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Post by girllikeabomb on Sept 13, 2021 16:57:51 GMT -5
www.independent.ie/entertainment/music/when-oasis-left-the-starry-heights-of-knebworth-to-join-the-rocknroll-circus-40837861.htmlWhen Oasis left the starry heights of Knebworth to join the rock‘n’roll circusIn 1996 Oasis played Knebworth to a quarter of a million fans. It was the beginning of the end, before long-documented spats tore the Gallagher brothers – and the band – apart
by Barry Egan In August 1995, Oasis lost the so-called Battle of Britpop when Blur’s ‘Country House’ beat their ‘Roll with It’ to the top of the charts in England. Oasis may have lost the Britpop battle but, two months later, they won the war. Their second album (What’s the Story) Morning Glory? went straight to No 1 in the UK and sold 22 million copies worldwide. The following year, the band announced they would play a gig at Knebworth – a vast country estate in Hertfordshire, where mega-groups Led Zeppelin and Pink Floyd had played in their heyday. But that wasn’t what convinced Noel to choose this stately pile in the Shires. “Knebworth House is Batman’s house in the film,” he told GQ magazine. “There I was, driving into Batman’s house in a Rolls-Royce – off my head, going: ‘Yeah! I’ll take it. Where do I sign?’” Within hours of the 125,000 tickets going on sale, over two million people had tried to buy a seat. So Oasis added a second night. That sold out too. The magnitude of their undertaking dawned on the band when they flew in by helicopter from Battersea on August 10 for the first show. Noel (vocals and guitar), Liam Gallagher (lead vocals), Paul ‘Bonehead’ Arthurs (guitar), Paul McGuigan (bass guitar) and Alan White (drums) – who replaced original drummer Tony McCarroll after he was sacked after a row with Liam in 1995 – asked the pilot to circle over the crowd one more time before landing. They wanted to take it all in. Directed by Jake Scott, with Noel and Liam as executive producers, a new feature-length documentary, Oasis Knebworth 1996 contains previously unseen footage of the shows and interviews with the band and fans. In fact, it is less about their music than about their relationship with their fans. In one moving clip, a young woman recalls the incredible time herself and her brother had at the concert. Six months later he was diagnosed with cancer, two years after that he died. “It was the last time we spent such a great day together,” she says. We see another fan, who is standing in front of the stage, ask Liam at the start of the show for his tambourine. Liam shouts back: “I’ll be down later.” Two hours later, he climbs off the stage, finds the young lad at the front of the crowd – among thousands of others – and hands over the tambourine. The documentary tracks the band at their best. “If this is Oasis at its peak – which it is – it is because Liam was at his peak,” Noel says. “You’re only as good as your frontman. He was at his zenith with his voice and the way he looked.” Oasis took to the stage to the sound of ‘The Swamp Song’. They kicked huge inflatable footballs into the crowd (which included Kate Moss and Jarvis Cocker) before launching into ‘Columbia’, ‘Acquiesce’ and then ‘Supersonic’. “This is history,” Noel says to the crowd. “Right here, right now. This is history.” “What are you on about?” Liam answers, before impersonating an overbearing schoolteacher straight out of a vintage Carry On movie. “Now, we’re all going to History for the weekend to watch Oasis.” When he introduces ‘Cigarettes and Alcohol’, Liam shouts: “Cigarettes and alcohol for every f**king one of you!” The song hit a chord, especially the line “is it worth the aggravation to find yourself a job when there’s nothing worth working for?” As one fan says in the footage: “I’d been on the dole for a few years, and ‘Cigarettes and Alcohol’ captured what me and my friends were living.” Later Noel tells the crowd: “This is going out live to 300 different countries. I’ve got to say: F**k! Shit! Tit! C**t! Bum! Arsehole!” Then, almost blushing, he says: “Sorry, mum.” “Cheeky little devil,” says the 22-year-old Liam, grinning. Perhaps the saddest part of watching Oasis