When Alan Parker directed a film version of Evita, many thought that it would be the revitalization of the movie musical. Alas, that underrated film was not a box office hit. The big surprise came in 2001 with Baz Luhrman's dizzying splendor Moulin Rouge. That film was a big success, and proved that maybe the movie musical is still very much alive. Rob Marshall's spectacularly energetic Chicago is even further proof that a musical can still connect with an audience.

Based on the Bob Fosse musical, this wonderfully creative movie takes place during the 1920's and features Catherine Zeta-Jones as a famous night club dancer, Renee Zellweger as a bored housewife who wishes she was a famous night club dancer and Richard Gere as a media hound of a lawyer who becomes involved in both women's lives after they are put in jail for murder.

While director Marshall's approach to the material is extremely theatric, it is also innovative and highly stylized. Since the musical numbers take place in Zellweger's mind, Chicago's makers are able to take things to a level that the audience might not be expecting. Much of the film has a colorful, surreal tone, and while there is quite a bit of quick cut editing, it always benefits the movie. But it isn't only the visual flair that makes Chicago work. Bill Condon's terrific screenplay adaptation is ripe with the perfect dose of satire.

The big song and dance numbers are expertly crafted. While it would be hard to single out one musical bit over another, I was quite fond of the puppetry sequence (you'll know what I'm speaking of when you see the film). I loved it's playful sense of humor, and found it very amusing. It's also beautifully staged. Certainly, Chicago makes a strong argument for the inclusion of a choreography category at the Oscars.

Zeta-Jones is perfectly cast here. She's very comfortable and more than confident. Zellweger is charming, but isn't always up to the challenge when it comes to the monstrous musical sequences. The same can be said for Gere who takes a chance here playing a part unlike any other in his career. As lively as he is, he too seems uncomfortable in the song and dance sequences. One of my favorite performances comes courteousy of perhaps the hardest working supporting player in Hollywood, John C. Reilly (just last year, he appeared in The Good Girl, Gangs of New York and The Hours). While his character certainly does himself in, my heart was always breaking for him. All the actors in this picture should be commended for giving their all under truly demanding circumstances.

I really loved this movie. It's energetic and full of life. The musical sequences are awe inspiring, and the look of the picture is spectacular. I wouldn't say that I liked Chicago more than Moulin Rouge but it was still absolute magic.