this doesn't have a bona fide genius at its core (The Devil and Daniel Johnston), nor a compelling clash of Spinal Tap–ready egos (Anvil! The Story of Anvil).

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