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The socially conscious elements elsewhere in the concert are notably less controversial, usually featured in the background visuals. Images of Martin Luther King Jr., somber little girls reciting the Universal Declaration of Human Rights, and an assortment of Latin American flags (interestingly during "The Streets Have No Name") are just some of the curious visuals attached to the music of the concert.

The concert's visual effects are only heightened by the 3D technology, which creates an interesting illusion of Flash-esque layering. In the song "The Fly," for example, a barrage of words and screen-size letters are layered over each other during the band's performance, creating a trippy, totally unique effect that maximizes the 3D potential. At visually stunning moments like these, the 3D form really does feel like the new frontier.

Larry and Bono get into the beat

As fun and novel and sometimes enthralling as U23D is, however, there are a few questions it raises. Namely: Why does it exist? Do we really need an IMAX concert film about U2? Does Bono really need to be five stories tall and in 3D (perhaps his ego does need this)? And is there a big enough audience for something like this?

Taking a few steps back and assessing the state of Hollywood today, U23D begins to make a little more sense. This is an industry undergoing a serious crisis of confidence. Suddenly Hollywood is finding that technology and its subsequent new consumer patterns are outpacing their own projections and plans. People are increasingly ditching primetime TV for Internet TV, Blockbuster for Netflix, AMC for On-Demand, etc. You might see IMAX and these types of glossy techno-spectacles as a direct answer to the threat posed by moviegoers deserting theaters for computer screens or home entertainment systems. In the age of HD and Blu-ray, Hollywood has to play its technological cards close to the vest. In other words—it has to keep coming up with reasons why people should go out to the theater. As soon as technologies can be matched at home, it'll be over for theatrical exhibition. IMAX is thriving, in part, because so far no home has been able to replicate the experience of a five-story screen with 70mm and 3D projection capabilities.

In the case of U23D, the IMAX 3D treatment is clearly the next best thing to actually being at a live concert. Whether it's The Edge enshrouded in backlit fog, or an ocean of cell phone lights waving in the air to "Miss Sarajevo," there are plenty goosebump moments to go around. And if multiple goosebump moments are the measure of a successful film, U23D is definitely a winner.

Talk About It

1. Do you think 3D technology is the next frontier of theatrical entertainment?
2. What do you make of Bono "the Christian do-gooder" and Bono "the rock star"—are they in conflict? (For more on both of these sides of Bono, see this CT article.)
3. What is Bono trying to convey in his "Jesus, Jew, Mohammed is true" line? What's wrong with that line? Is anything right about it?
4. Why do you think the filmmakers chose to mostly use footage from South American concerts?

The Family Corner

U23D is unrated. For a rock concert film, it contains little to no objectionable material. It is appropriate for parents and children, and the 3D effects will hold the attention of kids too young to be fans of U2's music. The only questionable thing is the segment when Bono puts on the "Coexist" bandana and repeats the phrase "Jesus, Jew, Mohammed is true." This might confuse some young viewers, though in general this is a highly entertaining film suitable for the whole family.

Photos © Copyright National Geographic Entertainment

© Brett McCracken subject to licensing agreement with Christianity Today International. All rights reserved. Click for reprint information.

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