Hellen I like the storyline of this show,it attract me so much

ReaderKenka Let's be realistic.

ChanFamous I wanted to like it more than I actually did... But much of the humor totally escaped me and I walked out only mildly impressed.

Bessie Smyth Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

That's Mr Boyd to You If you're a guitar player, you'll absolutely love this movie. I'm not a guitar player, and I liked it very much. The three players, The Edge, Jack White, and Jimmy Paige, are all equally as intriguing as the three potentially greatest guitarists of their own generations.It's nice to see where and how each of them lives their life and hear some of the stories about their work and how they work. The Edge and Jimmy Paige have the most interesting back stories, the Edge dealing with the Irish violence of the 60s and 70s and Paige's background in early rock and roll, but Jack White's utter talent and creativity still manages to make him as interesting as the other two.If you don't already love these three guys, you will when it's over. If you love them already, it'll only be increased that much more. Personally, I'm a huge fan of them all.

valis1949 Three world renowned guitarists from three different Rock eras bear witness to their unique quest for absolute virtuosity and mastery of the electric guitar. Jack White, of WHITE STRIPES and THE RACONTEURS, displays an almost pathological distaste for any type of innovative technology, while The Edge, of U2, embraces all that is 'Hi Tech'. And, Jimmy Page, English session player, and member of THE YARDBIRDS and LED ZEPPELIN, seems to pick and choose from all available sources. IT MIGHT GET LOUD might have been an undistinguished film about three 'guitar heroes' who 'duke it out' for the crown of 'Undisputed King Of The Six String', but the director, Davis Guggenheim, allows each man to fully explore his individual artistic perspective, and reveal how it differs from the other two. Guggenheim shows the viewer the technique, experience, and craft of the player, and then, goes on to depict the soul of the artist. IT MIGHT GET LOUD is a first rate film which documents a kind of summit meeting between super-stars, and allows the interaction to unfold with a natural spontaneity that is a joy to behold. A Must See for fans of Rock.

alienworlds There are so many people out there who can play the guitar well I was surprised to see that the producer did this film. Jimmy Page has not been creatively active for quite a while, and The Edge is a guitarist that many young players ignore-Jack White being a perfect example of that-a 'new guy' who has been around for a bit playing quirky at best music that isn't as original as say, The Clash. I suppose it was interesting hearing Mr. Page talk about 'old times', and The Edge also talking about 'old times', but I have never seen a more mismatched threesome. I don't want to rag on Jack White too much, but watching him perform is sometimes painful, whereas the latter don't suffer from that problem-to me. And kind of an afterthought also, as some of the more interesting work of Jimmy Page, like The Firm, and his use of guitar synthesizers, was left out completely. The Edge's new work on No Line On The Horizen is very patchy and has not impressed many a U2 fan. I think this showed at the Toronto Film Festival-and in some ways it is like a film made just for such an event-not something aimed at contemporary guitarists, who would know people like Yngwie Malmsteen, and a bunch of other metal luminaries who deliver high decibel sonics, and who still have the ear of the record buying public that likes current hard rock and metal. Maybe if something doesn't play on the radio it is just ignored, like Yngwie Malmsteen, the worlds best electric guitar soloist.

Chad Shiira A rock critic once described the ringing guitar line on U2's most unforgettable song "Pride(in the Name of Love)" as The Edge's "imitation of God". Accompanying Bono's usual bombastic, but heartfelt vocals, "God" humbles man, and stands firm against the latter's fiery petition to release slain civil rights leader Martin Luther King from the kingdom of Heaven. In other words, it's the Edge's song, despite Bono's sterling vocal performance, in which the U2 front-man transforms the famed "Unforgettable Fire(The)" track into an occasion for a seance during Phil Jonoau's documentary "Rattle and Hum", when to a enraptured sold-out audience, he implores, "In the name of Martin Luther King: Sing!" As it turns out, however, there is no God. Through the metaphor of technological wizardry, The Edge unintentionally demonstrates how God is man-made. The Irish ax-man shows us how effects pedals transform ordinary guitar-playing from something pedestrian to something grand. Although this demystifying revelation takes nothing away from The Edge's incendiary riffs on "Pride", his musical voice seems more earthbound, dishonest, as if the chords were on steroids. In revealing his trade secrets, this exceedingly humble man(he performs an acoustic version of "Sunday, Bloody Sunday" that sounds more sincere than Bono's), he messes around with his legend of being among the pantheon of great musicians. According to him, "an effects unit pushes music forward," which dispels the whole notion of a guitar god, since a god needs no improvement. When he says, "That is my voice coming out of the speaker," it's with all the humility of a mortal.Tell a Led Zeppelin fan that there are no gods, and you're liable to start a fistfight. They believe in Jimmy Page. "It Might Be Loud" does nothing to dispel this myth. In front of his English manor, Robert Plant's legendary sidekick tears up the mandolin on an acoustic version of "The Battle of Evermore". A god doesn't have to plug in, but Page doesn't act like a god; he smiles too much, you would think this former wild-man was the Buddha. Inside the music room of his palatial estate, in the film's best scene, Page selects Link Wray's 45 "Rumble" from his collection of vinyl albums and singles for the camera. Of all the people to be playing air-guitar, Page, the former-Yardbird, who along with Jimi Hendrix, rewrote the rules for this once relatively new instrument(which had famously annoyed Bob Dylan fans at the Newport Folk Festival), commands those shriveled but functional fingers through the invisible axe on cue with a look of pleasure across his face that demonstrates the seductive power of good rock and roll. It can even seduce a god. While punk-era Edge, and Jack White as an Upholster(pre-White Stripes), shock us with their youth, as all before-they-were-stars incarnations of famous people usually do, hands down, the best archival footage belongs to Page, impossibly young on a local television program, performing with a skiffle band.Since Jack White is considerably younger than Page and The Edge, and his status an an all-time-great, still an ongoing case being mounted in his favor with each successive album, the filmmaker has fun with this Detroit-born neo-traditionalist by building his myth through scenes that shows White as a mentor for his nine-year-old self, a pale-faced boy dressed in the same black and red ensemble of coat, tie, and hat. In spite of his relative youth, the moviegoer can see that White is instantly relatable to his elders. Unlike most young people, this old soul knows his history. When White joins the two older musicians in a low-key, but nevertheless, rousing version of The Band song "The Weight", he carries his weight with aplomb.