Rating: 
Summary: breathtaking live
Review: Other reviews seem cover it pretty well; breathtaking live footage, at times a little too slickly produced perhaps but still awesome and powerful, interspersed with uneven interview segments and somtimes-hokey "discovering America" footage. But I thought I would mention one thing that really struck me about this film; I have never seen a movie so vividly capture the experience of what it is like to perform onstage. The use of black and white adds to this a lot; when you're up there, with stage lights in your face, colors do indeed become muted and the world takes on a black-and-white character. And there are those shots, looking out into the black, endless void of the audience, that perfectly capture that weirdness of feeling almost alone, while standing in front of thousands of people. Great band, dynamic performances, but the "you are there" aspect puts it over the top.
Rating:
Summary: This is the experience
Review: U2 rocks, and so does this DVD. As said in the work itself, "It is a musical journey." While basically an excuse to listen to U2 music, the filmaking is exceptional. The live performances from the Joshua tree tour are not to be missed and are classic. The performance with the Gospel choir on, "I still haven't found what I'm looking for" is worth the price of the DVD. Let me put it this way, if you like U2, you will dig this DVD. AJoseph Dworak
Rating:
Summary: Stirring view of U2 at their peak
Review: My bias on this film should be adequately explained by my 21 years as a fan and a veteran of nearly 20 live shows dating back to the "War" tour... This is simply the best U2 has to offer in live performances that you can go to the store and buy. The high points: -"Exit". The one song I was most looking forward to seeing live on "The Joshua Tree" tour, as I knew it would simply kick a** live. It did. The version in the film doesn't disappoint, though we are afforded an inordinate amount of screen time of Bono struggling with the settings for his guitar at the base of the drum riser. -"Bad". While no better sonically, really, than the version on "Wide Awake in America" (audio only), it is a lovely version, and it leads into the better portion of the film: -"Where the Streets..." The beginning of the color portion of the film which has a great impact after 45 mins or so of B&W photography. -"With or Without You" I had the audio version of this movie version on CD from the late 80's, on a promo CD, and still consider this to be the best live version of the song available... Includes an extra verse not on the album version of the song, the inclusion of which has prompted me to refer to this version as the, heh heh, "songs for saps" version of the song. -"Running to Stand Still" Every time I see this, and I mean EVERY TIME, it makes the hairs on the back of my neck stand up. -Generally speaking, the whole movie elevates the art of "concert films" to a new level. Nothing else can touch it... Absolutely nothing. The Low Points: -Too much humorless interview time. I think the film would've been much better as a pure concert film, as the 'interviews' are sometimes painful to watch. -"I Still Haven't Found..." I think this has been rightly criticized as a little bit too formulaic. -The 'wonderment' of 'discovering' the USA. U2 had visited the USA as early as 1981 and had done at least two prior full tours in the USA, from the "War" and "The Unforgettable Fire" tours, so I don't buy their "wide-eyed discovery of The States" bit. They'd seen it before and were merely pretending to make a good movie, and it backfired. Ignore this and watch the live performances. More than one prior reviewer has decried the poor sound quality on the DVD, but I think I may know why. On both of the DVD players I've had connected to my system, they both default to Dolby Pro Logic sound format... On THIS movie and THIS movie ONLY! Can't explain why... MUCH worse than the Dolby Digital 5.1 that is available if you simply choose this option using your "audio" button on your DVD remote or set it up using the menu before starting the film. Any other criticism of the movie's sound quality is simply people poo-poohing the film for no good reason... I don't know why one of the prior reviewers suggested listening to the DTS soundtrack... THERE IS NO DTS SOUNDTRACK!! What can you trust of a review that implores you to listen to a sound format that simply isn't there??? Don't worry... The sound is awesome. My 51" HDTV set does show the limitations of the film-to-video transfer, which is merely average. Hopefully they will come out with a new version someday with better video quality. Anyhow, a must-have for any fan of U2's 80's music. Essential, in fact.
