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Iron Maiden: Rock In Rio

Iron Maiden: Rock In Rio

Music · Documentary · 2002

Rock In Rio Festival 2001 - Iron Maiden headlines one of the biggest shows on Earth to a massive sell-out 250,000 crowd and a global TV audience of millions. The explosive two hour set, shot using 18 cameras and edited by Steve Harris, is Maiden at its best, performing their biggest show ever on the final date of their Brave New World Tour.

Movie details

Iron Maiden: Rock In Rio

“Live concert on the back of 'Brave New World' album, showing why they're one of the greats, performing many hits from their long career, a band at its peak.”

2002 Music · Documentary 2h 5m

Critical arithmetic

One number, for now.

TMDB

8.6 / 10

Community rating

Rock In Rio Festival 2001 - Iron Maiden headlines one of the biggest shows on Earth to a massive sell-out 250,000 crowd and a global TV audience of millions. The explosive two hour set, shot using 18 cameras and edited by Steve Harris, is Maiden at its best, performing their biggest show ever on the final date of their Brave New World Tour.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Iron Maiden: Rock In Rio?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Dean Karr

Steve Harris

Steve Harris

Bass/Backing Vocals

Dave Murray

Dave Murray

Guitars

Adrian Smith

Adrian Smith

Guitar/Backing Vocals

Bruce Dickinson

Bruce Dickinson

Lead Vocal

Nicko McBrain

Nicko McBrain

Drums

Janick Gers

Janick Gers

Guitars

Court is in session

Put Iron Maiden: Rock In Rio on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.