Action / Comedy / Crime / Musical

Rotten Tomatoes Critics - Certified Fresh 86%
Rotten Tomatoes Audience - Upright 83%
IMDb Rating 7.1 10 206269


Uploaded By: OTTO
August 12, 2011 at 10:10 PM



Renée Zellweger as Roxie Hart
Lucy Liu as Kitty Baxter
Catherine Zeta-Jones as Velma Kelly
Dominic West as Fred Casely
695.61 MB
23.976 fps
1hr 53 min
P/S 13 / 49

Movie Reviews

Reviewed by star4573 10 / 10


This movie is brilliantly acted and wonderfully directed. Catherine Zeta-Jones superb portrayal of saucy Velma Kelly is matched against Renee Zellweger's equally manipulative Roxie Hart. Neither of these characters is worth redeeming, but the audience will root for them anyway.

Set in Prohibition Chicago, where jazz clubs are sheik and murder is a form of entertainment, Roxie Hart (Zellweger) is on trial for her life. Enter Billy Flynn (Richard Gere) a flamboyant lawyer more interested in manipulating the press than whether his client is guilty or innocent. Also features Queen Latifah as the warden who takes care of her charges...for a price!

The musical sequences are very well done, esp "Press Room Rag" and of course the signature "All that Jazz". Also, kudos to John Reilly whose "Cellophane" solo is heartbreaking poignant.

10 of 10!

Reviewed by domoattack 10 / 10

Corruption in Prison

Roxie Hart (Renee Zellweger) is taken to prison on murder charges where she meets Velma Kelly (Catherine Zeta-Jones). The two are represented by the same attorney, Billy Flynn (Richard Gere), and both are captivated by being in the spotlight. A major theme throughout this film is corruption. Corruption of society is brought up when Fred Casely (Dominic West) lies to Roxie. It was wrong of him to lie, but it is also a highlight on just how low people will go to get what they want. Roxie was believing the lie just because she wanted to get into showbiz. The color contributes to the theme of corruption during the second song. Amos Hart (John C Reilly) was covering for Roxie, and when realizes what happened, he tells everything to the police. At this point, Roxie is bathed in a red light, representing corruption, contrasting with Amos who has blue, pure, light over him. The press conference really brought to light how corrupt everything was. The press were represented as puppets with Billy Flynn as the puppeteer. This symbolizes that he has full control of the press and they write whatever makes his clients look good. This theme can also be seen in The Shawshank Redemption, directed by Frank Darabont. Corruption takes place in the prison between bringing in contraband to illegal bookwork. This is true for Chicago as well, you notice that anything can be done for a pretty penny.

Reviewed by HotToastyRag 10 / 10

A beautiful work of art

It's difficult for me to describe all the ways in which I love Chicago, because often times when attempting the explanation, my description winds up just as long as the feature's length. The short version of my recommendation would be for you to buy a copy for yourself as soon as possible. I had a VHS version that I watched so many times the colors started to fade, and now I'm happily watching my DVD copy ad nauseum.

I've seen the musical Chicago live onstage, and it's terrible. No one who actually likes music would enjoy sitting through the show. The script is crass, the characters aren't developed, and the songs are annoying. But, magically enough, when Bill Condon wrote the script for the film adaptation, everything changed. He and director Rob Marshall-in my humble opinion, one of the greatest directors of the modern era-completely changed the point of the story and made it not only accessible, but fascinating to film audiences. While onstage, it's about an aspiring showgirl who goes to jail for murdering her lover, in the film, it's about a fragile, disappointed woman who uses the allure of the stage as a mental escape when she's frightened. See how much more interesting that story is?

I've watched every behind-the-scenes featurette included on my DVD, and have since learned that Condon and Marshall purposely redesigned the story that way. Every time there's a musical number, it's because Renée Zellweger's character needs a mental distraction from her surroundings. When she's being questioned by the police, she imagines the song "Funny Honey", her first night in prison is comforted by the "Cell Block Tango", etc. Every song is in Renée's imagination. Not only is that method of storytelling incredibly clever and shows a unique side to the main character, but it's a great way to get audiences hooked into a film musical, a genre that pretty much died out in the 1970s, with the exception of 2001's Moulin Rouge. Chicago is infinitely superior to Baz Lurhmann's spectacular because it doesn't bombard the senses. It's a thoughtful, sensitive piece, perfectly balancing the fine line between musical comedy and a dramatic murder story.