Rating:
Summary: Breathtakingly awesome visual for the music you already love
Review: One reviewer noted - quite rightly - that this is not a product for converting those who don't like the music of U2. The observation is spot on. Neverheless, those who love this music - despite of (or indeed because of!) political ambitions and humourless self-righteous role that Bono carved out for himself, will admire this DVD. The best thing is the sheer visual quality: none of the amateurish "this-will-do" half-baked rubbish that you can see so often in "tour movies". In fact, I have not seen camera work so visually accomplished for a long, long time. Large part of the film is black-and-white, and monochromatic picture is never used as a quick way for the film to appear "arty". Black-and-white is a powerful tool, but only in capable hands; and thank God in this case they managed to hire people who knew what they were doing. Color shots are good too - never descending into Nevada-style predictable "spectacular of colors and lights" but rather sparingly using color as a tool. The cameraman, it is obvious, enjoys close-up and aggressive light portrait work and this produces a large number of images which would make a very good still photographer proud. Again, this adds to visual enjoyment. Interviews with band members are so-so, but mercifully they are few and far between. Overall, the film captures very well the powerful and very positive fascination with America that the band had (or still has?), and the choice of southern and west coast venues puts and extra "oomph" into this raw sense of spiritual power in the home of rock'n'roll. And the episode of rehearsal with BB King is a joy to behold: you can sense the awe of U2 artists - not exactly low-profile start-ups themselves - who play with the biggest living legend of R&B. Definitely worth your money.
Rating:
Summary: Great movie? Nah, but the music!
Review: I remember Rattle and Hum missing the mark with almost all critics and all but the most hardcore U2 fans. Those who did not like U2 already liked them less after the film. Remember that in 1988 most Americans still knew very little about the band and what they had learned, especially about Bono rubbed them the wrong way. They were 8 years and 5 albums into their career, but followers of the music scene considered Bono humorless, sanctimonious and unduly self-satisfied. Some probably still feel that way. Whether that was/is true, it has nothing to do with the fact that this was some of the band's best live music ever. Whereas the studio tracks of Bullet the Blue Sky and In God's Country sound sedate and monotonous, the live versions feel like they want to jump through the speakers. Then the live Running to Stand Still sounds positively haunting. While Bono's politics have seemed pedestrian and superficial at times, this version of Sunday Bloody Sunday, shot after the Enniskillen riot, depicts Bono at his angry best. Even though his reaction might not have been as sincere as his interview suggests, the howling passion makes it worth the view. Any chance to see BB King play a guitar, including the rough cut of When Love Comes to Town. Some of the covers feel unnecessary. Helter Skelter never needed a new version, but it gets one here. Their riff on All along the Watchtower sounds like they've heard the Dylan original, but never the immortal Hendrix perfection (the best cover done of any song for my money). Still, if that was a quid pro quo for Dylan's keyboard work on Hawkmoon 269 then we all benefit. 15 years after its first release gives a new generation of viewers U2 as the angry, dour band that hadn't yet matured into the band that gave us All that you Can't Leave Behind (although there are hints) nor lightened up to give us Achtung Baby and Zooropa. They hadn't yet learned to laugh at themselves, but their newfound success couldn't let them fake their beliefs, either. After all that has happened, I could still see how critics could not like the movie, but the music, superb even then, has aged like wine. My advice: play this movie loud in another room. If you can listen without the visual, you'll love it.
Rating:
Summary: THIS DVD DESERVES MORE THAN 5 STARS!
Review: THIS DVD IS SIMPLY THE BEST U2 CONCERT-MOVIE-DOCUMENTARY-WHATEVER YOU WANT TO CALL IT THAT EXISTS. IT IS GREAT!
IT HAS ELEVEN SONGS THAT WEREN'T ON THE ORIGINAL ALBUM. THEY ADD A LOT OF NEW MATERIAL TO THE FILM. HOWEVER- YOU MUST LOOK FORWARD TO "GLORIA," "RUBY TUESDAY," AND "SYMPATHY FOR THE DEVIL" WITH CAUTION. AT MOST, BONO SINGS 2 LINES OF THOSE SONGS, IF NOT ONE. THEY REALLY DON'T CONSTITUTE SONGS, AT LEAST TO ME."EXIT," "IN GOD'S COUNTRY," "BAD," "WHERE THE STREETS HAVE NO NAME," "MLK," "RUNNING TO STAND STILL," AND "SUNDAY BLOODY SUNDAY" (MY ALL-TIME FAVORITE U2 SONG) ARE ALL SUPERB AND WORTH EVERY PENNY.
THE ADDED FOOTAGE IS PRICELESS. I WOULD PAY DOUBLE WHAT I PAID FOR THIS DVD NOW THAT I KNOW THE TRACK LIST AND HAVE SEEN THE ADDED FOOTAGE.
THE INTERVIEWS ARE ALL HILARIOUS- THE INTERVIEWER ASKS U2 A QUESTION, THERE IS DEAD SILENCE, ADAM SWEARS, AND THE INTERVIEW IS OVER. THE ONLY ONE THEY TALK IN IS WHEN LARRY KEEPS INSISTING "IT'S A MUSICAL JOURNEY" IN HIS HOT ACCENT.
