Film

Oasis: Don't Look Back in Anger

A chronicle of Oasis's ascent from Manchester to stadiums, built on rare archive and fresh interviews with the Gallagher brothers and bandmates. It captures the particular voltage of the 1990s Britpop explosion—the swagger, the fraternal tension, the sense that guitar music mattered again. For anyone who lived through it, or wishes they had.

TMDb rating3.6

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Touching the Void2003

A masterclass in documentary storytelling about two climbers surviving the unsurvivable. It has the same propulsive structure as Oasis's story: hubris, crisis, and the question of whether they'll make it out together.

But It's about mountaineering, not music, and it's genuinely frightening. The tone is survival-focused, not nostalgic.

Touching the Void poster

Dig!2004

A documentary following two bands in the '80s LA scene with the kind of intimate, chaotic access that captures what it feels like to be in a group chasing something bigger than yourselves. The energy is electric.

But It's shot on DV and sometimes feels like found footage. The narrative meanders and some viewers find it exhausting rather than compelling.

Dig! poster

Senna2010

A documentary about singular ambition and rivalry that builds to genuine tragedy. The editing and score elevate archive footage into something close to classical drama. A blueprint for how to tell a competing-titans story.

But It's about Formula 1 racing, not rock. And it ends in death. The tone is elegiac, not celebratory.

Senna poster

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Metallica: Some Kind of Monster2004

Both follow bands at pivotal moments when internal fractures become visible. Oasis reunites; Metallica fractures further. Both ask: what does it cost to stay together, or to come back?

Two directors embedded with the band as they make an album, therapy-speak and all. It's brutal about ego, addiction, and the erosion that comes after decades of success. A rock film that's actually about psychology and damage.

But It's two hours of difficult men in conflict, shot with clinical intimacy. There's minimal music and maximum dysfunction. It reads as a portrait of failure and burnout, not triumph.

Metallica: Some Kind of Monster poster
More like this (6)

The Last Dance2020

Ten hours inside the Chicago Bulls' final season, built from archival footage and current interviews. Michael Jordan emerges as brilliant, difficult, and surrounded by people trying to keep him focused. The dynamic mirrors brotherly tension in bands.

But It's basketball, and it sprawls. Some find the hero worship tedious, and the final episodes lose momentum.

The Last Dance poster

Amy2015

A lean, devastating film about Amy Winehouse using only archive and interviews. It understands how talent, addiction, media, and family all collide. The film itself is a kind of love letter and an indictment.

But It ends in death. It's painful to watch and feels invasive in places. Some viewers find it too intimate about her struggles.

Amy poster

Searching for Sugar Man2012

A mystery about a musician who disappeared, told with real suspense and heart. It captures something true about how a song can matter to strangers across decades and continents.

But The mystery is the whole thing; knowing the ending beforehand would diminish it. And the tone is meditative rather than energetic.

Searching for Sugar Man poster

We Are the Lambeth Boys1959

A forgotten Ken Loach film about working-class youth in London. It captures the texture of a specific place and moment with authenticity that predates most music docs. Pure observational cinema.

But It's in black and white, features no famous people, and moves slowly. Finding it takes work. It's a document, not a drama.

We Are the Lambeth Boys poster

Long Strange Trip2017

Six hours tracing the Grateful Dead from garage to legend. Comprehensive, affectionate, and honest about the egos and substances and internal politics. A generous, thorough portrait of a scene and a sound.

But It's very long, and Dead fandom isn't universal. Some find the jam-band ethos self-indulgent. The pacing reflects the band's own reluctance to reach climaxes.

Long Strange Trip poster

The Ascent1977

Both are products of a particular moment and place that shaped them permanently. Manchester's economic collapse and musical response, Soviet ideology and artistic resistance. Both ask what remains when the moment passes.

Andrei Tarkovsky's film about two Soviet partisans on a final mission. It's visually hypnotic, spiritually searching, and shaped by a specific historical moment. A meditation on faith, purpose, and the price of conviction.

But It's a slow Soviet film from the 1970s with no dialogue to describe character. It requires patience and will feel alien to anyone expecting narrative momentum. It's oblique where Oasis is direct.

The Ascent poster

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