Thirty years later, U2’s Achtung Baby is still intact as the band’s best and most fully realized album.
The album generally rebalances the scales of U2’s ambitions, resulting in an aesthetically riskier sound.
All this week we’re predicting the winners in the so-called Big Four categories at the 57th Annual Grammy Awards.
A bolder, more experimental album would have better reflected Songs of Innocence’s ballsy, innovative roll-out.
However enticing the movie itself may be, the commercialism of Baz Luhrmann’s The Great Gatsby has been oppressive, to say the least.
Maybe that phenomenon is what inspires filmmakers to make concert documentaries in the first place: the challenge of simulating the feeling of being there.
The album is a compromise between the experimental and the pedestrian.
3Ality Digital Production chose the right band as its subject and put the right woman in charge of executing it.
U2’s The Joshua Tree might not be as magnificent as the masses claim, but it’s not without its share of magnificence.
“The Saints Are Coming” is a dubious collaboration between U2 and Green Day.
Too many unnecessary flourishes interrupt the flow of the concert film that could have been.
Atomic Bomb finds U2 in the unique position of being one of the only rock acts capable of making the universal seem achingly personal.
Corbijn’s myth-making images forgive no one just yet.
Stéphane Sednaoui’s images move in mysterious ways.
U2’s Pop found Bono turning his usual political protest rock toward God, as well as his own personal demons.
U2 wants a hit…bad.