---
title: "The Phantom of the Opera"
year: 2004
kind: "film"
canonical: "https://film.one/film/the-phantom-of-the-opera"
fi1m_id: "the-phantom-of-the-opera"
imdb_id: "tt0293508"
tmdb_id: 9833
wikidata_id: "Q276407"
fi1m_score: 49
critics_score: 51
critics_reviews: 14
published: "2026-09-24T02:59:07.798069+00:00"
updated: "2026-09-24T02:59:08.266923+00:00"
region: "ES"
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."
---

# The Phantom of the Opera (2004)

Directed by Joel Schumacher · 2h 21m · ICAA 7 · Thriller, Drama, Romance

## Identity

The Phantom of the Opera

- **Canonical:** https://film.one/film/the-phantom-of-the-opera
- **Type:** Film
- **Fi1m ID:** the-phantom-of-the-opera
- **IMDb ID:** tt0293508
- **TMDB ID:** 9833
- **Wikidata ID:** Q276407
- **Same entity:** https://www.imdb.com/title/tt0293508/, https://www.themoviedb.org/movie/9833, https://www.wikidata.org/wiki/Q276407

**Fi1m score: 49** · Critics 51 from 14 reviews

*In a sentence:* The Phantom has the clothes for a grand passion, but not quite the voice

> Emmy Rossum gives Joel Schumacher’s musical a welcome sincerity, and the costumes reward a look. But the relentless music and uncertain central romance make this a tiring adaptation that gives us too little reason to care.

## Synopsis

Christine (Emmy Rossum), The Phantom (Gerard Butler) and Raoul (Patrick Wilson) are the central figures in a Gothic romance told through Andrew Lloyd Webber’s music. Their story brings love and fear into a theatrical setting of songs, costumes and orchestral accompaniment. Carlotta (Minnie Driver) and Madame Giry (Miranda Richardson) are among the people around them. Joel Schumacher brings the stage musical to the screen, with Gaston Leroux credited for the novel. Romantic longing and Gothic suspense sit alongside comedy among the supporting characters.

## Review

Joel Schumacher approaches *The Phantom of the Opera* as though a large enough orchestra and enough fabric will make its romance convincing. The effort is sincere, and the result is mixed at best. Andrew Lloyd Webber’s music supplies an almost continuous urgency, while the people singing it too often seem to be waiting for their next musical cue. There is pleasure in the theatricality, particularly when the supporting players are allowed some humour. Across 141 minutes, though, the central attraction never becomes compelling enough to sustain all this solemn attention.

Emmy Rossum is the strongest reason to persevere. Her Christine sings with a clarity that makes the melodies easy to follow, and her seriousness gives the romance its most credible moments. She treats the feelings as worth having, without constantly asking us to admire how deeply she has them. The difficulty is that Joel Schumacher seems content with a narrow range of expression, leaving her voice to provide too much of what we need to understand about her.

Gerard Butler’s performance as The Phantom presents the larger problem. His physical presence suits the scale of the production, but the singing lacks the assurance that such commanding music needs. More damaging is the shortage of menace: the wounded longing is apparent, yet the danger feels largely supplied by the surroundings. Patrick Wilson’s Raoul does little to disturb the prevailing stiffness. That leaves Emmy Rossum doing too much of the work of making the attraction matter.

Anthony Pratt’s production design gives the film an abundance of ornament and brocade, often at the expense of a sense that anyone lives here. Alexandra Byrne’s costumes are easier to enjoy: their extravagance suits the performers’ self-importance and gives the frame something to look at when the drama stalls. John Mathieson’s sweeping camera adds useful movement to these crowded compositions. The mist softens the elaborate decoration, though it also makes the surroundings feel less substantial. Almost every image insists on the same degree of grandeur, leaving the eye little opportunity to rest.

Terry Rawlings’s editing does not help the repeated melodies feel fresh, and the film gives their returns more patience than the drama can afford. The orchestral treatment of Andrew Lloyd Webber’s music has weight and force, but so much emphasis makes it difficult to hear differences in emotional urgency. We were exhausted by the repeated swells, because they kept demanding a response the performances had not earned. The songs can be memorable individually; heard in this unrelenting succession, they begin to make one another less effective.

