Chicago (2002)

The film is a rowdy, sassy and raunchy burlesque that resurrects the spirit of great Hollywood musicals with flair and showmanship. Marshall stages the numbers triumphantly, and the cast including Zeta-Jones, Zellweger and Gere deliver a totally unexpected treat.

The film is a dazzling song-and-dance extravaganza that continues the reinvention of the musical, with songs staged within Roxie's imagination. It delivers big, brassy fun through its cynical, stagy revue style and strong performances, especially from Catherine Zeta-Jones and Queen Latifah.

The critic calls the film a screen triumph that delivers the sexy razzle-dazzle hoped for by musical fans, crediting Marshall and Condon with solving structural problems effectively. Strong performances from Zellweger, Zeta-Jones, Gere, and others are highlighted alongside top-notch technical credits.

Chicago is a heady mix of satire, spectacle and sex that revitalises traditional musicals with raw passion and steamy appeal. It stays true to the original while feeling fresh and relevant in a celebrity-obsessed world.

Praises the spirited adaptation that captures the energy and dark subtext; highlights Zellweger and Zeta-Jones' perfect casting and performances.

The review praises Marshall's debut for turning the songs into imaginative asides while preserving the material's cynical satirical bite and mean wit. It notes the film's flair and confidence in realizing the musical numbers and story of celebrity and media manipulation.

Chicago is rousing, sassy and hugely entertaining with toe-tapping classics and strong performances from the cast, especially Zeta-Jones and Zellweger. It is stagey and oddly unsexy at times, with Marshall's direction showing his TV background, but it remains a lavishly mounted high time.

The exuberant adaptation is tough, brittle fun that appreciates camp and stages the material cannily. Marshall and Condon create a sweet concoction from the familiar tale, powered by raw energy and the songs' black-silk enthusiasm.

The critic finds Zeta-Jones convincing and in her element as Velma but criticizes Zellweger's singing and appearance as Roxie. John C. Reilly stands out as Amos, and the execution scene lingers as a haunting contrast to the razzle-dazzle.

The film is a theatrical package of tricks that Marshall struggles to expand beyond flatness, relying on frantic editing of the songs. Catherine Zeta-Jones conquers her role with oomph while the picture is harder on Zellweger.

The critic finds the adaptation slick, cynical and superficial overall, though the tunes and performances are enjoyable; singles out clumsy editing and failure to properly showcase the dancing as major flaws.

A stylish cast and clever scripting help the transition from stage to screen with appeal intact, though it dilutes the live show's sizzle and wit. Marshall and Condon deliver a palatable entertainment that falls short in rhythm and personality despite the strong Kander & Ebb score.

The review calls the film a disappointment despite hype, primarily due to relentless fast and choppy editing that prevents appreciation of the choreography and story; praises Zeta-Jones' performance but notes editing issues even there.

The critic finds the film a competent but disappointing adaptation that lacks the sophistication, sexiness, and allure of the Broadway revival due to choppy editing and failure to embrace cinematic potential. Zellweger's performance is singled out as a standout revelation.

The critic finds Chicago a magnificent, expertly crafted entertainment after a recent rewatch, praising the exuberant performances especially by Catherine Zeta-Jones. They single out the film's flawless razzle-dazzle and biting media satire as highlights, though noting it lacks deeper emotional complexity.

The critic praises the film's retention of the original musical's spirit and cynical satire, highlighting the flawless performances especially by Catherine Zeta-Jones and Renée Zellweger. The main complaint is the director's tendency to cut away from dance numbers to advance the story.

The critic examines how the 2002 adaptation's satire on fame and exploitation has aged, finding the film excellent as entertainment but less acidic and biting than Fosse's version. They praise its faithful yet romantic approach through Roxie's subjective lens while noting the spectacle's appeal has waned over time.