Moonage Daydream (2022)

The review presents the documentary as almost as extraordinary as Bowie himself. It singles out the film’s cosmic, spectacular, music-filled approach for praise.

Thomas calls it a definitive, essential portrait of Bowie and a triumph despite a few omissions. He especially praises the inventive visual presentation and the film’s use of rare performance footage and Bowie’s music.

Kermode finds the film a dazzling, loving tribute that captures some of Bowie’s adventurous spirit, though it cannot be definitive. He praises its kaleidoscopic archival collage and the profound affection running through it.

Aguilar considers the documentary a worthy tribute that lets Bowie’s own words and art shape its portrait. He praises Morgen’s sensorial blend of psychedelic imagery, concert footage and music for capturing Bowie’s spirit.

Gleiberman praises the film as a vivid, unconventional meditation that brings viewers closer to Bowie’s enigmatic identity. He particularly singles out the concert footage and powerful sound, while wishing the film had given more attention to Nile Rodgers and “Station to Station.”

The critic finds the documentary an ambitious, immersive portrait that captures Bowie’s influence and humanity. The film’s archival imagery and loud, concert-like sound are praised, though its authorized perspective avoids controversy.

Hoffman praises the film as an ambitious, immersive alternative to a conventional Bowie documentary, though its associative montage can leave viewers wanting more context. He singles out Morgen’s sure-handed editing and the film’s ability to make Bowie’s restless reinvention feel like a cinematic experience.

Staunton finds the documentary engrossing, presenting Bowie as a driven and constantly inventive artist. He praises the film’s dizzying mosaic of footage and archive recordings, with Bowie’s own interviews serving as narration.

Farley finds the documentary an electrifying, thrillingly unique take on Bowie, though its unconventional approach may not work for everyone. He particularly praises the remastered performance footage and surround-sound mix for making the music feel newly vivid.

The critic finds the film an immersive, fitting tribute that keeps Bowie’s legacy feeling current. The sonic and visual presentation is singled out for praise, though the critic notes omissions and a preference for better-known songs.

The review finds Morgen’s maximalist portrait compelling, though its cosmic, existential framing initially seems difficult to sustain. It praises the abundance of archival material and Bowie’s candid interview appearances, especially the vivid remastered live performances.

Fujishima finds the documentary a vivid, often compelling tribute, though its hero worship leaves important complexity out. He praises its rare archival material and restless editing for conveying Bowie’s constant reinvention.

The accessible page provides no critical verdict on the film. It offers no readable praise or complaint to identify.

The standfirst frames the documentary as a dizzying sensory voyage, but the critic’s full verdict is unavailable. It singles out Morgen’s journey through Bowie’s estate as the film’s defining feature.

The page content is blocked, so the critic’s verdict cannot be established. No praise or complaint can be reliably identified from the available text.

O'Sullivan finds the film tedious overall, arguing that its endless, controlled interview excerpts make Bowie seem boring. She praises the opening concert footage for its energy and intoxicating portrait of Ziggy Stardust.

Rooney finds the film distancing, shapeless, and short on insight, ultimately more enervating than enlightening. He praises the concert footage, especially the performances from Bowie’s Berlin years.

Als argues that the documentary is visually bombastic but strangely inert, offering a limited and overly sanctified portrait of Bowie. He praises Bowie’s collaborative spirit, wit, and musical evolution, which he says the film largely fails to capture.

Boccella calls the film a maximalist, deeply affecting masterwork and a vivid tribute to Bowie’s creative spirit. She especially praises its archival footage, music, and immersive presentation for capturing the experience of loving Bowie.

The critic finds the documentary a powerful tribute that presents Bowie primarily as an artist and invites viewers to experience his creative world. He especially praises its immersive editing and the wealth of archival material.

The critic finds the documentary an eclectic, fascinating portrait that leaves viewers inspired by Bowie’s appetite for life. They especially praise the remastered concert footage and sound, which create an exhilarating concert experience.

The critic finds the documentary loving, engaging, and worthy of Bowie’s legacy. They praise how the archive footage captures his charisma and stage presence across the decades.

The critic calls the film an impressive, unconventional portrait of Bowie and urges readers to seek it out. They praise its sensory blend of live footage, visual flourishes, and sound, while noting its focus on the Ziggy years.

The critic calls the documentary a captivating accomplishment that avoids the usual music-documentary formula. They praise its surreal audiovisual approach to exploring Bowie’s life and inner world.

The critic praises the film as a bracing, gloriously messy celebration of Bowie, though its relentless chaos may exhaust some viewers. They single out its intricate audiovisual construction and powerful performances, including “Heroes” and “Cracked Actor.”

The headline presents the film as an exuberant, transporting experience. It singles out the musical space-extravaganza approach, though the article itself was inaccessible.

Sokol finds the documentary immersive, intimate, and evocative, though it is not a definitive biography. He praises the inventive musical editing and archival material for bringing Bowie’s artistic mind to life.

The review finds the documentary visually and aurally exhilarating but ultimately exhausting. It praises the carefully chosen Bowie footage and music, especially the use of “Hello Spaceboy.”