Jason Moore’s Pitch Perfect (B) is a charming, often funny and very musical look at the world of competitive collegiate a capella singing groups. It’s a great showcase for Anna Kendrick, Skylar Astin and Rebel Wilson, who often steals the show as “Fat Amy.” Just when it seems to devolve into gross-out humor or overly formulaic characters, the film trots out new surprises and dazzles with its bag of vocal tricks. All in all, it’s well worth a watch and a listen.
Tag Archives: Musical
“Rock of Ages” a Misfire Despite Great Music Catalogue
Marred by Adam Shankman’s uninspired direction (Hairspray fit more like a comfy housecoat) and mainly lifeless performances, Rock of Ages (C-) is a tedious karaoke with the stars. It’s a musical with poorly performed ’80s songs and choreography, and only about five jokes actually land. Tom Cruise is pretty good as Lestat, except that’s not who he’s supposed to be playing. The young leads are lost in the tacky bombast.
Movie Musical “Nine” Fails to Shine
Rob Marshall’s Fellini and Broadway-inspired Nine (C-), despite gorgeous costumes and cinematography, is as dramatically inert and unengaging a movie as one could imagine. Daniel Day-Lewis gives perhaps the only ho-hum performance in his catalogue. Kate Hudson’s scenes are fun (first time since Almost Famous), and the “curtain call” style ending reinforces the notion of “suppose a lot of major stars congregate and then do virtually nothing.”
ABBA, Dabba, Do! “Mamma Mia!” Gets Blockbuster Movie Treatment
Phyllida Lloyd’s film adaptation of her theatrical hit Mamma Mia! (B) is largely a joyful confection, taking its cues from the music catalogue of Swedish hitmakers ABBA to playfully chronicle how the plucky young female descendant of a 1979 “dancing queen” cavorting with three summer boyfriends on an exotic Greek isle endeavors to discover the identity of a dad to walk her down the wedding aisle. Central to the charm of the film is the relationship between Meryl Streep as the mom and Amanda Seyfried as her inquisitive offspring; each has a natural warmth and pleasant singing voice. Some of the supporting subplots and singers (ahem, Pierce Brosnan) are a bit atonal or adrift. The musical numbers are lovely and limber, and the locale adds enchantment to the affair, as if something vaguely mythological is afoot. It’s a rom com within a rom com with karaoke moments to punctuate every Big Emotion. It’s frisky, fun and recommended.
“Sweeney Todd” a Stunningly Good Horror Musical
Tim Burton’s Sweeney Todd (A-) is a monster musical. Johnny Depp and Helena Bonham Carter, neither renowned for their singing voices, sink their teeth into Sondheim’s gruesome tale of a demon barber bent on revenge against humanity that wronged him and his skirted accomplice who makes meat pies out of the corpses from his haircuttery. Atmospheric London sets, lovely tunes and absolutely blood-spewed sequences don’t often go together seamlessly, but Burton orchestrates them quite nicely here, thank you very much. It’s one of the director’s best works in years.
I’m Telling You, You’re Gonna Like Me: “Dreamgirls” Musical Movie Mostly Works
Bill Condon’s Dreamgirls (B) is a musical backstage drama with style and panache, but it’s conflicted about whether or not the characters sing when they are not on stage. Musicals require a suspension of disbelief, for sure, but within the film, it should be consistent. So the stage numbers are great, and some of the personal ballads are too, just awkward. Beyoncé Knowles is compelling as the attractive star of a girl group, and Jennifer Hudson is an acting and vocal powerhouse as the woman behind the group’s hits who is unlucky in love and fame. Jamie Foxx turns in a nice performance, and Eddie Murphy delivers a sly dramatic turn that lights up his scenes. The film is pulpy melodrama with gorgeous production design and art direction, and the talented ensemble showcases acting and singing chops. If only Condon had figured out the musical conceit like he did with his Chicago screenplay, the film wouldn’t seem so self-conscious.
