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Stars indicate the most critically-acclaimed movies.
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Hurt Locker, The
89
Goodbye Solo
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Tulpan
87
Gomorrah
86
Seraphine
84
Summer Hours
83
U2 3D
83
Revanche
83
Tyson
82
Burma VJ: Reporting from a Closed Country
82
Sugar
82
Hunger
82
Anvil! The Story of Anvil
81
Il Divo
81
Beaches of Agnes, The
80
Food, Inc.
80
Tokyo Sonata
79
Harvard Beats Yale 29-29
78
Boys: The Sherman Brothers' Story, The
78
O'Horten
77
Every Little Step
77
Sin Nombre
75
24 City
74
Treeless Mountain
74
Afghan Star
74
Two Lovers
74
Song of Sparrows, The
74
Lemon Tree
71
Pressure Cooker
71
Jerichow
70
Shall We Kiss?
70
Tony Manero
70
End of the Line, The
69
Valentino: The Last Emperor
69
Unmistaken Child
67
$9.99
67
Rudo y Cursi
67
Girlfriend Experience, The
66
Adoration
66
Moon
65
Sex Positive
65
Departures
64
Outrage
64
Examined Life
64
Throw Down Your Heart
64
Lymelife
63
Tokyo!
63
Cheri
63
Dead Snow
63
Tetro
63
Great Buck Howard, The
62
Cherry Blossoms
62
Big Man Japan
62
Not Forgotten
61
Sunshine Cleaning
60
Under Our Skin
59
Sleep Dealer
58
Julia
58
Easy Virtue
57
Away We Go
57
Merry Gentleman, The
57
Youssou Ndour: I Bring What I Love
56
Girl from Monaco, The
56
American Violet
55
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54
Is Anybody There?
54
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54
Stoning of Soraya M., The
52
Quiet Chaos
50
Management
48
Alien Trespass
45
Whatever Works
42
Little Ashes
42
Tennessee
40
Limits of Control, The
40
Paris 36
38
Gigantic
36
Life is Hot in Cracktown
35
New York
28
Big Shot-Caller, The
28
Surveillance
22
What Goes Up
18
Downloading Nancy
16
I Hate Valentine's Day
xx
Call of the Wild
xx
Home
xx
Offshore
Stars indicate the most critically-acclaimed movies.
|
Chicago
Miramax Films
 |
|
FILM:
MPAA RATING: PG-13 for sexual content and dialogue, violence and thematic elements
Starring
Catherine Zeta-Jones,
Renée Zellweger,
Richard Gere,
John C. Reilly,
Queen Latifah,
Christine Baranski,
Taye Diggs,
and
Lucy Liu
A new interpretation that takes the award-winning Broadway show into fresh and expansive cinematic realms, Chicago shifts adroitly from the reality of intrigue, rivalry and betrayal to spectacular fantasies of music and dance, offering tongue-in-cheek commentary on the cult of celebrity and the scandalous lengths to which people will go to attain it. (Miramax)
| GENRE(S): |
Musical
|
| WRITTEN BY: |
Bill Condon
Fred Ebb (musical)
Bob Fosse (musical)
Maurine Dallas Watkins (play)
|
| DIRECTED BY: |
Rob Marshall
|
| RELEASE DATE: |
DVD: August 19, 2003
Video: August 19, 2003
Theatrical: December 27, 2002
|
| RUNNING TIME: |
113 minutes, Color |
| ORIGIN: |
USA / Canada |
Named Best Picture of 2002 at the 75th Academy Awards. Led all movies with 13 Oscar nominations for 2002, including Best Picture, Best Director (Rob Marshall), and four acting nominations. Also received a leading 8 Golden Globe nominations in 2002, including one for Best Picture (Musical or Comedy).
All critic scores are converted to a 100-point scale. If a critic does not indicate a score, we assign a score based on the general impression given by the text of the review. Learn more...
100
Dallas Observer
Bill Gallo
The singing and dancing in this Chicago are uniformly splendid, right down to Gere's tap dancing. The high wit and dark eroticism Marshall brings to the famous "Cell Block Tango" number are matchless.
100
Portland Oregonian
Kim Morgan
With its eye-popping color, bold personality and snazzy tunes, Chicago is a breathtaking experience.
100
Baltimore Sun
Michael Sragow
Chicago is the zingiest, most inventive movie of its kind since "Cabaret."
100
Slate
David Edelstein
Isn't just the most explosively entertaining movie musical in a couple of decades. It's going to be the most influential: the one that inspires the rebirth of the Hollywood musical.
100
Washington Post
Stephen Hunter
A superior adaptation that bypasses the Ann Reinking version now on Broadway.
100
Rolling Stone
Peter Travers
Chicago, based on Bob Fosse's Broadway smash, kills.
100
Salon.com
Stephanie Zacharek
Sophisticated, brash, sardonic, completely joyful in its execution. It gives anyone who ever loved movie musicals, and lamented their demise, something to live for.
100
Washington Post
Desson Thomson
Not since the 1972 'Cabaret' has there been a movie musical this stirring, intelligent and exciting.
100
San Francisco Chronicle
Mick LaSalle
The movie is a total blast, and what a surprise.
100
USA Today
Mike Clark
More than any other example in recent memory, Chicago shows how much the element of surprise is missing from today's movies.
