Taylor Swift successfully brings her 'Eras Tour' to the big screen

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Taylor Swift successfully brings her 'Eras Tour' to the big screen
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Shot over three shows in August during the singer’s six-night stand at SoFi Stadium in Inglewood, California, “The Eras Tour” is 168 minutes of exuberance from a performer at the peak of her powers, writes film critic Sean Burns.

The theater lobby looked like a bomb had gone off. Every trash can in sight was overflowing with discarded popcorn tubs and soda cups, stray candy wrappers and napkins strewn across the floor. Kids were running around all over the place, up past their bedtimes on fizzy pop confection sugar highs. It was late Saturday night on the opening weekend of “'' at a suburban shopping mall multiplex on the North Shore.

Top secret until Swift’s bombshell Aug. 31 announcement crashed ticket servers and sent studios scrambling to re-schedule competing releases, the singer’s self-produced concert film bypassed Hollywood’s usual distribution model and cut a deal directly with theaters.

The movie wisely doesn’t try to be a documentary contextualizing the tour with interviews or behind-the-scenes footage. The songs are what we came for and the songs are what we get — 40 of them, by my count. With discretely designed segments devoted to nine of Swift’s albums, the show is a marvel of stadium-sized staging and costume changes, especially if you see the movie in IMAX, where the sheer scale of the event knocks your socks off.

But during the ballads, the camera allows an illusion of intimacy that makes you forget this is all taking place on a football field. At roughly the movie’s midway point, Swift performs the new 10-minute version of her 2012 hit “All Too Well.” The song is a gloriously cascading litany of recriminations, rambling on and on in its uncut edition like the “American Pie” of breakup anthems.

This is a great thing for movie theaters, which should be places of communal celebration. It’s also a way to share the thrill of live music with audiences who can’t afford the increasingly obscene price of concert tickets. Back in 2004, I remember driving out to the Solomon Pond Mall to watch a live simulcast of Prince’s “Musicology” tour kickoff and wondering why artists didn’t do stuff like this more often.

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