Knebworth 1996 is that the brothers seem to be genuinely fond of each other. Not long after, their relationship broke down. Banter aside, the music is brilliant, exhilarating, timeless. ‘Don’t Look Back in Anger’ and ‘Wonderwall’ sound like Beatles’ masterpieces. Noel says of the latter: “This is going to be one of the songs of the 1990s – and the words don’t make any sense! What’s a wonderwall? Who gives a f**k.” At one stage, Noel says: “We were a pretty decent band the night before I wrote ‘Live Forever’ [in 1994] but it was indie music. The day after I wrote ’Live Forever’, we were going to be the biggest band in the world. I knew it.” There’s a live-forever moment too when John Squire, fresh from leaving The Stone Roses – the most influential British band of the early 1990s – joins Oasis for the finale on the second night. He plays guitar on ‘Champagne Supernova’ and then ‘I am the Walrus’. Someone remarks to Noel that John Squire playing with them meant The Stones Roses were passing the baton to Oasis. “The baton wasn’t passed,” he says. “We took the baton ourselves from The Stone Roses.” The morning after the last show, Noel, who grew up on a council estate in Manchester, knocked at the door of the stately pile. He wanted to have a bath. Henry Lytton-Cobbold, the owner, who was at home at the time, showed him to the Queen Elizabeth bathroom and handed him a bottle of champagne – putting paid to the legend that the working-class hero was served champagne by liveried servants. Afterwards the songster wrote in the guest book: ‘Noel Gallagher (clean!)’ (Article continues but is about the rest of the band's career not the film ...)
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Post by themanwholivesinhell on Sept 13, 2021 17:24:49 GMT -5
What I fear I'll dislike about a lot of these articles is that, to make Knebworth sound more significant, they'll dismiss the band's entire post-1996 career as basically pointless.
Which is a bit of a narrow opinion if you ask me. I mean, Fleetwood Mac never topped Rumours, but later hits like Sara, Tusk, Little Lies and Everywhere are classics IMO. Michael Jackson never topped Thriller, but are you going to just dismiss albums like Bad and Dangerous? Same goes for everything Prince did after Purple Rain like Sign O' The Times.
I won't lie; Oasis were never as big again. But that's doesn't mean they were never any good again.
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Post by girllikeabomb on Sept 14, 2021 1:37:11 GMT -5
What I fear I'll dislike about a lot of these articles is that, to make Knebworth sound more significant, they'll dismiss the band's entire post-1996 career as basically pointless. Which is a bit of a narrow opinion if you ask me. I mean, Fleetwood Mac never topped Rumours, but later hits like Sara, Tusk, Little Lies and Everywhere are classics IMO. Michael Jackson never topped Thriller, but are you going to just dismiss albums like Bad and Dangerous? Same goes for everything Prince did after Purple Rain like Sign O' The Times. I won't lie; Oasis were never as big again. But that's doesn't mean they were never any good again. Oh, it’s bound to get worse as things go on – writers will get things blatantly wrong as well as having half-baked opinions. But this was the first article I’ve seen describing new bits of the film so seemed worth posting. (The other thing we know now is that some press have seen the film already.) I do think it’s pretty much the broadly accepted narrative outside the fandom that Oasis was all but over post-Knebworth…it was, after all, the thesis of Supersonic! It's definitely very narrow, but nothing much is going to change that in the wider culture at this point. There will very likely be some reassessing of the later albums as time passes but hard to call how that will turn out. The only thing that would completely change it is if they were to create a new chapter (not trying to be provocative but that would surely alter the story people tell of Oasis, whether the result was bittersweet or brilliant, it would be a circle not a dangling arc. Not that there’s anything wrong with a dangling arc – history is full of them and people love a what if.)