100
Charlotte Observer
Lawrence Toppman
The usually quiet Zellweger is the revelation: Like her character, the actress seems happily amazed to find herself crossing a polished dance floor, sheathed in silk and diamonds, having the naughty, self-glorifying time of her life.
100
New York Daily News
Jack Mathews
At times, Chicago has the feel of a revue, with the major characters taking turns at their own show-stopping numbers. If it's too much of a good thing, I say, bring it on.
91
Seattle Post-Intelligencer
William Arnold
A funny, rousing crowd-pleaser.
91
Entertainment Weekly
Owen Gleiberman
Freshly transplanted from the stage, is a thrilling ode to the intertwined glories of sex, showmanship, and lying: what the film calls ''the old razzle-dazzle.''
90
Newsweek
David Ansen
Exuberantly theatrical yet every inch a movie, and some numbers ("The Cell Block Tango") are so entertaining you might want to applaud.
90
The New York Times
A.O. Scott
Who would have expected Ms. Zellweger --- and Miramax -- to come through in a musical? And it's one of the few Christmas entertainments to run under two hours. Who couldn't love that?
89
Austin Chronicle
Kimberley Jones
Delicious.
88
ReelViews
James Berardinelli
Good, solid entertainment.
88
Philadelphia Inquirer
Carrie Rickey
Throw bouquets at Marshall, who instead of dissecting it to death, neatly resurrects the Hollywood musical.
88
New York Post
Jonathan Foreman
For some reason, the people who make modern musicals don't like to let you watch dancers dance -- there are still too few moments when you get to enjoy choreography from a dancer's hands to her feet.
88
Miami Herald
Rene Rodriguez
An exuberant, appropriately cynical reinvention of the stalwart Broadway hit that deftly straddles the line between old-fashioned Hollywood musicals and experimental concoctions like last year's "Moulin Rouge."
88
Chicago Sun-Times
Roger Ebert
The movie is a dazzling song and dance extravaganza, with just enough words to support the music and allow everyone to catch their breath between songs.
80
LA Weekly
Lisa Kennedy
Chicago is that rare thing: a nutritious hard candy.
80
Variety
David Rooney
First-time feature director Rob Marshall and Oscar-winning "Gods and Monsters" screenwriter Bill Condon have spun the dark tale of two murdering floozies into a widely palatable entertainment, but the long-gestating film comes up short in rhythm and personality.
80
Time
Richard Corliss
Has so much razzle-dazzle that viewers may end up both raised and dazed. It's remorselessly inventive, trying anything fast and sassy to keep you watching. In other words, it's the most honest display of showpeople's need to be noticed this side of a Madonna concert.
75
Chicago Tribune
Michael Wilmington
Zeta-Jones can belt out her numbers, Zellweger can purr hers, and Gere-a musician who played his own cornet solos in "The Cotton Club"-can sell his songs and even dance a spiffy little tap dance. They're better than you'd expect-and so is the movie.
70
Wall Street Journal
Joe Morgenstern
By the end, though, the production is engulfed by barely controlled frenzy -- all decor and no air, music as lo-cal ear candy, scenes as merchandise to be sold, people as two-dimensional props.
70
TV Guide
Maitland McDonagh
Non-musical scenes that move the narrative forward are staged realistically, while the lavish production numbers reflect the star-struck imagination of one-time chorine Roxie, for whom all the world ought to be a stage.
70
Film Threat
Michael Dequina
The energy of the performances and John Kander and Fred Ebb's enduring score push the musical scenes and the entire film over any hurdle--yes, even including that misbegotten casting of Gere.
70
Los Angeles Times
Manohla Dargis
It's Zeta-Jones who keeps you watching from start to finish -- You'd have to go back to Joan Crawford in her hungry prime, in films like "Rain" and "The Women," to find another female film star who grabs hold of the screen with such ferocity.
70
The New Yorker
Anthony Lane
The only player to conquer Chicago is Catherine Zeta-Jones, who is no Charisse in her motions but who gets by on a full tank of unleaded oomph. [6 January 2003, p. 90]
60
New York Magazine
Peter Rainer
I realize that Fosse's dark sizzle might seem a bit dated today, but surely something halfway snazzy could have been devised for this movie. It's toothless.
60
Chicago Reader
Jonathan Rosenbaum
I seem to be in a distinct minority in finding the satire toothless, obvious, and insufferably glib -- Still, I found genuine pleasure in watching Catherine Zeta-Jones, Renee Zellweger, Richard Gere, and John C. Reilly try their hands at singing and dancing.
50
Village Voice
Dennis Lim
It's hard not to wish that Chicago had taken place inside a more imaginative head.
50
Christian Science Monitor
David Sterritt
The trouble with Chicago is the sense it conveys that nothing is really at stake -- there's no moral or ethical question that can't be turned into toe-tapping fun.
50
The New Republic
Stanley Kauffmann
The net effect of the incessant dazzle is depressing.
30
Film Threat
Phil Hall
Chicago is a failure, but that should not come as a surprise. Bob Fosse, who directed and choreographed the original 1975 Broadway production, was long baffled in making a film of the show and eventually gave up trying.
 The average user rating for this movie is 7.9 (out of 10) based on 109 User Votes
Note: User votes are NOT included in the Metascore calculation.
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