---
title: "Chicago: the reviews"
canonical: "https://film.one/film/chicago/reviews"
title_page: "https://film.one/film/chicago"
critics_score: 67
critics_reviews: 17
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Chicago (2002): what the critics said

Critics' score 67 from 17 reviews: 11 positive, 4 mixed, 2 negative.

Most critics enjoy Chicago, and the praise clusters in two places. First, the numbers: Marshall stages the songs inside Roxie’s head, and the majority find this a clever fix for a stagebound show and a lot of brassy fun. Second, Catherine Zeta-Jones, whose Velma is singled out in almost every review, favourable or not. The Kander and Ebb songs and the material’s cynicism about fame and the press are also widely credited with surviving the move to the screen.

The reservations gather around the cutting. Screen Daily, Slant and Time Out all complain that the editing is so fast and choppy that the dancing cannot be seen, and even admirers such as Eye for Film object to Marshall cutting away from the numbers to push the story along. Renée Zellweger divides the reviews: The Independent finds her singing wanting, while Slant calls her the film’s revelation. The spread is wide, from raves to outright disappointment.

## Evening Standard — Alexander Walker

Fi1m's normalised score 90/100 (inferred from the text). 

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.

[Read the review](https://www.standard.co.uk/culture/film/musical-delight-7428353.html)

## RogerEbert.com — Roger Ebert

Fi1m's normalised score 90/100 (inferred from the text). 27 December 2002. 

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.

[Read the review](https://www.rogerebert.com/reviews/chicago-2002)

## The Hollywood Reporter — Frank Scheck

Fi1m's normalised score 90/100 (inferred from the text). 11 December 2002. 

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.

[Read the review](https://www.hollywoodreporter.com/movies/movie-news/chicago-review-2002-movie-959366/)

## Total Film

Fi1m's normalised score 90/100 (inferred from the text). 26 December 2002. 

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.

[Read the review](https://www.gamesradar.com/chicago-review/)

## Radio Times — Brian Pendreigh

Rating 4/5. 

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

[Read the review](https://www.radiotimes.com/movie-guide/b-lzwdno/chicago/)

## The AV Club — Keith Phipps

Fi1m's normalised score 80/100 (inferred from the text). 14 March 2003. 

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.

[Read the review](https://www.avclub.com/chicago-1798198320)

## Empire — William Thomas

Fi1m's normalised score 70/100 (inferred from the text). 1 January 2014. 

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.

[Read the review](https://www.empireonline.com/movies/reviews/chicago-review/)

## The New York Times — Elvis Mitchell

Rating NYT Critic’s Pick. 27 December 2002. 

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.

[Read the review](https://www.nytimes.com/2002/12/27/movies/film-review-chicago-bare-legs-and-all-makes-it-to-film.html)

## The Independent

Fi1m's normalised score 50/100 (inferred from the text). 9 December 2002. 

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.

[Read the review](https://www.independent.co.uk/arts-entertainment/films/reviews/chicago-135317.html)

## The New Yorker — Anthony Lane

Fi1m's normalised score 50/100 (inferred from the text). 30 December 2002. 

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.

[Read the review](https://www.newyorker.com/magazine/2003/01/06/fantasyland)

## Time Out — GA

Fi1m's normalised score 50/100 (inferred from the text). 6 June 2012. 

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.

[Read the review](https://www.timeout.com/movies/chicago)

## Variety — David Rooney

Fi1m's normalised score 50/100 (inferred from the text). 10 December 2002. 

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.

[Read the review](https://variety.com/2002/film/awards/chicago-18-1200544433/)

## Screen Daily

Fi1m's normalised score 30/100 (inferred from the text). 13 December 2002. 

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.

[Read the review](https://www.screendaily.com/chicago/4011578.article)

## Slant Magazine — Ed Gonzalez

Fi1m's normalised score 30/100 (inferred from the text). 24 December 2002. 

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.

[Read the review](https://www.slantmagazine.com/film/chicago/)

## Collider — Samuel R. Murrian

Fi1m's normalised score 85/100 (inferred from the text). 10 September 2026. 

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.

[Read the review](https://collider.com/perfect-musical-movies-21st-century/)

## Eye for Film — Angus Wolfe Murray

Fi1m's normalised score 80/100 (inferred from the text). 15 January 2003. 

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.

[Read the review](http://www.eyeforfilm.co.uk/review/chicago-film-review-by-angus-wolfe-murray)

## Paste — Kyle Turner

Fi1m's normalised score 70/100 (inferred from the text). 8 May 2019. 

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.

[Read the review](https://www.pastemagazine.com/movies/chicago/does-chicagos-satire-still-work)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Our review: https://film.one/film/chicago.md