“Rent” Movie Musical Gets a Lot Right
Chris Columbus’ Rent (B+) faithfully adapts the Broadway musical about a circle of bohemian NYC friends coming to terms with mortality and having to pay their dues for living life to their own beat. What he gets wrong in awkward transitions, cheesy sets and cast members (many from the original stage production) who look too old to be twentysomethings, Columbus gets right in honoring and immortalizing the heart and bliss of artistic life and friendships. Idina Menzel, Tracie Thoms, Rosario Dawson and Jesse L. Martin are standouts in the cast, and Jonathan Larson’s propulsive music fuels a life-affirming experience.
“Camp” is Great Fun with Theatre Kids in Spotlight
Todd Graff’s Camp (B) is a joyous ode to growing up, making friends and finding your voice. Set at a summer camp for kids who want to be Broadway stars, there is enough backstage drama to fill the great white wilderness as the teens overcome their outcast status and find themselves center stage in their own follies, foibles and friendships. Graff draws out charming performances from newcomers Daniel Letterle, Robin de Jesus and Anna Kendrick, the latter belting out a very memorable and angry “Ladies Who Lunch.” The title’s play on words might imply a film high on kitsch, but it’s actually high on sweetness and coming of age. Showtune fans will rejoice at some unexpected songs and a star cameo. It’s Meatballs for maestros.
Movie Version of “Chicago” One of the Best Big-Screen Musicals in Years
Rob Marshall’s 1924-set musical Chicago (A-) brings song and dance razzamatazz back to the screen as Renee Zellweger and Catherine Zeta-Jones take on the juicy roles of ladies who will kill for fame. Many musical numbers from the stage show become fantasy dream sequences in the film, which works beautifully. From the cell block tango to vaudeville sketches, this film brings all that jazz and more to the proceedings, and it’s a dark comedic good time.
“Hedwig and the Angry Inch” is a Fabulous Gender-Bending Musical Extravaganza
John Cameron Mitchell directs and stars in Hedwig and the Angry Inch (A), a raucous rock musical about a transsexual lounge singer brought to America by a military man and given a botched sex change operation. Abandoned and left with the “angry inch” of the musical’s title, Hedwig sings about finding her other half in some incredible rock ballads such as “Origin of Love.” Up-tempo punk rock numbers take on a Ziggy Stardust quality as Hedwig starts to follow her muse on a concert tour, singing her pop hits “Wig in a Box,” “Midnight Radio,” and many more. The film is campy fun as karaoke bouncing balls and animated sequences dot the music sequences so viewers can sing along or participate. Part backstage musical, part poignant portrait of broken hearts and part love letter to that special someone, the film is a tender take on how you can make the most of the pieces you’ve got and rock out with the rest!
“Moulin Rouge!” is a Glorious Mash-Up of Tragic Romance Tropes and Full-Throated Creativity
Baz Luhrmann’s Moulin Rouge! (A-) is a spellbinding romantic musical featuring modern-day songs by The Beatles, Elton John, Whitney Houston and more at the service of a fantasy Parisian-based story about a poet (Ewan McGregor) who falls in love with a courtesan (Nicole Kidman). Luhrmann’s bouncing-off-the-walls visuals slow down occasionally to feast eyes on the stunning central couple who is fully committed to its acting performances. It’s a splendid let’s-put-on-a-show production with surprises in store at every turn.
Animated Disney “Hunchback of Notre Dame” Soars
Gary Trousdale and Kirk Wise’s The Hunchback of Notre Dame (A-) is Disney’s dark quasi-opera about a 15th century French deformed bell-ringer who dreams of leaving the cathedral where he is secluded for a moment “out there” in the real world. This adaptation of Victor Hugo’s classic features spectacular songs by Alan Menken and Stephen Swartz and grandiose, swirling animation that brings exquisite life to its time and place. A moving centerpiece is the song “God Help the Outcasts” in this cautionary tale about making the world a safe haven for those who are different.