{"id":2450,"date":"2023-10-13T21:19:57","date_gmt":"2023-10-14T01:19:57","guid":{"rendered":"https:\/\/newssprinters.com\/index.php\/entertainment\/taylor-swift-eras-tour-movie-review-look-what-we-made-her-do\/13\/10\/2023\/"},"modified":"2023-10-13T21:19:57","modified_gmt":"2023-10-14T01:19:57","slug":"taylor-swift-eras-tour-movie-review-look-what-we-made-her-do","status":"publish","type":"post","link":"https:\/\/newssprinters.com\/index.php\/entertainment\/taylor-swift-eras-tour-movie-review-look-what-we-made-her-do\/13\/10\/2023\/","title":{"rendered":"Taylor Swift \u2018Eras Tour\u2019 Movie Review: Look What We Made Her Do"},"content":{"rendered":"

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We could talk, I suppose, about all Taylor Swift\u2019s done for the economy, friendship bracelets, seismology<\/a> and Travis Kelce<\/a>. But her greatest nonmusical achievement is the innocuous <\/strong>art she\u2019s made of the gape. On a 50-foot screen, the various apertures of her mouth constitute a spectacle. There\u2019s the \u201cWho? Me?,\u201d the \u201cyeah I said it,\u201d the \u201couch,\u201d the \u201cooooo,\u201d the \u201cgosh golly\u201d and the \u201cSally Field wins another Oscar.\u201d Hers is the story of \u201coh.\u201d<\/p>\n

That glee is a reason to be happy about the movie that\u2019s been assembled from her live show \u2014 \u201cTaylor Swift: The Eras Tour,\u201d which was shot at SoFi Stadium outside Los Angeles, the final stop on the tour\u2019s first leg. \u201cHappy\u201d because it\u2019s recorded what a gladdening agent Swift can be on a stage and the stamina summoned to power that agency for the better part of three hours. The movie\u2019s about 165 minutes long, and she\u2019s as ebullient descending into the stage, for her farewell, as she is in the opening minutes magically materializing upon it. The first words she speaks to the 70,000 people hooting for her are, \u201cOh, hi!,\u201d as if SoFi were a shower we\u2019d caught her singing in.<\/p>\n

In June, when Swift landed at MetLife Stadium<\/a> in East Rutherford, N.J., the pushing and screaming \u2014 by five high schoolers \u2014 to my immediate rear ceased at about the two-hour mark. I turned to check on the state of their ecstasy and found a pile of fatigue \u2014 the human version of that crumpled face emoji. Her glee had outlasted theirs, her zing had them zung. If nothing else, this movie\u2019s a monument to that: Swift\u2019s illusion of ease. She doesn\u2019t work as physically hard or as loosely or hydraulically as her dancers. She\u2019s not a Jackson. And she doesn\u2019t sing as enormously or as exquisitely as a Streisand, Carey, Dion or Knowles-Carter. Nor is her show \u2014 produced as discrete segments devoted to nine of Swift\u2019s 10 albums \u2014 the cultural gymnasium Madonna requires. Swift plays to her enhanced strengths: candied pitch, arresting stature, toothsome songwriting, winking, the very idea of play. Not far into things, right around \u201cCruel Summer,\u201d she announces that we\u2019ve encountered \u201cthe very first bridge of the evening.\u201d There are more to come, because not since Lionel Richie has a major pop star so enjoyed the pleasure in the might of her bridgecraft.<\/p>\n

It wasn\u2019t until this movie that Swift\u2019s 10-minute breakup ballad \u201cAll Too Well,\u201d which she performs alone downstage in a glittering robe and an acoustic guitar, struck me as an achievement of genuine theater. Rapt in a movie theater, I felt the song\u2019s heart-wrung pique in a new way. Some of that comes from watching Swift\u2019s face register the ache, tsking recrimination. The rest comes from the song pooling outward into anthem territory. Live, it\u2019s like watching someone woodwork \u201cAmerican Pie\u201d until it resembles \u201cPurple Rain.\u201d<\/p>\n<\/div>\n

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We could talk, I suppose, about all Taylor Swift’s done for the economy, friendship bracelets, seismology and Travis Kelce. But her greatest