In a sentenceOasis supply the songs and jokes; everyone else has prepared a speech about how much this means to them
Liam Gallagher, Noel Gallagher and Paul Arthurs appear as themselves in this documentary following Oasis’s 2025 reunion tour. On concert stages around the world, the Gallagher brothers perform together after years of feuding. Their immediate task is to play the shows, while the audiences arrive with years of attachment to the songs. Live performances share the screen with archive footage, the brothers’ commentary and fans explaining where Oasis fits into their lives. The reunion raises the question of how the brothers have come back together, while the documentary follows their return to public performance and the people waiting to hear them.
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The concerts are stirring and the Gallagher humour survives the reverence. This is good company for those who love the songs, though the fan tributes run long and the reconciliation gets little examination.
Dylan Southern and Will Lovelace have made a good concert documentary for people who already have some affection for Oasis. Oasis: Don’t Look Back in Anger wants to share the pleasure of the band’s 2025 reunion tour, and it has the performances to make that a reasonable ambition. Its weakness is the amount of reassurance surrounding them. The songs, the brothers’ jokes and the audience responses make the case without quite so many contributions explaining how much it all matters.
The sight of Liam Gallagher and Noel Gallagher performing together gives the film a reason to exist beyond recording a setlist. Their shared stage presence carries the knowledge of years spent feuding, even when the film has little interest in examining those years. We were moved by the fans’ accounts of what the songs mean to them. Hearing those personal histories alongside the performances helps explain why people have invested so much in seeing the brothers together again.
Haris Zambarloukos’s concert photography works best when it lets us watch the brothers together and notice the smaller exchanges between them. Seeing them share a stage does more for the film than another explanation of why their reunion is important. The shooting is conventional enough that the pictures offer few surprises of their own. That limits the appeal for anyone unmoved by the music, but the footage gives the performances enough space to work without requiring constant visual distraction.
The comic commentary from Liam Gallagher and Noel Gallagher is a welcome interruption to the reverence. Both remain capable of puncturing a solemn occasion, and the documentary is funnier whenever it gives them the chance. When a documentary keeps insisting how much a band matters to people, it can leave little room for anyone to be awkward. The brothers’ humour helps prevent that, although the affectionate portrait still feels carefully protected.
George Cragg cuts between the live material and archive footage, keeping the return to the stage connected to an earlier life for the band. The fan contributions belong in that account: they establish why this reunion means something beyond an opportunity to hear familiar songs played loudly. Yet they accumulate past the point where we need persuading, and each additional declaration of affection makes the next return to the performance feel overdue. At 123 minutes, the film gives enthusiasm too much time to repeat itself.
The larger omission is how the reconciliation happened. The film presents the reunion after years of conflict without asking enough about what allowed these two men to work together again, so its insistence on the importance of their reconciliation becomes frustrating. A concert documentary has no obligation to conduct a family inquiry, and we would not trade the music for a catalogue of grievances. But the emphasis on reconciliation invites questions that the film prefers to leave alone.
Treat it as a concert film and the evening is well spent, provided there is already room for Oasis in it. The performances have enough feeling and the brothers enough comic impatience to survive the more laborious tributes, even if 123 minutes tests the casual listener. Come for the songs and the company; a detailed explanation of the family peace will require another film.
Most critics like it, and many like it a lot. The reviews agree that the concert footage is the point: loud, immersive, and, several say, the next best thing to having been there. The fan stories draw nearly as much praise, with critics repeatedly moved by ordinary people explaining what the songs mean to them. The Gallaghers’ bickering commentary is singled out as the funniest element, and a number of reviews admit to being more affected by the reconciliation than they expected.
The reservations cluster around what the film leaves out. Critic after critic notes that it never explains how the brothers made peace, and several call it soft, polite or fan service. Variety goes furthest, finding the sentiment forced and the band stripped of its rawness. Sight and Sound is unusual in finding the concert shooting itself dull. The spread is otherwise narrow: warm to warmer, with the mixed reviews still conceding the music lands.
The critic calls it a barnstorming, loud, hopeful and surprisingly emotional concert doc with an unexpectedly touching story of forgiveness, praising the wall-of-sound music and the brothers' chemistry.
Read the full review →King calls it a euphoric, rollicking paean to music’s unifying power, despite a few over-scripted moments. He praises its immersive, lovingly assembled concert footage and intimate portraits of Oasis and their fans.
Read the full review →The review celebrates the documentary as a joyous chronicle of the Oasis reunion tour and an inspiring tale of forgiveness and reconciliation. It notes that the setlist may feel long for casual fans but praises the overall uplifting focus on the band's story.
Read the full review →The critic praises the documentary for chronicling the band's triumphant reunion and world tour after years of feuding. It highlights the energetic and uplifting picture created by juggling new and archival footage.
Read the full review →Ide finds the film an unexpectedly moving redemption story about the Gallagher brothers’ reunion. She singles out its portrait of fandom and how music connects people across widely differing lives.
Read the full review →A fully authorized celebration and promo doc of the reunion tour that is exciting to watch in IMAX as the Gallaghers remain themselves; it makes audiences tap toes and tear up despite being history written by the winners.
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Stop Making Sense · not reviewed yetA band enjoying its own company, with concert filming worth watching for itself.
Anvil! The Story of AnvilFor the stubborn affection that survives when playing together stops making financial sense.
Buena Vista Social ClubAnother musical gathering where the faces matter almost as much as the performances.
The Last Waltz · not reviewed yetTry a farewell next, with enough musical company to complicate the sentiment.
Heima · not reviewed yetA quieter tour film that gives the landscape room alongside the musicians.
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