Musical Rated G
“In its wishful-thinking way, the picture taps into an aspect of growing up that those gritty independent movies – with their wayward Larry Clark kids – tend to forget: the effervescence of youth.
Musical Rated NR
“…a story of naïve young love seen through the affectionate eyes of experience.”
Musical Rated PG-13
You’d have to like ABBA songs an awful lot to enjoy hearing them forced onto this sitcom story, drawn from the stage musical, about a young dimwit (Amanda Seyfried) who invites three of her mother’s former lovers to her wedding, hoping to discover which one of them is her father. Essentially, everyone sits around waiting
Musical Rated R
“Turns out Sweeney Todd needed Tim Burton more than Tim Burton needed Sweeney Todd.
“…a unique, enthralling experience in which song and emotion stand in for dialogue and plot.
Musical Rated PG
Pure joy, held together by lots of beauty products. John Waters’ effervescent musical revels in great ’60s pop, bad acting, outrageous hairdos and a “pleasantly plump” teen girl (a luminous Ricki Lake) in 1962 Baltimore who yearns to earn a spot on an “American Bandstand”-type dance show. It’s a message movie too, laboriously about the
“…singing her heart out and swinging her hips, Blonsky is oblivious to the prejudices and insecurities of the real world. Her ignorance is our bliss.
This biopic of legendary Broadway producer-director-songwriter-star George M. Cohan may be the most blatant piece of flag-waving American jingoism the screen has ever seen (it came out during the early days of World War II), but considering Cohan wrote the “The Yankee Doodle Boy,” “You’re a Grand Old Flag” and “Over There,” among other indelible
The obvious first step in transferring this Broadway musical comedy to the screen would have been to tone things down a notch – to soften material that had been yelled to the back row of a theater for the cozy intimacy of the cinema. Yet Nathan Lane and Matthew Broderick, reprising their stage roles as
An oddly stodgy biography picture of composer and lyricist Cole Porter, De-Lovely follows an aging Porter (Kevin Kline) as he revisits scenes from his life, many re-created as musical numbers. Director Irwin Winkler (Life as a House) fails to give it an ounce of the life of say, Chicago or Moulin Rouge. It’s a curious
