Ceticultsot Beautiful, moving film.

ThedevilChoose When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Usamah Harvey The film's masterful storytelling did its job. The message was clear. No need to overdo.

Matylda Swan It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

MisterWhiplash While there's a co-director alongside her, I would consider this a Barbara Kopple documentary. It's about the Dixie Chicks, and not just in that following-around-the-stars piece like with Wild Man Blues. It covers the controversy surrounding the off-the-cuff comment one of the Chicks made about George W. Bush and the Iraq War right before the war started - a controversy imbued by the wrath of zealous dingbats and ignorant country-music sycophants. This isn't to say that there aren't some bright, intelligent people who listen to country music and don't follow blindly to the Toby Keith credo of America putting a boot up somebody's ass cause it's the American way. But there are some, definitely out there, at least more-so back when Bush's approval ratings were sky-high.I use the word dingbats not lightly, but not without some generalization. It wasn't just the "scorned fans" who based upon one remark held up protest signs and went all "Lennon-said-this-about-Jesus-Etc-so-on" on the band, but the rabid right-wing media, country music stations across the country, and almost ironically the girls became the biggest selling recording artists for their record label for the year. What Kopple does brilliantly here is convey the bittersweet feeling of being on the road, being behind the scenes with the tour people and the management (there's definitely the best footage of behind-the-scenes wheeling and dealing I've seen since Gimme Shelter's scattered bits), and also depict without pretense or obfuscation these three girls's total joy at being so high at the top of fame while also bewildered and frightened (or not) by the backlash of the Bush comment.One can dissect till no end the significance not even so much the comment but the kind of crazy tree of a context that came out of it. It's also about how something connects so strongly that it's hard to disconnect: the Dixie Chicks aren't a political band (although their lead singer is definitely, and cheerfully defiantly, the most outspoken of the group in meetings), but one comment sets off a chain-reaction, "reacting to reacting" as one person says, and Kopple manages very well going back and forth between the turbulent "past" of 2003 and the present of 2005 when things finally turned around with Bush and his war. It goes without saying freedom of speech is a big issue to contend with in the film as well, but that would take another four or five paragraphs to dissect and comment on.But one more note should be made: I don't love the Dixie Chicks' music. They're talented enough and make some sweet tunes, but they're only a tiny cut above the rest of many a dreary and repetitive and forgettable country music group of the now. But personal taste, for all intents and purposes just as with Wild Man Blues, doesn't have to factor into someone's enjoyment of the film. If you're interested in country music, that's fine, but for those looking for just a solid documentary with a clear-eyed and sympathetic portrayal of its subjects and their ordeal, then you're in for something somewhat special - it's a movie with a conscience.

richard_sleboe The single point of this documentary is a 3-minute scene showing the Chicks in a counseling session with production legend Rick Rubin. It's set in Mr Rubin's remarkable living room, a unique blend of messy bachelor pad, bohemian lair and underground speakeasy that Woody Allen would have his set designers working overtime to recreate. For one thing, the scene is a lesson on the power of living creatures as trademark props. Small surprise the camera can't take its grainy eye of Mr Rubin's pet, a featureless black licorice bundle of a dog that looks a lot like its master. His canine choice puts the likes of Paris Hilton to eternal shame. Clearly, Mr Rubin is on top of his guru game. But it doesn't stop there. Look closely, then look again. He is big. He is bearded. He is from Brooklyn. He doesn't say much, but when he speaks, it's in a voice so calm and confident the Chicks hang on his lips, lest they miss a single word of wisdom. Obviously, they are not fooling themselves about their future. What worked for Johnny Cash, Neil Diamond and the Beastie Boys might just work for them. Provided they get him to spin his magic on their commonplace country candy. They know that if they rise again, it will be his making and his making alone. I am beginning to think Rick Rubin is God.

Ethan Straffin I guess I'm the Dixie Chicks' new audience, their having been deserted by a certain breed of fan who interprets seventeen words as a good reason to renounce his or her loyalty and stomp a few CDs into oblivion. Why would any artist want such a fan in the first place? Where are the country-music fans who will stand up for them? Are we really this easily distracted, so many years after Lennon's infamous "more popular than Jesus" stompfest? Yeah, I suppose we are.This is a truly heartbreaking film. It's also really funny, and ultimately joyous. These three simply do not give in, and while there's a certain "Spinal Tap" quality about their efforts to redefine their careers in light of their abandonment by extremely fair-weather friends, the fact is that it worked. They're still the world's best-selling all-female band, and until we can round up three or more seriously fascist chicks who can work together long enough to deliver a significant challenge, I suspect that they'll remain that way.

AVeryAptPupil I'm not going to say that it's one of the most excellent movies ever made or that it's a total disaster either, because it's neither of those things. If there is one thing that this film stands out for the most, it is the right of the individual. Natalie really shouldn't have apologized for what she said, but she probably did it because of the anticipated backlash. This doesn't make her a bad person though, nobody likes to have horrible things thrown their way.Although, the funny thing is, Natalie said something just about Bush and not about any of his compatriots. If Bush wanted to say something badly about Natalie himself, he could've. Instead, all of his little supporters jumped on Natalie's case for him. And he just stood back and said that they shouldn't be upset if people don't support them anymore. It's such a shame that people at the time that Natalie said what she said thought and acted like an insult of the president was an insult of the whole country. I think that idea is one of those things that this film is trying to put to rest.One part of the film that really caught my attention was when that guy sent the ladies that letter which stated that Natalie was going to die at the Dallas, TX concert. Natalie, when she was shown a picture of the guy, said "He's cute," and both I and a family member could tell that the wheels were turning in her head. As if she were trying to figure him out, or something. Anyway the documentary itself offered an interesting look into the world of the sisters, and how the experiences affected them personally. It is worth a viewing or two.