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Post by Deleted on Sept 14, 2021 5:07:35 GMT -5
There was a great interview with Daniel Rachel (Author of Knebworth book with Jill Furmanovsky) yesterday on 6Music..... Starts more or less straight away 10-15mins in: www.bbc.co.uk/programmes/m000zkc6
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Post by girllikeabomb on Sept 17, 2021 0:21:00 GMT -5
Review from Consequence Magazine: consequence.net/2021/09/oasis-knebworth-1996-review-documentary/Oasis Knebworth 1996 Is a Warm, Luxurious Bath of ’90s British Nostalgia: ReviewJake Scott tells the tale of the "gig of a lifetime" for a quarter million Brits
By Clint Worthington September 16, 2021 | 1:15pm ET The Pitch: In 1996, Oasis was riding high off the success of their second album, (What’s the Story) Morning Glory?, and an entire generation of British fans were entranced by Noel and Liam Gallagher’s earnest, po-faced lyricism and catchy acoustic tunes. They were big, to be sure, but their decision to host a two-day gig at Knebworth House in Hertfordshire on August 10th and 11th, 1996, was a surprise both to fans and organizers. Knebworth, after all, was the kind of venue that hosted legends like Led Zeppelin and Queen. Even so, the event became one of the biggest concerts in English history, drawing nearly a quarter-million people to Knebworth’s stages between the two days. And, for those die-hard Oasis fans, it would prove to be one of the most pivotal weekends of their lives. Concert docs are, at their heart, a treat for fans and fans only: either you were there, in which case you want to relive the experience, or you’re a diehard fan of the band who wishes they’d been there. Oasis Knebworth 1996 hews closely to that formula — it’s essentially a chronological retelling of the story through archival footage and a few other methods — but through the perspective of the fans who were there, and for whom the weekend still means a lot. You won’t find talking heads, and director Jake Scott (son of Ridley, an experienced music video director in his own right) keeps the proceedings moving at a manic pace befitting the era. An early fan describes ’96 England as the age of Trainspotting, and Scott’s style certainly replicates the frenetic energy Danny Boyle affected in his seminal breakdown of English lad culture at the time — all grainy handheld and near-subliminal cross-cuts. At the same time, when the concert finally starts and the Gallaghers take the stage, he lets the performances breathe, giving longtime Oasis fans the chance to soak in the energy. And energetic it is: If you’ve got any kind of affinity for the band, their Knebworth performance sees them at the height of their powers. Liam’s Manchester drawl pours past his John Lennon glasses and cable-knit sweater like molasses; Paul McGuigan’s bass and Noel’s lead guitar power through the band’s simple-but-infectious chord progressions. Scott cuts these songs together capably using archival footage and a few choice words from the fans (more on that later), but mostly lets the songs breathe on their own. He knows Oasis never sounded better than they do here, and he lets us know it. Knebworth 1996 is less a profile of a band at its height than it is the fans, for whom the weekend became one of the most important moments in their lives. We hear interviews from over a dozen fans who regale their at-the-moment feelings of being sucked into the crowd, of feeling the collective energy at Knebworth. Other fans mention Knebworth coinciding with seminal moments that would shape their futures: a brother’s cancer diagnosis, a girlfriend’s pregnancy announcement. Contemporary footage zooms in on fans, decked out in their finest ’90s British gab (low-rise pants and bucket hats galore), telling the camera what they would give Oasis if they could. (One fannish girl admits that she’d give “Herself”; another lad jokes, “A haircut.”) The only real non-diegetic footage comes in the form of reenactments of one fan’s story to listen to the concert over the radio — Sellotaping their aerial to the ceiling to get the best reception, being lightning-quick on their tape recorder to switch sides before the next song starts. Those bits are quite cheesy and occasionally detract from the in-the-room feel of the rest of the doc, but they’re hardly a great offense. It’s all very warm and fuzzy, the very opposite of a takedown documentary like Woodstock ’99. Simply put, this is a nice doc about nice people having a nice time outside with their favorite band. There’s very little discussion of Noel and Liam’s famous feuds, or any other controversies that would follow the band around. This single weekend in 1996 was a perfect moment in time, before the world got complicated and the responsibilities of adulthood weighed down on its teenage attendants. If nothing else, Oasis Knebworth 1996 is an ode to that sense of nostalgia. The Verdict: More than a concert doc and less than an artist profile, Oasis Knebworth 1996 hits that sweet spot of giving misty-eyed Oasis fans what they want: A glimmering look back at one pleasant weekend and the life-changing music that defined it. You’ll find little conflict here, no mention of Noel and Liam’s famous feuds or any debauchery that happened at Knebworth itself. With its uncensored showcases of Oasis at the height of their powers, punctuated by the fawning recollections of their fans, Scott’s doc is truly a time capsule of nostalgic Millennial memories from the time we thought was “the end of history.” Good vibes only.
