Chicago

Elegáns musical szórakoztatás, amely stílusos, lendületes és energiával teli. De még mindig csak felszínes és rideg szórakozás, amely közel sem fog annyira lenyűgözni, mint az érzelmesebb és jobban a történetre koncentráló mestermű, a Moulin Rouge című film. (2003.04.02)

The first musical from this millennium that comes to mind for every connoisseur is Moulin Rouge. The second one is actually Chicago. Not that it doesn't have many impressive scenes and even several very impressive ones. However, the one-year-older Moulin Rouge surpasses this piece completely. I didn't understand those Oscars (maybe just for the beautiful set), but then I saw the Miramax logo and everything became clear to me. Fortunately, I enjoyed the second half much more, that fourth star eventually saved it...otherwise I would feel sorry, I really like musicals. (2018.03.07)

I expected almost nothing from Chicago and maybe that’s why I had so much fun. My heart still belongs to the other great musical from the early 21st century (the time they were made, BTW, is the only thing Chicago and Moulin Rouge have in common), but it still deserves a thumbs up; it’s certainly not the undeserved Oscar winner many people say. (2011.02.18)

The perfect kind of musical? Never getting bored, even for a minute! And that's where Rob Marshall comes in. Under his leadership, the heavy story transforms into an elegant and sophisticated spectacle with an excellent leading trio of actors (especially Catherine Zeta-Jones, captivating in her sexy demonic posing and seductive voice), though at certain moments they should cut the singing, since a song revolving around a noose, for example, is clearly unnecessary. To a certain extent, however, I understand the flood of Oscars; even years later, this is an incredible feast for the eyes. (2023.07.13)

Nonsensical acting and screenwriting Oscar nominations shake hands with technical brilliance in 100 minutes of entertainment that flies by. The music is perfect, led by the catchy hit "All That Jazz" (I love jazz), and the choreography of the dance numbers is remarkable, the most striking of which were the journalist "puppets" on strings with a great performance by the pleasantly surprising Gere and Zellweger. The latter, like Zeta-Jones, sings very well, dances brilliantly, but unfortunately also shows off her limited acting range with position #1: "dumb Bridget". As a result, I felt like I was sitting in some fancy Chicago club, watching one jazz-dance act after another in a show about two murderesses and one greedy defense attorney, ignoring the fact that all that bombastic glitz is hiding a flimsy script and an unexciting plot. The main thing was that the eyes and ears were happy. And they were pouring great champagne too... (2006.07.14)