Rating: 3.5/5 stars

Since the release of her 2021 breakout single “drivers license,” Olivia Rodrigo (“GUTS”) has experienced what can only be described as a meteoric rise in the world of popular music. Definitively one of the biggest new stars of the 2020s, Rodrigo reached massive success with her studio albums “SOUR” and “GUTS,” facilitated the rise of fellow pop up-and-comer Chappell Roan (“The Rise and Fall of a Midwest Princess”) and expanded her music into film, first through her 2022 documentary “Driving Home 2 U” and now with the more conventional concert movie “Guts World Tour.”

Produced by the same “Taylor Swift: The Eras Tour” duo of cinematographer Brett Turnbull (“Roger Waters: The Wall”) and editor Dom Whitworth (“Gaga Chromatica Ball”), “Guts World Tour” thus features a practically identical visual style, for better or worse. Striking and memorable imagery features throughout, perhaps most notably with a shadow play of background dancers in “traitor,” bird’s-eye view shots in “making the bed” and “lacy” and clever angles in “brutal” and “obsessed” that make use of the ever present background screen and transparent stage, respectively. However, Turnbull gives only few of these moments much breathing room, as the film often veers into chaotic overediting that not only produces a feeling of whiplash, but also creates a sense of broken continuity in certain moments by failing to give the audience enough time to process what they are seeing. This is particularly noticeable during faster, heavier songs, and while it could be excused as an attempt to recreate the overstimulation of a live concert, it ultimately disorients the viewer.

To be clear, those faster, heavier songs are greatly appreciable and are one of the most significant elements in making “Guts World Tour” stand out compared to other modern pop concert films such as the previously mentioned “Eras Tour.” Rodrigo’s expectedly more rock and pop punk tracks – “bad idea right?,” “jealousy, jealousy,” “brutal,” “good 4 u” the aforementioned “brutal” and “obsessed” – all more than bring the heat, being amped up alongside much of the rest of her discography. The movie makes room for softer moments as well, with periods of piano and acoustic guitar ballads (“happier,” “favorite crime”) breaking up those maximalist rock moments. The set list breaks up Rodrigo’s discography nicely throughout, in fact, with no “frontloading” of her most recognizable songs, instead opting to space out big hits and fan favorites with lesser-known tracks from her two studio albums.

Of course, Rodrigo’s musical output is only one-half of the concert film equation. Olivia Rodrigo may not be as practiced a performer as Taylor Swift (“The Tortured Poets Department”) and her background as a Disney performer occasionally shines through, but her passion and excitement seems genuine enough, with instances of audience interaction standing out as some of the film’s brightest moments. Performance of songs varies, too, with each trying to bring something unique to the table, be it home videos during “teenage dream,” a suspended moon in “logical” or a raised platform in “making the bed.” A surprise appearance from Chappell Roan makes for a fun, if somewhat dissonant, diversion as well. Ultimately, none of these added elements stand out as truly innovative, but their inclusion still diversifies individual performances and enhance the movie as a whole.

That may serve to describe the movie more generally. Olivia Rodrigo’s “Guts World Tour” is a competent, fun and energetic showcase of a rock-infused pop star on the rise, and one that will surely satisfy fans of Rodrigo and entertain modern pop listeners more broadly despite its shortcomings.

Image via Netflix via YouTube