U2's history on film and television is fragmented to say the least.
UNDER A BLOOD RED SKY (1983), they now-immortal performance at Red Rocks was a considerable risk to a band who had everything to lose in light of adverse weather conditions. The result was a dynamic video performance that epitomised their work from BOY through to WAR.
RATTLE AND HUM (1988) was Phil Joanou's foray into U2's evident outgrowth from arena to stadium rock and despite some passable music was not one of their finest moments, providing the kick-start to more creative and left-field thinking.
The extravagance of tours like ZOO TV and POP effectively gave the band a larger-than-life mystical psyche as if to say to the world 'We are U2 - and that is that', so it seemed rather appropriate that they would exploit the IMAX and Digital arenas to their fullest, having utilised such technology in those said tours. The result is their best film to date and a movie that deserves - and dares - to be seen on the big screen. Like CONTROL, you don't have to like or know much about the band to appreciate the impact they have in a way that films like WOODSTOCK (1968) and THE LAST WALTZ (1978) are specialist films of key bands.
There is no surprise to know that all the key hits from three decades of music-craft are here, kicking off with VERTIGO and following through with the likes of NEW YEAR'S DAY, WHERE THE STREETS HAVE NO NAME and ONE. The 3-D enhances the experience at times and as seen on the IMAX screen, there are times when the performances, which are more than you would expect, surpass and explode out of the screen. The effect is substantially more than I expected and then some. A movie that should go and go.
UNDER A BLOOD RED SKY (1983), they now-immortal performance at Red Rocks was a considerable risk to a band who had everything to lose in light of adverse weather conditions. The result was a dynamic video performance that epitomised their work from BOY through to WAR.
RATTLE AND HUM (1988) was Phil Joanou's foray into U2's evident outgrowth from arena to stadium rock and despite some passable music was not one of their finest moments, providing the kick-start to more creative and left-field thinking.
The extravagance of tours like ZOO TV and POP effectively gave the band a larger-than-life mystical psyche as if to say to the world 'We are U2 - and that is that', so it seemed rather appropriate that they would exploit the IMAX and Digital arenas to their fullest, having utilised such technology in those said tours. The result is their best film to date and a movie that deserves - and dares - to be seen on the big screen. Like CONTROL, you don't have to like or know much about the band to appreciate the impact they have in a way that films like WOODSTOCK (1968) and THE LAST WALTZ (1978) are specialist films of key bands.
There is no surprise to know that all the key hits from three decades of music-craft are here, kicking off with VERTIGO and following through with the likes of NEW YEAR'S DAY, WHERE THE STREETS HAVE NO NAME and ONE. The 3-D enhances the experience at times and as seen on the IMAX screen, there are times when the performances, which are more than you would expect, surpass and explode out of the screen. The effect is substantially more than I expected and then some. A movie that should go and go.