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Post by oasisunited on Sept 17, 2021 7:36:08 GMT -5
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Post by walterglass on Sept 17, 2021 11:44:41 GMT -5
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Post by girllikeabomb on Sept 17, 2021 15:13:14 GMT -5
Guardian Review (those who dislike the "Knebworth was the peak" narrative might like this review, which is mainly positive as well, 4 out of 5 stars): www.theguardian.com/film/2021/sep/17/oasis-knebworth-1996-reviewOasis Knebworth 1996 review – dreamy music doc looks back in languorWhile the gigs’ history-making reputation is overstated, the unchecked euphoria of fans and Gallagher brothers alike is captured perfectly by this 90s nostalgia fest
By Ben Beaumont-Thomas
Pre-internet, end-of-history nostalgia reaches a psychedelic peak in this enjoyable documentary about Oasis’s pair of 1996 gigs at Knebworth House in Hertfordshire. As the band and reminiscing punters assert here rather too often and too strenuously, with 125,000 people on each night, these were the biggest ever outdoor concerts in the UK (except 1970’s Isle of Wight festival was considerably bigger) and they could never happen again (except when Robbie Williams outdid Oasis with three nights at Knebworth in 2003). If the event’s uniqueness is slightly overstated, its significance is even more so: the tenor of the collected voiceovers suggests that this was the peak of British culture and all live music went downhill afterwards. It’s a lie every generation tells itself. The truth, nevertheless, is that these were exceptionally good gigs. As Noel Gallagher explains, Oasis had almost entirely skipped the stage of playing theatre-sized venues – the mainstay of the successful British indie band – and instead went from pubs to arenas and then stadiums off the quickfire success of Definitely Maybe (1994) and (What’s The Story) Morning Glory? (1995). That sense of fans and band alike being caught in a sudden updraft is convincingly expressed in Jake Scott’s film, with pacy editing from Struan Clay. Along with the voiceovers, they intersperse some convincingly mid-90s dramatisations of fans phoning for tickets, hopping in cars and trudging across fields to the gig, with the rest of the footage shot at the gigs themselves by a large team led by Dick Carruthers. Carruthers’ work ranks alongside the recent Summer of Soul documentary: a priceless cache that documents a social moment as well as the music. He and his camera operators have a druggily humanist fascination in people and faces, scanning their euphoria, circling around their bodies – it very much feels like the next field along from rave culture. There are as many women as men, some filmed crushing on Liam like he was a Take That member. “They were us, we were them,” Noel says now: Oasis’s ascendency was so quick that the crowd were still caught in their slipstream. It’s striking how young both crowd and band are, and the performances remind you of how attuned to youth Noel’s lyrics were at this point. There’s the existential giddiness – “We need each other / we believe in one another”, “Is it my imagination / or have I finally found something worth living for?”, “You and I are gonna live forever” – and the poignancy of how fleeting it is: “The years are falling by like the rain / it’s never gonna be the same.” It becomes clear that these lyrics, paired with the truly unrelenting brilliance of the melodies and a thunderously outward rock’n’roll that defied indie’s habit of navel-gazing, are why they are held so dear by their generation. Liam’s voice, like a buzzsaw touching a tree trunk, was perhaps never so distinctive and strong, and even his now semi-estranged brother is full of praise on the voiceover: “Liam’s at his zenith – his voice, the way he looks.” It’s great to watch Liam close up, how he smokes like a darts player approaching the oche and rolls his top lip up his teeth in his cartoon sneer. His banter, absurd and ordinary at once, is endearing and there’s a heartstopping moment of pure fraternal love where he and Noel are filmed