There’s a good balance of serious and lighthearted, making the audience contemplate BTS’s fame and journey one moment and laugh out loud at Seokjin struggling to exercise or Taehyung playing the wedding march on the piano in the next. That’s not to say, however, that there aren’t emotional moments in the film.
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Thus, the series version comes off as more emotionally taxing than the movie.
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The movie is edited together with poetic storytelling, whereas the series version is shot more like a true raw-and-real documentary. Among the new footage is a few short interviews with fans, longer interviews (that are more recent) with each BTS member, and various unaired content from the course of the documentary filming.īeyond just the differences in footage, the movie version carries a much lighter tone than the YouTube Red series. It’s familiar, if you’ve seen the Youtube Red series, but not the same. The versions are quite different: sure there’s some overlap here and there, but there is enough unseen footage edited together distinctly enough that it’s almost like watching a different story entirely. The movie version was advertised as a re-cut of the YouTube Red series with some new footage spliced in, but to me, there’s a pretty big contrast. The turnout was better than I expected for the size of my city on a weeknight showing (maybe 30 people max), and I’m thankful that I got to experience the film in relative quiet. Last night’s showing of Burn The Stage was an interesting experience. Needless to say, times have definitely changed. K-Pop concerts came to us only once in a while, and when they did, it was only to New York City and Los Angeles. In my smaller city, there wasn’t even a Korean restaurant or grocery store. 10 years ago, when I first became interested in Korean music and culture, anything Korean-related was hard to come by in most places in the U.S., outside of large Korean-American communities. Never in a lifetime did I dream that I’d be sitting at my local theater watching a documentary-style film on a Korean artist. The Guardian said the film had “the kernel of a good idea” but the “timid film fails to fully capitalise on uncomfortable scenario and misses opportunities elsewhere, instead going big on self-satisfied pieties about fighting the just fight.” The performance of Patric as the morally ambiguous Andre is praised compared to Elwes “oddly detached” performance.*The following review contains some spoilers.* In a review entitled “Jason Patric smuggles quality into worthy war tale”,
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The picture was made available for digital download in the UK from January 10, 2022. Judd Hirsch and Greer Grammar were also cast in March 2017.
Įlwes was originally announced be to starring alongside Matthew Modine when the production was revealed by Slingshot Productions in Los Angeles in March 2017, with filming expected to begin that spring. The script was prize winning at the Movieguide Awards in 2014. In Lyon, 1942 Jacques is radio broadcasting French Resistance in Vichy France but he and his family and friends must stay one step ahead of the Gestapo.
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