Very strange approach. As you know, the tour ended at the end of summer 2016, respectively, the time to create this film was about 1.5 years. Muse have always been creative and modern in their songs, their approaches to recording, their new fitches and their experiments with music. And really, it's a round-stage show with two arrows, with curtains coming down and visualizations on it, with flying drones and, of course, as usual, with beautiful lights, to me, one of the best rock shows in the history of our Mother Earth. In terms of competition, only Pink Floyd concerts come to mind. In a word, the really coolest show of all time.
When the release date of the film was announced in theaters, I was looking forward to a repeat of this show, which I was at live in Moscow, so that now in a cool room with a cool picture, once again enjoy the technical innovations and visual techniques described above, which were at the concerts of this tour and which made these concerts unique.
And what did we end up with? The first two songs I couldn’t believe were made using the standard principle of focusing the picture on the faces and movements of the band members, rather than on the elements of the show itself, which can only be observed from the side. On the third song, I finally knew what to do. And the question arose: how can you edit a film on this principle, what is the reason? Throughout the entire film, I couldn’t feel anything about the greatest show. Moreover, this flashing of frames, this flashing of the participants' faces for 2 seconds, only tired and nullified the whole high from the concert. And in general, Muse has already filmed concerts, for example, in Japan at the Suitama Arena.
Yes, this film is very cool editing almost every second flashing frames, but is this solution generally applicable to concerts where everything is sharpened on the scenery? A very, very strange decision that creates a sense of frivolous approach of the creators of this film.
6 out of 10