In the golden age of musicals, songs and dances were often filmed in whole takes so audiences could see the continuity and realism of the actors' talents. Because of the way the story was designed, the numbers in Chicago couldn't be captured in long takes. The scenes constantly cut back and forth between fantasy and reality, simultaneously entertaining the audience with a song and advancing the story. Martin Walsh, the editor of Chicago, had his hands full with the multitude of camera angles and the challenge to set and maintain two separate paces within each song. The end result is a beautiful work of art.

Now, onto the performances. Renée Zellweger didn't take home the gold that year, even though her turn as Roxie Hart was the best performance of her career. She won her make-up Oscar the following year for her supporting role in Cold Mountain, a role that, given her Southern roots, she could have done in her sleep. Renée captures every subtle emotion of her character, making her situation sympathetic to the audience, even though she's shown cheating on her kind-hearted husband, murdering her boyfriend, and tricking her husband into taking the blame. How is someone like that sympathetic? Because the audience feel so incredibly sorry for her, this fragile woman with dreams of grandeur and severe mental issues. Renée is absolutely perfect. Richard Gere takes the male lead, Billy Flynn, a part highly coveted in the musical theater world. Just like his costar, he takes a character that's utterly unlikable on paper and transforms him into someone the audience completely falls in love with-and not just because he's Richard Gere. His comic timing and charm play off Renée's insecurities wonderfully, and he seems to glide through the part effortlessly, as if he's done it a hundred times before and will probably do it again tomorrow. He doesn't seem bored or tired, though, just very well prepared-as Billy Flynn is supposed to be! Billy is the best lawyer in Chicago, so he actually has gone through his "song and dance" a hundred times before. It's a fine line to walk, and Richard walks it.

In the supporting cast are Catherine Zeta-Jones, John C. Reilly, and Queen Latifah. Each have their own show-stopping numbers that will stay with you long after the credits roll. Each character, even the smaller parts, are given many character facets to juggle-mirroring the reality-fantasy combination of the songs-and it's a true testament to Rob Marshall's directing that every actor and actress nail their parts. Queen Latifah is hardened and only slightly compassionate, but you can't help but trust her even when you know you shouldn't. John C. Reilly is every smart girl's idea of an ideal husband, and his "Mr. Cellophane" will probably make you cry. Every time I watch it, I wish I could reach into the television and give him a gigantic hug.

Catherine Zeta-Jones dazzles from start to finish, and while everyone has their own favorite and most beautiful performance, her turn as Velma Kelly might be mine. She's the archetypical 1920's vamp and uses every ounce of star power to attract and propel Renée's character through the story. As realistic and raw as Renée's performance is, Catherine's is equally staged and calculated. She makes bad look so good, it's no wonder Renée aspires to be just like her!

Chicago swept the 2003 Academy Awards, winning Best Editing, Costumes, Sound, Supporting Actress, Art Direction, and Picture, with Kirk and Michael Douglas famously reading the winner aloud onstage together. Additional nominations were earned for Cinematography, Directing, Adapted Screenplay, Supporting Actor, Supporting Actress, Actress, and Original Song for "I Move On", played during the end credits. Obviously, if I had my way, Rob Marshall, John C. Reilly, and Bill Condon would have taken home statuettes as well. Julianne Moore also gave the best performance of her career that year in Far From Heaven, so I would have tied the leading ladies and given them both Oscars; Edward Lachman's cinematography in Far From Heaven was also beautiful, so I probably would have tied that category as well.

Whatever reason you decide to watch Chicago, whether it's for the eye-catching costumes, hidden talents of stars you didn't know were musical, clever storytelling, or beautifully framed and edited scenes, I'm sure you'll be entertained. I come from a long line of theater performers, and while my mom didn't like this movie, she admitted she was able to appreciate the work that went into it and how expertly Renée was able to sell her songs. I've written three musicals myself-and I'm the first to admit that Kander and Ebb's songs are the weakest elements of the show-and I still absolutely love this movie.

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