THIS IS NOT FOR DIE-HARD U2 FANS. I'M NOT SURE IT'S FOR U2 FANS. IT'S FOR EVERYONE!
Rating:
Summary: Choppy but Charming - U2 run into the Arms of America...
Review: For any true U2 fan, you must love this film. Regardless how critics have slammed it (it's not the best concert film ever, but the band's sincerity hits you in the heart more than some crumudgeoney critic or pre-packaged current band can), and even how the band have (unfortunately) tried to distance themselves from the film, "R & H" really shows the eagerness, bewilderment and love this band has for America. Their discovery of blues and country is quite refreshing, and long lost on most bands today. The downside to "R & H" was simple overexposure: 1987, they released "The Joshua Tree", skyrocketed to #1, went on a world tour while making this film. The end result was a phenomenal new album, 1991's "Achtung Baby" and the journey is worth it. Check out the evolution of late 80's music with this film, and the soundtrack, and then slide down the surface of things with "Achtung Baby." You won't be disappointed.
Rating:
Summary: An introspective look at rock's most inspirational band
Review: U2 have definitely grown into their rock and roll lifestyle since the close of the 1980s. Rock had become so stagnant--so unbelievably uninteresting that the four lads from Dublin who had perked the ears of Rolling Stone and the then struggling network called MTV was the only band recording anything innovative or emotional. Though other acts at the close of the "Me" decade seemed to follow in the tremendous wake left by U2's landmark 1987 release, The Joshua Tree, (Tracy Chapman, 10,000 Maniacs and REM to name a few) none of them seemed to be able to capture a live audience quite like U2. Their concerts were emotional, powerful, earnest and sounded unbelievably great. The Irish Fab Four had already proven themselves worthy of accolades for their live shows with the 1983 video release Under a Blood Red Sky. Here, the band has a whole new repertoire to play with and a whole new range of emotions to convey... so much in fact that lead singer Bono suggest to the film's director that their anthem "Sunday Bloody Sunday" not appear in the film (don't worry... it does). More than anything the success of this film is largely due to the fact that U2 let a fan direct it and not a more accomplished director. Though other's were discussed (Martin Scorsese and Ridley Scott were both in the running as possible directors) the band decided on 27 year old Phil Joanou-a protégé of Steven Spielberg. It's obvious that there is some idolizing and adoration for the band, especially Bono, who graces the film like an Irish street fighter for justice. Only the most charismatic front man in rock history could get away with behavior so garish as holding a crucifix between his fingers and dangling it like a hypnotist's watch. Only Bono could be permitted to begin their cover of The Beatles "Helter Skelter" with the words, "This is the song Charles Manson stole from The Beatles... we're stealin' it back." Even his oft parodied "am I buggin' you" speech seems pretty powerful when compared to the caterwauling and ludicrous stage image that belonged to the hair bands who otherwise ruled the airwaves during the last part of the 80s. U2 were masters at looking cool while certainly not acting it. It's amusing now, looking back at how U2 shattered their image in the 90s only to rebuild the band into the legends they are today how seemingly uncomfortable they appear in this film. The four members seem quiet and reserved in the interviews between their songs. Bono seems nearly aggravated at times as he sucks down a Guinness at the films start... asking Joanou if the film they're obviously wasting is expensive. Guitarist The Edge, drummer Larry Mullen and bassist Adam Clayton all have some on-camera thoughts as well, but none of these really scratch the surface of this tremendously in-depth band. This is an interesting look at how the four young men who would soon be known as "The Best Band on the Planet" handled their first of many rushes of popularity and fame. They're modest yet they have the nerve to stand before Elvis' grave... á la This is Spinal Tap without flinching. Upon it's initial release, the film (and incidentally the double-LP of the same name) were panned by most critics-claiming U2 were attempting to write themselves in the pages of rock and roll history along with John Lennon, Johnny Cash and Bob Dylan. Really, the band was dedicating their work on the film and album to a group of legends they had only recently started to listen to. A tremendous song played with Blues legend B. B. King proves the had the band really believed they were just as legendary, they weren't too far off from the truth. Unnecessarily rated PG-13 for Bono's apt phrase "F*ck the revolution" during their performance of "Sunday Bloody Sunday", the film is otherwise inoffensive as far as rock documentaries go. Instead of carrying on drunk or trying to show themselves off as Beatle cute, U2 took this moment in one of many spotlights to make an eloquent cry for change... and that more than anything has been what has allowed them to leave such an indelible mark on rock and roll music.
