No American movie this year has been as full of the “joy of making cinema” as Martin Scorsese’s The Last Waltz.

Martin Scorseses radical advancement of the concert documentary receives a superlative transfer that reaffirms the film as one of the directors great aesthetic achievements.

At its best the style of The Last Waltz, at once kaleidoscopic and concentrated, discursive and fixated, distils more about its subject and its times (and about its maker and his obsessions) than the impressionism of cinema verite.

Not only an unmissable slice of nostalgia, but also a masterpiece of pop cinema.