Most critics come away pleased. The reviews agree that Bernard MacMahon’s authorised documentary puts the music first, and that this is its strength: the early concert footage, often left to run in full, is singled out repeatedly, as is the sound at IMAX scale. The new interviews with Page, Plant and Jones are found warm and vivid, and a recovered audio interview with John Bonham is widely described as the film’s anchor.
The reservations cluster in one place. Nearly every review, including the warm ones, notes that the film stops around 1969 and leaves out the tension, excess and later history, and several find it too tidy as a result. The spread is wide. The Los Angeles Times calls it timid and misses other voices, and The Playlist, reviewing an earlier festival cut, finds it leaden and aimed only at superfans. The Times sits in the middle, impressed by the sound and frustrated by the omissions.