looking at each other in happy disbelief. It’s fun to nerd out on guest guitarist John Squire at close quarters as well, giving Champagne Supernova a highly technical, almost hair-metal solo. The reminiscences from fans are less successful; they are a bit like being told about it in the sixth-form block on Monday morning – you’re happy for them but can’t help feeling left out. The assertion that mobile phones and social media came along and ruined mass gatherings such as this is tiresome and largely inaccurate, though it can’t be denied how deeply and purely involved in the gig the crowd is. And I loved the tale of a bloke who helped out a lost limo driver and was invited into the back to find Kate Moss and Anna Friel – the quintessential 90s teenage fantasy made real. When Noel tells the audience at the outset of the second night that history is being made, it’s understandable – this was a major cultural event, and it must have been thrilling to feel part of something that felt bigger than itself. Arguably he, and subsequently this film, have freighted the event with greater meaning than it required: the joy of live music is in immediate, fleeting sensation, which doesn’t need to get caught on the hide of history. But that sensation is something Carruthers captured brilliantly in 1996.
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Post by girllikeabomb on Sept 20, 2021 15:16:27 GMT -5
I'm enjoying that critics are actually loving this movie (while the hardcore fans complain, but far better this way than the other way around, which would be a disaster.)
Salon review
Morning Glory days: "Oasis Knebworth 1996" revisits a watershed event in Britpop concert history The concert film directed by Jake Scott centers the fan experience, making it far more than your standard rock doc
By KENNETH WOMACK PUBLISHED SEPTEMBER 18, 2021 11:00AM (EDT)
If there were ever such a thing as Oasis Mania, then it reached its zenith on the record-setting weekend in August 1996 when 250,000 fans flocked to see the Manchester band perform a pair of shows at the Knebworth Festival.
With Britpop in vogue and lording over the charts, Oasis was truly poised to bring the long-running festival to new heights. The recurring event had its roots in 1974, when some 60,000 fans made their way to the grounds of the Knebworth House to see The Allman Brothers Band and the Doobie Brothers top the bill.
By the summer of 1996, Oasis was riding high with a pair of chart-topping albums under their belts in "Definitely Maybe" and "(What's the Story) Morning Glory." From the beginning of their career through 2009, the band would score 25 consecutive Top 20 singles in their homeland — a positively Beatlesque stat to be sure.
As the "Oasis Knebworth 1996" documentary demonstrates, the Gallagher brothers were firing on all cylinders, powering the band with Liam's distinctive whining lead vocals and Noel's grungy guitar working at full bore. But the film, directed by Jake Scott, proves to be far more than standard rock doc fare, highlighting the fan experience at every turn.
While the attendees' sporadic voiceovers border on cornball platitudes at times, there's no mistaking their pre-concert frenzy as wannabe concertgoers surrender their hopes to the whimsy of dial-up ticket services. Indeed, during those pre-Internet days, fans managed to scrounge up 250,000 tickets in the space of a single day. At one point, some two percent of the entire British population was gumming up the telephone lines in search of tickets.
Scott devotes considerable effort to capture the state of UK life in the mid-1990s, with unemployment and a decade-long recession having exerted an awful toll. At the same time, Great Britain was enjoying a renewed artistic vigor in the face of harrowing economic news.
But when it comes to concert films, a documentary lives and dies by the music, and "Oasis Knebworth 1996" doesn't disappoint. With only a pair of LPs to their name, Oasis reels off one high-energy tune after another. With songs like "Live Forever," the band falls into a powerful swagger driven by unmistakable youth and panache.
