Taylor Swift’s The Eras Tour is the biggest concert draw of the year and now the biggest concert film of the year as it reaches blockbuster status at the tills with good reason.

The concert movie starts without so much fuss and fanfare. Just a 13-second clock countdown until the celebration kicks off. And when the first few images come on screen, we’re transported to SoFi Stadium in Los Angeles, where a sold-out Eras Tour show is about to erupt.

The best part of a show is always the opener, and this is no exception. With “Miss American & The Heartbreak Prince” providing an ethereal sounding overture, the tension builds as what seemed like giant peacocks strut the length of a long catwalk-of-a-stage and converge in the middle, and boom!

Taylor Swift is at the center—in glittery tights, knee-high boots, like a superheroine--elevated six feet on a block piece of stage as she segues into “Cruel Summer.”

“Alright Los Angeles, we have arrived…” Swift beckoned, “at the very first bridge of the evening. Now, I’ve a question. Does anybody here know the lyrics to this bridge? Prove it!” To which the whole stadium obliged.

The Eras Tour is the culmination of Swift’s music career so far. And every major phase is highlighted in this live re-telling. The Lover Era, Fearless Era, Red Era, and so forth. And while it goes without saying, each phase has its share of a Taylor Swift hit. But played in the Eras setting, it takes on a life of its own. “The Man'' kicked up the pitch a notch higher early on, with its 80’s flavor providing a counterpoint to Swift’s subsequent reading of “Lover” that was especially sentimental. And you know the years have gone by when songs like “Fearless,” “You Belong With Me,” and “Love Story” feel like a welcome throwback.

Swift, with her squad of dancers, a crack unit of backup singers, and a merry band of musicians, were all needed to flesh out and interpret the music and more. But coupled with the massive stage display that seems to move with Taylor and the gang, it brings it to another level.

Over three hours, Swift took us on a musical, mood, and atmospheric ride; the highlights are plenty.  The Evermore phase included a reading of “Willow,” where Taylor and her coven of dancers in their cloaks and lighted pumpkins brought an arty-gothic feel to the proceedings. Ditto the dinner scene fight between lovers in moody “Marjorie.” Each song, cut on its own, is a stand-out performance.

Midway, an exceptionally slick and sassy Reputation Era set, raised the bar further with stunning visuals. From the catwalk, turning into a gigantic serpent (during “Ready For It?”) and later turning into a pool that Taylor dove into. The stage and effects of the LCD tech were a spectacle in itself. Only the imagination was the limit here, and Taylor Swift and her team definitely didn’t skimp on that.  

With over 40 songs, high points are a-plenty. The 10-minute version of “All Too Well” is easily one of them, as is Swift's solo piano on “You’re On Your Own, Kid.” The Folklore set is a personal favorite:  “The1,” “Betty,” the ballroom set of “The Last Great American Dynasty,” and ethereal “August” then later, Taylor almost howls, “Don’t call me kid! Don’t call me baby!” as she jumped right into the chorus of “Illicit Affairs.”

And still, there’s more as the Midnight's Era takes us up to speed where Taylor Swift is right now: At the top of her game, the most influential artist of her generation and easily one of the all-time greats.