Minnie Driver’s Carlotta is a relief because there is some comic life in the performance, and the film briefly seems aware that grandeur can be funny. Those touches give the solemnity a welcome interruption. Gothic musical romance can accommodate extravagance, absurdity and a considerable amount of singing; restraint would not automatically improve this material. What it needs is stronger acting between and within the songs, so that the music has something particular to express.

Anyone already attached to these melodies may find enough here to forgive the casting and the length. The film takes that attachment for granted, offering few persuasive reasons for anyone else to acquire it. We would not choose it for an evening of romance, despite the care evident in the sets and clothes. Approach it for the songs, with modest expectations of the people singing them.

*Fi1m score 49, published 24 September 2026.*

## What the critics say

The reviews lean towards disappointment with Joel Schumacher’s adaptation, though even several sceptical critics find things to admire in its lavish staging. Praise clusters around the sets, costumes, orchestral sound and scale of the production, with Emmy Rossum’s singing and Minnie Driver’s supporting turn earning particular approval. The more receptive reviews enjoy the musical’s volume and extravagance, while others acknowledge the technical effort without finding much dramatic life beneath it.

The sharpest disagreements concern whether that extravagance works on screen and whether the leads can carry it. Variety regards the adaptation as a cinematic success; harsher reviews find the decoration suffocating and the music repetitive. Gerard Butler is especially divisive: Time Out criticises both his charisma and his singing, while Collider praises his acting despite reservations about the casting. Across the mixed and negative reviews, weak emotional involvement is a recurring complaint, alongside spectacle that overwhelms the Gothic story.

## Straight answers

**Is The Phantom of the Opera worth watching?**

*The Phantom of the Opera* is worth considering for admirers of Andrew Lloyd Webber’s songs, but we find it too tiring and romantically unconvincing to recommend more widely; we score it 49/100. Emmy Rossum’s sincere singing and the extravagant costumes offer pleasure, though the uncertain central performances struggle to sustain its 141 minutes.

**How long is The Phantom of the Opera, and what is it rated?**

*The Phantom of the Opera* runs 2h 21m and is rated 7 by the ICAA in Spain. It is a thriller and drama film.

**Where can I watch The Phantom of the Opera in Spain?**

*The Phantom of the Opera* is not on any streaming or rental service in Spain at the moment. It is available in 10 other countries; change your country at the top of the page to see where. Availability is checked daily.

**How violent or frightening is The Phantom of the Opera, and is it suitable for children?**

*The Phantom of the Opera* carries a UK 12 certificate, so it is not a choice for younger children; its Gothic romance includes fear and suspense. We find the Phantom short on menace rather than strongly frightening, but that does not establish how much violence it contains. The certificate is the safer guide for families considering it for older children.

**How does The Phantom of the Opera compare to The Red Shoes?**

*The Phantom of the Opera* is the weaker choice beside [*The Red Shoes*](https://film.one/film/the-red-shoes), which we recommend for romantic obsession expressed through performance. The dancing in *The Red Shoes* makes ambition feel urgent and dangerous, while the singing in *The Phantom of the Opera* too often fails to make its romance convincing. The latter chiefly suits those already attached to its songs.

**Is The Phantom of the Opera based on a true story or a book?**

*The Phantom of the Opera* adapts Andrew Lloyd Webber’s stage musical, with Gaston Leroux’s novel as its underlying source, rather than presenting a true story. We make no claim for its faithfulness to the novel; our reservations concern the screen romance and performances, not anything that requires familiarity with the book.

**What should I watch after The Phantom of the Opera?**

After *The Phantom of the Opera*, try [*The Red Shoes*](https://film.one/film/the-red-shoes) (1948, Fi1m 92): For romantic obsession expressed through performance, with dancing that makes the stakes clear. Then [*Bram Stoker's Dracula*](https://film.one/film/bram-stokers-dracula) (1992, Fi1m 79): For Gothic romance willing to make desire both ridiculous and frightening.