In addition to performing such hits as "Wonderwall" and "Roll with It," the documentary is rife with such Britpop classics as "Champagne Supernova," Noel Gallagher's show-stopping anthem-like dirge. At Knebworth, the band was joined on the song by John Squire, lead guitarist for the Stone Roses, signaling a changing-of-the-guard of sorts. The Knebworth shows came to a powerful close with Oasis serving up a triumphant cover version of the Beatles' "I Am the Walrus." For the Gallagher brothers, the Fab Four were the be-all and end-all of British rock, as revealed by their gusto-laden take on John Lennon's psychedelic masterpiece.
While the Knebworth grounds have been quiet since 2014, fans won't soon forget Oasis' bravura performance — a fact that "Oasis Knebworth 1996" makes resoundingly clear.
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Post by themanwholivesinhell on Sept 20, 2021 18:18:36 GMT -5
I'm enjoying that critics are actually loving this movie (while the hardcore fans complain, but far better this way than the other way around, which would be a disaster.) Salon review Morning Glory days: "Oasis Knebworth 1996" revisits a watershed event in Britpop concert history The concert film directed by Jake Scott centers the fan experience, making it far more than your standard rock docBy KENNETH WOMACK PUBLISHED SEPTEMBER 18, 2021 11:00AM (EDT) If there were ever such a thing as Oasis Mania, then it reached its zenith on the record-setting weekend in August 1996 when 250,000 fans flocked to see the Manchester band perform a pair of shows at the Knebworth Festival. With Britpop in vogue and lording over the charts, Oasis was truly poised to bring the long-running festival to new heights. The recurring event had its roots in 1974, when some 60,000 fans made their way to the grounds of the Knebworth House to see The Allman Brothers Band and the Doobie Brothers top the bill. By the summer of 1996, Oasis was riding high with a pair of chart-topping albums under their belts in "Definitely Maybe" and "(What's the Story) Morning Glory." From the beginning of their career through 2009, the band would score 25 consecutive Top 20 singles in their homeland — a positively Beatlesque stat to be sure. As the "Oasis Knebworth 1996" documentary demonstrates, the Gallagher brothers were firing on all cylinders, powering the band with Liam's distinctive whining lead vocals and Noel's grungy guitar working at full bore. But the film, directed by Jake Scott, proves to be far more than standard rock doc fare, highlighting the fan experience at every turn. While the attendees' sporadic voiceovers border on cornball platitudes at times, there's no mistaking their pre-concert frenzy as wannabe concertgoers surrender their hopes to the whimsy of dial-up ticket services. Indeed, during those pre-Internet days, fans managed to scrounge up 250,000 tickets in the space of a single day. At one point, some two percent of the entire British population was gumming up the telephone lines in search of tickets. Scott devotes considerable effort to capture the state of UK life in the mid-1990s, with unemployment and a decade-long recession having exerted an awful toll. At the same time, Great Britain was enjoying a renewed artistic vigor in the face of harrowing economic news. But when it comes to concert films, a documentary lives and dies by the music, and "Oasis Knebworth 1996" doesn't disappoint. With only a pair of LPs to their name, Oasis reels off one high-energy tune after another. With songs like "Live Forever," the band falls into a powerful swagger driven by unmistakable youth and panache. In addition to performing such hits as "Wonderwall" and "Roll with It," the documentary is rife with such Britpop classics as "Champagne Supernova," Noel Gallagher's show-stopping anthem-like dirge. At Knebworth, the band was joined on the song by John Squire, lead guitarist for the Stone Roses, signaling a changing-of-the-guard of sorts. The Knebworth shows came to a powerful close with Oasis serving up a triumphant cover version of the Beatles' "I Am the Walrus." For the Gallagher brothers, the Fab Four were the be-all and end-all of British rock, as revealed by their gusto-laden take on John Lennon's psychedelic masterpiece. While the Knebworth grounds have been quiet since 2014, fans won't soon forget Oasis' bravura performance — a fact that "Oasis Knebworth 1996" makes resoundingly clear. Nice review, the only change id have made here is, instead of saying 25 consecutive UK Top 20 singles, id have said 22 consecutive Top 10 singles. Which in itself was almost 25, as the only two not to make the Top 10 reached #11 (Shakermaker) and #12 (I'm Outta Time). The other feat they just missed out on was 18 consecutive Top 3 singles from Whatever to Let There Be Love, as the only two that broke that streak (Who Feels Love and Sunday Morning Call) both reached #4. But yeah, nice to see the critics appreciate it for what it is. Seems similar to the reception Supersonic got.
