Shine a Light - B-

Martin Scorsese is already responsible for the best concert movie (The Last Waltz) and has used Rolling Stones songs very frequently in his films. Hopes were high for this Rolling Stones concert film, but unlike The Band’s “last concert”, the one found in Shine a Light is merely one of thousands for the Stones, only special because of Scorsese’s presence and the endlessly moving cameras. Scorsese seems to be apologizing early in the film when it’s clear he doesn’t know the set list and is frustrated about its late arrival. Indeed, it’s the choices of the songs (and, yes, lackluster performance) that ultimately disappoints. (Click below for more on Mick, Keith, and Marty)

Mick Jagger is still giving his unbelievably energetic performance, but can no longer hit the high notes and sings whole verses an octave lower. He sounds like he needs a gallon of water. The self-parody that is Keith Richards is somehow allowed to sing lead vocals for 2 of the songs (not well). His guitar playing doesn’t mesh with Ronnie Wood or bassist Darryl Jones. In fact, you can barely hear the bass throughout. A horn section is inexplicably used (what is this, Huey Lewis and the News?) and doesn’t really fit with the band either. There are some highlights including "Jumpin’ Jack Flash", "Sympathy for the Devil", and "Brown Sugar". But there are far too many throwaway songs and the guest performers Christina Aguilera and Jack White fail to ignite a spark (Buddy Guy almost does). This pales in comparison to The Last Waltz, where the guest performers included Bob Dylan, Eric Clapton, Joni Mitchell, and Van Morrison.

The set is superbly ornamented and the lights fill the screen with strong oranges, reds, and blues. Shot for IMAX, the image quality is crystal clear. The film is a visual wonder, if only it sounded better. Scorsese uses frequently hilarious archival outtakes to separate the songs. Most of the archival footage has band members discussing their future plans and longevity. Scorsese parodies himself with a closing shot that proceeds through a crowd of people (like the Copacabana shot in Goodfellas), then goes outside and pulls back into the sky showing a birds-eye view of New York (just like in Gangs of New York). The film’s title is appropriate since it’s the lights, sets, and camera moves that dazzle. “These light are burning up my ass!” Jagger yells near the end. Mick, those lights are saving the film. B-