Some context: Oystein Aarseth (Norwegian: ['oystein 'os@t]; 22 March 1968 - 10 August 1993), better known by his stage name Euronymous, was a Norwegian guitarist. Euronymous was a founder of and central figure in the early Norwegian black metal scene. He was a co-founder of the Norwegian black metal band Mayhem. He was also founder and owner of the extreme metal record label Deathlike Silence Productions and record shop Helvete.
In early 1993, animosity arose between Euronymous and Vikernes, and between Euronymous and the Swedish black metal scene.  On the night of 10 August 1993, Vikernes and Snorre 'Blackthorn' Ruch drove from Bergen to Euronymous' apartment at Toyengata in Oslo. Upon their arrival a confrontation began and Vikernes fatally stabbed Euronymous. His body was found on the stairs outside the apartment with 23 stab wounds - two to the head, five to the neck, and 16 to the back. Euronymous' murder was initially blamed on Swedish black metallers by the media.  It has been speculated that the murder was the result of a power struggle, a financial dispute over Burzum records, or an attempt at "outdoing" the stabbing in Lillehammer. Vikernes denies all of these, claiming that he attacked Euronymous in self-defense. He says that Euronymous had plotted to stun him with an electroshock weapon, tie him up and torture him to death while videotaping the event. Vikernes explains: "If he was talking about it to everybody and anybody I wouldn't have taken it seriously. But he just told a select group of friends, and one of them told me". He said Euronymous planned to use a meeting about an unsigned contract to ambush him. Blackthorn stood outside smoking while Vikernes climbed the stairs to Euronymous' apartment on the fourth floor. Vikernes said he met Euronymous at the door and handed him the contract, but when he stepped forward and confronted Euronymous, Euronymous "panicked" and kicked him in the chest. The two got into a struggle and Vikernes stabbed Euronymous to death. Vikernes defends that most of Euronymous' cut wounds were caused by broken glass he had fallen on during the struggle. After the murder, Vikernes and Blackthorn drove back to Bergen. On the way, they stopped at a lake where Vikernes disposed of his bloodstained clothes. The self-defense story is doubted by Faust and other members of the scene.  According to Vikernes, Blackthorn only came along to show Euronymous some new guitar riffs and was "in the wrong place at the wrong time". Blackthorn claims that, in the summer of 1993, he was almost committed to a mental hospital but fled to Bergen and stayed with Vikernes. He said Vikernes planned to murder Euronymous and pressured him into coming along. Blackthorn said of the murder, "I was neither for nor against it. I didn't give a shit about Oystein". Vikernes called Blackthorn's claims a "defense [...] to make sure I couldn't blame him [for the murder]".
Were the murderer caught?
A: Vikernes denies all of these, claiming that he attacked Euronymous in self-defense.
Some context: Once is a 2007 Irish romantic musical drama film written and directed by John Carney. The film stars Glen Hansard and Marketa Irglova as two struggling musicians in Dublin, Ireland. Hansard and Irglova had previously performed music as the Swell Season, and composed and performed the film's original songs. Once spent years in development with the Irish Film Board and was made for a budget of EUR112,000.
Once was met with extremely positive reviews from critics. Upon its March 2007 release in Ireland, RTE's Caroline Hennessy gave the film 4 out of 5 stars and termed it "an unexpected treasure". About the acting, this Irish reviewer commented, "Once has wonderfully natural performances from the two leads. Although musicians first and actors second, they acquit themselves well in both areas. Irglova, a largely unknown quantity alongside the well-known and either loved or loathed Hansard, is luminous." Michael Dwyer of The Irish Times gave the film the same rating, calling it "irresistibly appealing" and noting that "Carney makes the point - without ever labouring it - that his protagonists are living in a changing city where the economic boom has passed them by. His keen eye for authentic locations is ... evident".  In May, on Ebert & Roeper, both Richard Roeper and guest critic Michael Phillips of the Chicago Tribune gave enthusiastic reviews. Phillips called it, "the most charming thing I've seen all year", "the Brief Encounter for the 21st century", his favorite music film since 1984's Stop Making Sense and said, "It may well be the best music film of our generation". Roeper referred to the film's recording studio scene as "more inspirational and uplifting than almost any number of Dreamgirls or Chicago or any of those multi-zillion dollar musical showstopping films. In its own way, it will blow you away." Once won very high marks from U.S. critics; it is rated 97% "fresh" by the film review aggregation site Rotten Tomatoes and scored a grade of 88 ("universal acclaim") according to Metacritic.  In late 2007, Amy Simmons of Time Out London wrote, "Carney's highly charged, urban mise-en-scene with its blinking street lamps, vacant shops and dishevelled bed-sits provides ample poetic backdrop for the film's lengthy tracking shots, epitomised in a sequence where the Girl walks to the corner shop in pyjamas and slippers while listening to one of the Guy's songs on her personal stereo. With outstanding performances from Hansard and new-comer Irglova, Carney has created a sublime, visual album of unassuming and self-assured eloquence." The Telegraph's Sukhdev Sandhu said, "Not since Before Sunset has a romantic film managed to be as touching, funny or as hard to forget as Once. Like Before Sunset, it never outstays its welcome, climaxing on a note of rare charm and unexpectedness."  The film appeared on many North American critics' top ten lists of the best films of 2007:  In 2008, the film placed third on Entertainment Weekly's "25 Best Romantic Movies of the Past 25 Years".
Anything else interesting about the critic's responses to the film?
A:
Carney's highly charged, urban mise-en-scene with its blinking street lamps, vacant shops and dishevelled bed-sits provides ample poetic backdrop