Yes, I was one of those people on August 31, sitting at their work desk at 9:30 AM, waiting for ten minutes in an AMC app queue for opening night tickets to see Taylor Swift’s Eras Tour…Cinematic Version.
And yes, I was also one of those poor unfortunate souls who couldn’t actually see the tour itself live during its entire North American first leg from March to August (for reasons I will not get into for the sake of my mental health…involving a 2.5 hour Capital One queue…).
So, as an Eras virgin, what did I think?
Let’s take it first as a standalone project, the experience of it as an actual concert film, and in that case, this was absolutely a triumph for the 33-year-old star.
Her energy just bleeds through the screen, you can tell she’s having the time of her life in every facet of her being. For every meme of her awkwardly shuffling around at award shows, there’s the hairography on “Don’t Blame Me” which just slaps you right in your awestruck face.
Taylor has always been a dynamite performer thanks to her passion for her music, she puts her heart and soul into everything she does. And on Eras, she’s also giving herself to it all physically, and you can tell. Plus, the woman is CAMP, she knows she’s being filmed and she’s milking every moment.
And it’s all in HD! On the big screen, up close and personal, in zoom, instead of being in the bleachers (or the nosebleeds), you can now see Taylor belting to “Cruel Summer” like never before, and the cameras make sure they catch every single angle they can.
From a technical standpoint (yes, I went to film school), the best thing about this film is the sound design, each of the songs receive mixing that make them much larger than life.
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It’s easy to translate with bangers like “Shake It Off” and “Bad Blood,” but it works especially well for the more atmospheric mid-tempo catalog from the folklore and evermore sections. They sound magical, so much so that they could easily fit into any period piece film score with ease.
© Getty ImagesEach and every shot is sharp, but more importantly, they’re sweeping. The center of attention may be Taylor and her incredible troupe of dancers, backup singers, and band, but the film won’t fail to remind you that there are close to 100,000 people at SoFi Stadium, where the concert’s being recorded.
Well, that might be where my issue lies…
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Each time I get into the groove of “All Too Well (10 minute version),” I’m constantly reminded by audience shots of the fact that I couldn’t and probably won’t be able to experience all this in a crowd of thousand passionate souls.
© Getty ImagesOf course, the theater itself should serve as a simulation of all this, with Taylor herself previously encouraging attendees to sing and dance and exchange friendship bracelets. But then there’s the rollout…
The thing is, demand for this film was always at a high. So much so that on October 11, when the film premiered in LA, Taylor announced that opening night (with tons of new shows) was now instead Thursday, October 12 in the States and Canada, instead of the perfectly ordained Friday the 13th, and even more shows had been added for the week.
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In fact, according to Deadline Hollywood, there were 65,000 opening day showtimes across the United States alone. My specific AMC in New York City had shows every 15-30 minutes in the later part of the day, and I went at 6:30 PM on Friday, which is a perfectly suitable time post-work to not come out of it zombified (it is a nearly three hour show, after all).
© Getty ImagesBecause of ALL the options, my theater, which was originally sold out in minutes on opening day, ended up only being half full. And I’ve heard that was the case with quite a few others because there were just way too many to choose from (plus many ardent fans, I’m assuming, switching over to Thursday shows for earlier access). I actually heard one guy say out loud right when the movie started: “Where is everybody?!” The “bang” to start with was way too spread out to actually “bang.” That could just be an isolated big city thing, but then again, that is where most of the demand is steeped.
For someone wanting to simulate the concert experience, this was kind of underwhelming when you realize that almost everyone in the crowd is having fun, but in their own little groups. No friends are being made, minimal bracelets are being shared, we’re not all packed into this space that forces us to be happy, free, confused, and lonely at the same time. I expected to come out of it with new Swiftie connections like I do at most concerts, but alas.
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And this is less an issue with Taylor herself and more with the actual rollout. This film’s release was a moment, but it also, realistically speaking, wasn’t a Barbenheimer situation, involving something new on our screens that was years in the making; Eras has technically been out and about for months, whether in arenas or TikTok, the film just made it more accessible.
© Getty ImagesPlus, the reliance on Taylor’s name and popularity as the one significant marketing ploy wasn’t helpful. She’s always going to pull in the big crowds and bucks, that’s for sure, but you do need to amplify it with a bit more pomp and circumstance (re Barbenheimer).
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This may not make sense to the average Swiftie who just wanted to relive the magic of the tour, but for those who never got to see it in the first place, this was supposed to actually BE the tour. The promotion could’ve leaned in heavier, and the actual release could’ve been pared back ever so slightly, just to pull in the massive crowds and hype Taylor really deserved.
© Getty ImagesIn conclusion: For a fan of Taylor Swift and concert films in general, The Eras Tour (Cinematic Version) is magic. But if you want it to be the perfect replica for actually seeing her live, it might be worth managing expectations OR finding just the enthusiastic group to go with.
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