### Reviews we read (14)

- **Evening Standard**, Steve Morrissey (79/100, inferred): The critic enjoyed the film adaptation of Lloyd Webber's musical, noting it is bombastic and loud with sumptuous production design, and praising the singing and physical presence of the leads Emma Rossum and Gerard Butler as well as supporting turns like Minnie Driver. [Read](https://www.standard.co.uk/culture/film/a-chorus-of-approval-7383269.html)
- **Variety**, Derek Elley (78/100, inferred): The critic praises the sumptuous adaptation as a cinematic success that evokes the stage show while working as a film, highlighted by Emmy Rossum's radiant, vocally lustrous performance and widescreen sweep without excessive flashiness. They note the music is the thing and the combo of director and producer works well, though it may not attract a broad new audience. [Read](https://variety.com/2004/film/awards/the-phantom-of-the-opera-10-1200529133/)
- **The Times**, James Christopher (68/100, inferred): Schumacher's version is the best piece of taxidermy ever seen, with note-perfect songs, staggering sets and a cast full of swagger, though the tingle factor is entirely nostalgic and the film is unlikely to match the stage show's success. The big set pieces look miraculous but tumble like colourful dough around vaguely chewy lyrics. [Read](https://www.thetimes.com/culture/theatre-dance/article/the-phantom-of-the-opera-0vvxnrx8g90)
- **Empire**, Alan Morrison (60/100, inferred): This review discusses the 1925 silent classic rather than the 2004 film (wrong title/year match), so it does not qualify. [Read](https://www.empireonline.com/movies/reviews/phantom-opera-2-review/)
- **Screen Daily** (55/100, inferred): The film suffers from the same problems in translation that beset previous Andrew Lloyd Webber musical adaptations and remains filmed rock-opera that fails to ignite as dramatic cinema. The critic praises the lavish production, glorious voices, memorable songs, confident direction by Joel Schumacher, and strong supporting turns (notably Minnie Driver) while noting it is popular with older audiences. [Read](https://www.screendaily.com/andrew-lloyd-webbers-the-phantom-of-the-opera/4021246.article)
- **The New York Times**, A.O. Scott (45/100, inferred): The critic finds the film overwhelmed by Andrew Lloyd Webber's relentless bombast and Joel Schumacher's overstuffed visual style, likening the result to cultural butchery and a state of headachy nervous exhaustion. They single out the technically demanding music for praise, noting impressive singing from Gerard Butler and Emmy Rossum. [Read](https://www.nytimes.com/2004/12/22/movies/back-with-a-vengeance-the-music-of-the-night.html)
- **Los Angeles Times**, Carina Chocano (40/100, inferred): The critic describes the film as an overblown, pretentious Vegas-style spectacle of lowbrow grandiosity that drifts in a semiconscious fog of mist and Rococo design, tedious and self-serious. They single out strange scenes for mild interest but criticize the repetitive melodies and overall mush, recommending skipping it for the planned Las Vegas extravaganza. [Read](https://www.latimes.com/archives/la-xpm-2004-dec-22-et-phantom22-story.html)
- **The New Yorker**, Anthony Lane (39/100, inferred): The critic mocks the screenplay credit and the film's over-the-top, brocade-heavy production design as asphyxiating and threadbare gothic, calling it an extended special-edition remix of a Duran Duran video from 1986. They complain about the leads falling short and the music inducing a gentle snore, while noting some comic potential in Minnie Driver's Carlotta. [Read](https://www.newyorker.com/magazine/2005/01/03/unmasked-3)
- **Time Out**, MH (39/100, inferred): The film blunders ludicrously between every possible stool as a filmed version of the stage musical. The critic singles out the uncharismatic and feebly vocalised Gerard Butler as the Phantom, along with the inexpressive performances of the leads, for complaint while noting one good line and Minnie Driver stealing moments. [Read](https://www.timeout.com/movies/the-phantom-of-the-opera-2)
- **The Guardian**, Peter Bradshaw (38/100, inferred): The film is a lifeless, soulless affair that smothers the story's Gothic potential in sugary bombast, with dull direction and horrible production design. The Phantom comes across as a sad, sweet boy rather than a compelling figure of menace. [Read](https://www.theguardian.com/arts/fridayreview/story/0,,1369881,00.html)
- **The AV Club**, Nathan Rabin (D): The critic finds the film a long, tacky adaptation lacking emotional depth or ingenuity, with Gerard Butler failing to make the Phantom his own and the production emphasizing empty spectacle over substance. [Read](https://www.avclub.com/the-phantom-of-the-opera-1798200469)
- **Slant Magazine**, Ed Gonzalez (0.5/4): The film is dismissed as one of the worst things the critic has ever seen, a tacky and soulless adaptation faithful to the stage version's flaws with overproduced songs and phony elements. [Read](https://www.slantmagazine.com/film/the-phantom-of-the-opera-1274/)
- **Eye for Film**, Josh Morrall (68/100, inferred): The critic calls it a considerably flawed yet visually superb tale of beauty, beast and love. They single out the sweeping camera work, production design, costumes, sound and thunderous score for praise, while noting the overlong runtime and casting issues with the Phantom. [Read](https://www.eyeforfilm.co.uk/review/the-phantom-of-the-opera-film-review-by-josh-morrall)
- **Collider**, Rhianna Malas (63/100, inferred): The critic argues the 2004 film is polarizing but has notable strengths in production design, costumes, sets, and orchestra, while ultimately falling short on emotional depth and casting for the leads. They single out Gerard Butler's layered acting performance as the Phantom (beyond the singing) for praise despite common criticisms. [Read](https://collider.com/gerard-butler-phantom-of-the-opera-underrated/)