Rating: 
Summary: Delusions 'R' Us
Review: One thing you can count on in a movie about U2 is good music. I saw them play at Largo, MD's now-demolished Cap Center (the one in "Heavy Metal Parking Lot") in early '85. While not at their musical peak, their passion and generosity were astounding. They turned around and sang to those of us unlucky enough to be seated behind the stage, and when bouncers tried to clear kids from the pit, Bono angrily confronted them. This got them banned from the venue, but to do anything else would not have been U2. They weren't chart-toppers then, but my college was full of their fans: earnest, clean-cut boys with a taste for social causes and a cultlike fervor for the band. And no wonder; their songs were bursts of rapt sincerity in an age of jaded techno-pop. The guitar may have sounded a bit like PiL on uppers, but such lyricism and raw emotion were almost unheard of in pop music. I loved what I saw and heard. But there's an adage that every man is really three men: the one that others see, the one in the mirror, and the one inside. With "Rattle and Hum" U2 try to show us version two, and unintentionally give us a load of version three...to our lasting dismay. Scene by scene, reel by reel, we watch their illusory greatness crumble. Phil Joanou's pompous camerawork, complete with artsy slo-mo and affected graininess, plays off their Olympian gestures to ludicrous effect. I'm sorry, but weren't we first drawn to U2 by their *lack* of murk and dour pretension? Their down-to-earth idealism is precisely what made them stand out. By ramming Ambience down our faces, Joanou buries the band's chief virtue. And that's before we hear from U2 themselves. In the interview scenes the band does nothing but giggle and snort between mumbled cliches like "It's a musical journey." Commentary that could have been telling is instead coy, smug, and inscrutable. Weirder still is a scene where Bono leads a young Gospel choir in a version of "I Still Haven't Found What I'm Looking For", maybe his most narcissistic song. The power disparity is unnerving: Bono comes off almost as a plantation-era taskmaster, waving a ferule, and you can't help but wonder what these Harlem kids are thinking. Do any of them actually like this music? Have they bonded in any way with the band, and how do they relate to this tycoon's self-satisfied angst? There seems no point to the scene beyond flogging the band's playskool liberalism. But the worst clip, where their insular idealism chafes hardest with reality, is the version of "Sunday Bloody Sunday". This was filmed one day after an IRA bomb killed eleven people, and Bono sounds justifiably furious. But context makes this version ghastly: during a swelling guitar solo he lectures us about the uprising in Northern Ireland: "(This is) a revolution that the majority of my countrymen do not support...(Screw) the Revolution." Sincere words no doubt, but U2 are also using the emotional clout of real tragedy to add extra oomph to a musical bridge. You can totally hear it: they're too slick a bunch of showmen to keep from pumping Bono's sermon into an arena-rock crescendo. (Couldn't he have given this speech between songs?) I know art and politics are inseparable, but when torn flesh and pop are woven together so blatantly and glibly you just get squalor. Almost like an Andrew Lloyd Webber Broadway fantasia about My Lai. Even stripped of their pompous score, Bono's words are a misstep. His "countrymen" are Irish, so why should they decide the fate of Northern Ireland? The two are completely different countries, and Dublin has as much to do with Belfast as Timbuktu. Also, he seems oblivious of the connotations of telling Americans to "(Screw) the Revolution". Screwing revolutions isn't something we take lightly; for decades we've tried to crush every popular uprising that ran afoul of our plans for global finance, whether in Chile, Colombia, East Timor or Vietnam. Honestly, Bono, we need no encouragement. The songs are mostly good, though the band's view of themselves as Protean Oracles from the Celtic Mists kills a lot of the pleasure. One exception is the abysmal cover of "Helter Skelter", introduced thusly by the ever-humble Bono: "Charles Manson stole this song from the Beatles, and now we're stealing it back!" The grim fact is that Goths will still be creepy-crawling to the original at their Manson-themed raves long after U2's albums have landed in the cut-out bins. What Revolution was that?
Rating:
Summary: the greatest music video ever
Review: anyone who says this movie is pretentious,obviously has no understanding of the qualities that make U2 so unique.This is simply their musical peak captured on 100 minutes of video, capturing all the emotion and passion of a rock group trying to discover who they really are.In short,once you have heard these versions of their hit songs you will have a hard time going back to the original recordings.Electrifying.
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