
The Stone Roses: Made of Stone
2013

2010
PG-13Director
Ryan Page, Christopher Pomerenke
Runtime
100 minutes
Average Rating
No ratings yetSynopsis
Music fans know Maynard James Keenan as the frontman of such bands as Tool, A Perfect Circle, and Puscifer, but in this documentary filmmakers Christopher Pomerenke and Ryan Page offer a closer look at one of the prolific rocker's more unexpected hobbies -- winemaking. Along with his business partner Eric Glomski, Keenan has managed to transform an arid stretch of Arizona desert into a lush vineyard that yields some particularly tasty grapes. Through unguarded conversations with Keenan and Glomski, Pomerenke and Page discover just what got the pair interested in winemaking, and why they chose such a hostile natural environment to serve as the site of their winery.
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film centers on the professional partnership between Maynard James Keenan and Eric Glomski. It lacks narratives addressing sexual orientation or non-cisnormative identities.
Gender Representation
The narrative focuses on a male-dominated sphere of rock music and viticulture. It lacks female characters in positions of intellectual or narrative agency.
Racial & Ethnic Diversity
The primary subjects are white males working in the Arizona desert. There is no evidence of a diverse or non-Anglo-Saxon majority cast.
Religious & Cultural Diversity
The documentary explores secular, tactile processes of agriculture and business. It avoids religious morality, focusing instead on individualistic pursuit and private enterprise.
Disability Representation
There is no discernible focus on physical or neurodivergent disabilities. The film does not utilize disability as a central theme or plot device.
Strengths
Areas for Improvement
AI Analysis
Blood Into Wine is a specialized biographical documentary focused on the intersection of artistry and viticulture. The film prioritizes the technical and creative aspects of winemaking and the personal motivations of its subjects over social commentary. The narrative architecture is built around individual agency and professional expertise. Because the subject matter is a niche hobby of a well-known figure, the film lacks the structural complexity to engage with broader intersectional identities. Ultimately, the production maintains a traditional focus on personal journeys and business ventures. This results in a conventional storytelling approach that does not challenge existing social or cultural hierarchies.

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