Chicago

It's not easy making a musical. Not only do you need actors who aren't tone deaf (though that could easily be remedied), you also need a relatively solid plot to fit in around the all of the musical numbers. And believe me, it's harder than it looks. (Not that I've tried, mind you.)

Fortunately Rob Marshall's Chicago hits the right notes. (Yes, that pun was intended.) As I've stated here numerous times before, I'm not that big on musicals. (I honestly thought I wouldn't like this because it because looked too lavish a la Moulin Rouge!) And yet I loved every moment of it.

Why? I'll tell you. There's the fact that Marshall clearly knows what he's doing in regards with directing a musical. (Then again, he was experienced with Broadway enough.) There's also the allusions to Bob Fosse throughout, most noticeably in the choreography for some of the musical numbers. (And Cabaret references!)

Speaking of the musical numbers, they certainly get stuck in your head, don't they? ("He had it comin'!") If I had to choose three numbers from Chicago as favorites, they'd be "When You're Good to Mama" and "We Both Reached for the Gun" because they're really catchy (courtesy of Queen Latifah and Richard Gere, respectively), and "Mister Cellophane" because John C. Reilly is just heartbreaking. (No wonder he got that nomination.)

Anyway, Chicago is just one of those films that dazzles. Thanks to the actors, Renee Zellweger and Catherine Zeta-Jones in particular, this is a film I can see myself watching again and again. Speaking of which, I sort of want to watch it now.

My Rating: *****