## Details

- **Director:** Joel Schumacher
- **Director:** Joel Schumacher
- **Screenplay:** Andrew Lloyd Webber, Joel Schumacher
- **Writer:** Charles Hart, Richard Stilgoe
- **Novel:** Gaston Leroux
- **Cinematography:** John Mathieson
- **Editor:** Terry Rawlings
- **Music:** Andrew Lloyd Webber
- **Production design:** Anthony Pratt
- **Costume design:** Alexandra Byrne
- **Producer:** Andrew Lloyd Webber
- **Cast:** Gerard Butler as The Phantom; Emmy Rossum as Christine; Patrick Wilson as Raoul; Miranda Richardson as Madame Giry; Minnie Driver as Carlotta; Ciarán Hinds as Firmin; Simon Callow as Andre; Victor McGuire as Piangi
- **Runtime:** 2h 21m
- **Certificate (ICAA):** 7
- **Release (Spain):** 15 December 2004
- **Genres:** Thriller, Drama, Romance
- **Also in:** [Golden Globe Best Musical or Comedy winners](https://film.one/collections/golden-globe-comedy.md) (Nominee, 2004)
- **Budget:** $70 million
- **Box office:** $155 million
- **Trailer:** https://www.youtube.com/watch?v=fX3HuPZ5q5g

## Where to watch in Spain

Not streaming, renting or buying in Spain at the last check.

Also available in: AU, BR, CA, IN, JP, NZ, PH, SG, TH, US. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2005: Best Cinematography (nominated); Best Production Design (nominated)

## If you liked this

- *Beauty and the Beast* (1946): A stranger Gothic romance, where tenderness never quite removes the sense of danger
- *The Red Shoes* (1948), Fi1m 92: For romantic obsession expressed through performance, with dancing that makes the stakes clear — [Fi1m page](https://film.one/film/the-red-shoes.md)
- *The Umbrellas of Cherbourg* (1964): Sung emotion with clearer dramatic purpose, and colour that earns its extravagance
- *Bram Stoker's Dracula* (1992), Fi1m 79: For Gothic romance willing to make desire both ridiculous and frightening — [Fi1m page](https://film.one/film/bram-stokers-dracula.md)
- *Devdas* (2002): Another grand romantic spectacle, with music and costumes allowed their full excess

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