The Rolling Stones

If you’ve ever fancied being swept up in the Stones’ live energy without actually elbowing your way through a stadium crowd, the newly remastered Rolling Stones – At the Max gets remarkably close.

Last night’s invited-guest preview at London’s IMAX proved that this 1991 concert classic hasn’t lost an ounce of its power. Even for those who wouldn’t count themselves as die-hard fans, the experience was thoroughly entertaining—thanks largely to IMAX’s refreshed Digital Media Remastering and a brand-new sound mix that elevates the whole thing from “concert film” to “near-teleportation.”

From the moment the band launches into the first track, the sound doesn’t just fill the room. It surrounds you with such precision that you half expect Keith Richards to materialise behind you, guitar in hand, asking whether you’ve borrowed his amp. The onstage perspective is astonishingly convincing; at times you almost feel obliged to stay out of Mick Jagger’s way as he ricochets across the stage with the enthusiasm of someone discovering cardio for the first time.

Then there are the crowd shots. When the camera sweeps out over those vast early-90s stadiums, the IMAX scale gives them a near-mythic quality. At the same time, you can’t help noticing that most of the audience probably spent the night staring at the backs of heads—while we, decades later, finally get the view everyone wanted.

Jagger’s presence remains mesmerising: charismatic, tireless, and perpetually in motion. Yet musically, it’s Keith Richards who quietly commands the spotlight. His guitar work, delivered with that trademark mix of grit and ease, cuts through the remastered soundtrack beautifully. Charlie Watts’ impeccable timing and Ronnie Wood’s texture-rich playing round it out, reminding you why this lineup defined an era.

Visually, the remaster gives the original 70mm footage a welcome refresh. While the mammoth IMAX screen occasionally reveals the limitations of the vintage lenses—particularly in depth of field—it never distracts. If anything, it adds a layer of analogue charm, a reminder of just how ambitious it was to shoot a feature-length concert film with eight enormous IMAX cameras back in 1990.

As a historical document, At the Max remains a landmark. Filmed across five European shows during the Stones’ Steel Wheels/Urban Jungle Tour, it was the first-ever IMAX concert feature and still feels impressively bold. The 2025 remaster reinforces that scale, transforming the film from a nostalgic artefact into a still-thrilling big-screen experience.
The setlist is a runaway train of classics: Start Me Up, Tumbling Dice, Paint It Black, Sympathy for the Devil, Brown Sugar, Satisfaction—all delivered with unapologetic swagger. It’s a greatest-hits sprint, and even after 35 years, it holds up astonishingly well. Critics at the time hailed it as “the ultimate rock concert film,” and the new IMAX presentation makes that praise feel freshly earned.

In the end, the film’s return to IMAX does exactly what it promises: it magnifies the spectacle, sharpens the sound, and lets you experience a legendary performance without the logistical hazards of an actual stadium show. No queues, no jostling, no pint balancing—just two hours of pure rock ’n’ roll, delivered with colossal flair.
When it hits IMAX screens worldwide for a limited run from 10 December, fans and newcomers alike will have the chance to enjoy it in its most powerful form yet. It’s only rock ’n’ roll, but I like it.