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Post by Deleted on Sept 21, 2021 4:03:47 GMT -5
I'm enjoying that critics are actually loving this movie (while the hardcore fans complain, but far better this way than the other way around, which would be a disaster.) I've seen a couple of 'hardcore fans' who have watched it say they loved it. I don't think that many fans have had the opportunity to watch it yet so we shall see how fans feel about it.
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Post by girllikeabomb on Sept 21, 2021 4:40:29 GMT -5
But yeah, nice to see the critics appreciate it for what it is. Seems similar to the reception Supersonic got. It does, but it could so easily have received the dreaded "it's no Supersonic" treatment, so it's nice that it is shining on its own, especially with wider film press. It's goods news for fans really because the more successful it is, the more likely that other ambitious stuff might be done down the road.
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Post by girllikeabomb on Sept 21, 2021 5:12:18 GMT -5
I'm enjoying that critics are actually loving this movie (while the hardcore fans complain, but far better this way than the other way around, which would be a disaster.) I've seen a couple of 'hardcore fans' who have watched it say they loved it. I don't think that many fans have had the opportunity to watch it yet so we shall see how fans feel about it. Oh yeah, I'm sure the consensus around here will shift once the film is seen by many (and also, it's good to hear that you know of fans who have seen and loved it). Just seemed an interesting contradiction that positive reviews keep pouring in from mainstream (and sometimes cynical) sources while the talk on the forum has been more weighted towards the negative the last couple of days (which is what I meant -- fans talking about the clips, not the film itself, which has not been released yet, obviously). I realize it's the way of things. I had my own worries about the commentary after seeing the first clips, but now, having read that the voiceover isn't heavy throughout the film, I'm relieved. Of course, on a big screen, with big sound, most people (long-time fans and casual audiences alike) are bound to get transported in spite of themselves ... that was always the hope.
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Post by AubreyOasis on Sept 21, 2021 17:03:55 GMT -5
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Post by girllikeabomb on Sept 21, 2021 18:50:35 GMT -5
They're definitely fans of Oasis over there at Clash Music but very nice review.
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Post by mossy on Sept 22, 2021 2:07:30 GMT -5
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Post by girllikeabomb on Sept 22, 2021 3:03:00 GMT -5
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Post by tiger40 on Sept 22, 2021 12:56:29 GMT -5
They're definitely fans of Oasis over there at Clash Music but very nice review. Yeah, I agree about Clash music being Oasis fans.
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Post by sheisloved on Sept 24, 2021 8:23:13 GMT -5
The Times gave it 2 out of 5
Salty bunch
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Post by tiger40 on Sept 24, 2021 12:44:43 GMT -5
The Times gave it 2 out of 5 Salty bunch Well, no surprise there then as that's just typical of that paper.
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Post by His Royal Noelness on Sept 24, 2021 13:56:00 GMT -5
The Guardian giving it 4/5 is a big shock. The Times seems like a bit of an outlier really.
Starting for me in 5 minutes 😬
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Post by Jessica on Sept 26, 2021 14:22:29 GMT -5
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Post by defmaybe00 on Sept 27, 2021 5:58:15 GMT -5
Oasis still getting under the skin of pretentious middle class journos 12 years after their split may be their biggest accomplishment
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