Titreenp SERIOUSLY. This is what the crap Hollywood still puts out?

Platicsco Good story, Not enough for a whole film

Mabel Munoz Just intense enough to provide a much-needed diversion, just lightweight enough to make you forget about it soon after it’s over. It’s not exactly “good,” per se, but it does what it sets out to do in terms of putting us on edge, which makes it … successful?

Haven Kaycee It is encouraging that the film ends so strongly.Otherwise, it wouldn't have been a particularly memorable film

generationofswine Its not at all bad. The homage that U2 is playing seemingly went over a lot of peoples heads causing the illusion that they were comparing themselves to rock and blues greats when, really, they were thanking them.I think the real dividing line here, however, is Bono. You either love him and almost venerate him as a saint among rock stars, or you hate him for the exact same reason, that is, you hate him for caring. And that is why I believe so many people walked away from this documentary.Then again, honestly, it could be because of U2's later day sins. The Joshua Tree was their main break out and a lot of fans will the the "they were good up until they got famous" line.That's not exactly true, with the exception of the argument over Zooropa, they were good through Pop.The fall back, especially following All You Can't Leave Behind and the lackluster follow-ups that tainted the formerly great band are probably the reason this is viewed with hostility.Give it a short, if nothing else than the film is a love letter to American music and general, and the rock and blues idols that inspired one of the best bands of the 80s

Camille B. At first when I noticed this title on the cable menu, I wasn't sure what to make of it. I just didn't understand what it was. Was it a movie, a biography, what? I sat down to watch it after I had recorded it, expecting little.This turned out to be the best documentary I've ever seen on a band. I've always loved U2 and their music, but this made me fall in love with them all over again. The live performances, beautifully filmed in black & white, were the BEST VERSIONS of some of the songs that I've ever heard. 'Bad,' 'Sunday Bloody Sunday,' and the gospel version of 'I Still Haven't Found What I'm Looking For' were raw and powerful.But mostly what I enjoyed about this movie was that is was 99% music and little talk. The commentaries were short and the songs played all the way through. It was an intense two hours of nothing but great U2 music! I recommend this for any U2 fan, it will not disappoint!

navajoknow It's actually not quite as pretentious as generally believed - I was hoping this movie would make me want to punch Bono in the gut, though strangely, it never quite provokes an especially intense disgust.In fact, I'm almost completely indifferent to everything the whole way through - except during the whole B.B. King event in which I'm laughing too hard to pay much attention. Though cringeworthy, (B.B. seems to be there against his will and Bono is essentially an idiot) it's definitely worth a rewind or two.Another of the few highlights includes Larry Mullen Jr. talking about the Elvis Presley cinema experience. Wankery is scattered in between black and white live footage that takes up the majority of the movie. The performances are a mish-mash of sweat, swaggering and the same three notes played on repeat. If this tickles your fancy, you'll love the film! It's pretty awful, but it could have been a lot worse. Don't even consider watching it if you couldn't care less about U2. If you happen to like U2, grab a beer, watch the first 15 minutes and make up your mind.

Daniel Marrin I knew little about U2 in the 80s. I was still a pre-teen, and I was probably listening to what my parents put on like Michael Jackson, Joe Cocker, John Denver, Janis Joplin, and Willie Nelson. However, little by little, I grew to be a fan of theirs, probably especially after I first heard the song "Bad" on the radio as my parents drove me to college for my first year. I bought the DVD of this on a total whim and was greatly rewarded. The opening sequence with "Helter Skelter" establishes a somewhat otherworldly yet gritty intensity for the b&w sequences. I agree that the film doesn't do a good job of getting at the personalities of the singers, and besides these guys are so used to the camera that they'd be able to manipulate the coverage anyway. What Phil Joanou does get wonderfully is the passion for the music in these guys and how they inspire others: those moments when they stop and listen to the Harlem blues man singing "Freedom for My People" or the Gospel choir that takes flight with "Haven't Found what I'm Looking For" are something pure with a hint of magic. This is also well-played in the GORGEOUS transition to color in the Super Bowl-size stadium for "Streets Have No Name." You'd think Jesus himself was about to come on stage. My only qualm: the music and lyrics themselves have enough social meaning of their own. Bono really doesn't need to interject much more on stage. Their performance of Bullet the Blue Sky gets at the social points with greater force, "Pelting the women and children/Pelting the women and children," than Bono's well-intentioned commentary. I give it four stars though because it hits all the right notes. PHIL, WHY HAVEN'T YOU DONE ANYTHING LIKE THIS IN YEARS?