Chicago

2002 "If you can't be famous, be infamous."
7.2| 1h53m| PG-13| en
Details

Murderesses Velma Kelly and Roxie Hart find themselves on death row together and fight for the fame that will keep them from the gallows in 1920s Chicago.

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Reviews

Teringer An Exercise In Nonsense
Crwthod A lot more amusing than I thought it would be.
Bluebell Alcock Ok... Let's be honest. It cannot be the best movie but is quite enjoyable. The movie has the potential to develop a great plot for future movies
Nayan Gough A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.
invisibleunicornninja The best part about this movie is the soundtrack. When I was younger I loved it (despite for the most part not understanding a lot of the implications). This movie could've just ignored everything else about what makes a movie a movie, but there is actually an engaging plot that makes the songs relevant. I like how during certain sequenses the actual sets will be replaced by stages. It gives the movie even more of a unique style. This movie isn't perfect, but is is extremely entertaining and I would highly recommend it.
Majikat Summed up by one of its featured songs 'give them the old razzle dazzle' Chicago is less to do with innocence and more to do with the media circus who want to hear the stories.With a great list of songs throughout and an incredible performance from Catherine zeta jones, freedom is all about the spin
merelyaninnuendo ChicagoIt basically defines the excellence in music tracks, production design, costume design and choreography that is so rich and visually aesthetic to view that it upbeats the audience on the seat to a point where one can't defy that it is entertainment at its best. It is finely detailed when it comes to create the high pitched musical sequences where each and every beat, lyric and tempo serves the right amount of taste that has been missing in musical features. The plot does not only lifts up from eerie perspective but stays true to its nature throughout the course of it that has gripping screenplay, stellar performances, perfect editing and execution, amusing characters and stunning visuals. Rob Marshall is in his A game in here being aware of the opportunity and the potential that this script has, he draws out the best from each and every frame. A smart adaptation by Bill Condon; the screenplay writer, that offers enough space and range for the character and actors to factor in. Renee Zellweger and Richard Gere are brilliant in it but the real game changer is Catherine Zeta Jones as a supporting artist. Chicago is a rare art that touches the craft and hardwork at its peak and radiates the deep down emotion and communicates with the audience from the first frame and doesn't leave until the curtain drops.
SimonJack I wonder if people in 2002 and since have been starved for good musicals. Or could it be just lots of glitter and scintillating sexual innuendo tossed here and there? I first saw "Chicago" on the big screen when it came out years ago. I very much enjoy musicals, and have collected many of the best from decades past on DVD. In watching this movie again recently, I have to reaffirm my first sense of the film. It's wrapped in a very glamorous and glittery package. But the screenplay is crude, much of the dialog is crass, and the talent – well, these are not highly talented singers and dancers. Yes, they have a couple of interesting numbers and dance routines. One can see some natural agility in Catherine Zeta-Jones. But otherwise, this movie just is not that good. How Miramax poured the money into the glitz for this film, and how it promoted it to the hilt! It won six academy awards with several more nominations in a year of almost no competition. This movie is a combination revue and musical play. Where the original play, and the 1942 film, were comedies made as satires, I can see why the author, Maurine Watkins, was reluctant to sell the movie rights for a musical. After her death, her estate did sell the rights to Bob Fosse, Gwen Verdon and Richard Fryer. They wrote a musical score with numbers as individual vaudeville pieces. The 1975 musical play retains the satire of the Chicago corruption of the time – it is evident in the script and the performances. But the 2002 musical movie has numerous changes in the story and from the stage musical. And, it moves the musical performances to the fore, with all the glitter and sexploitation. This should have been a highly talented performance of musical and dance numbers with a story of biting satire. Instead, it's a so-so musical with so-so talented singers and dancers in an elaborate glitzy setting. Any remaining satire comes almost as a whimsical afterthought of that little old corruption in Chicago that really wasn't so bad. Take out the crassness in the dialog, cut down the glitz, put in some better voices and dancers, and work the numbers for the satire and this could be a memorable production.