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The Who: The Kids Are Alright

The Who: The Kids Are Alright

Documentary · Music · 1979

Through concert performances and interviews, this film offers us a comprehensive look at the British pioneer rock group, The Who. It captures their zany craziness and outrageous antics from the initial formation of the group in 1964 to 1978. It notably features the band's last performance with long-term drummer Keith Moon, filmed at Shepperton Studios in May 1978, three months before his death.

Movie details

The Who: The Kids Are Alright

“One film that won't f-f-f-f-fade away”

1979 Documentary · Music 1h 41m

Critical arithmetic

One number, for now.

TMDB

7.3 / 10

Community rating

Through concert performances and interviews, this film offers us a comprehensive look at the British pioneer rock group, The Who. It captures their zany craziness and outrageous antics from the initial formation of the group in 1964 to 1978. It notably features the band's last performance with long-term drummer Keith Moon, filmed at Shepperton Studios in May 1978, three months before his death.

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 The Who: The Kids Are Alright?

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

Jeff Stein

Written by

Jeff Stein

Roger Daltrey

Roger Daltrey

Self

John Entwistle

John Entwistle

Self

Pete Townshend

Pete Townshend

Self

Keith Moon

Keith Moon

Self

Ringo Starr

Ringo Starr

Self

Steve Martin

Steve Martin

Self

Russell Harty

Russell Harty

Self

Court is in session

Put The Who: The Kids Are Alright 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.