sacrednavel, I would love nothing more than to be a professional entertainment critic, because that way I could combine my love of writing with my love of music and movies without ever having to leave the sanctity of my computer. Not sure how to even go about that, but I did cover those topics for both school and college papers. I would SO DIG being able to do that, only with the sarcasm of a Dennis Miller or a Joe Queenan!
[RE: Chicago. Don't get me wrong, there were a LOT of things to love about that movie...the editing between the "fantasy vaudeville" and "reality" sequences was FLAWLESS, the costumes were great, the choreography was stunning and often very clever. Catherine Zeta-Jones has me re-considering a Cleopatra haircut, she was simply fabulous, and I can't pay enough compliments to Queen Latifah and John C. Reilly.
But there IS such a thing as too much singing and dancing to disrupt an otherwise entertaining story. I put this into practice today by spontaneously bursting into vaudevillian-style song when I had a conversation with someone or did something ordinary, ("I'm.....picking up the phone, picking up the phone, ha-cha! Picking it up, I'm gonna pick it right up!" Tap, tappa tap, tappa tap, tappa tap... "PICK up-click-THE phone-click-RIGHT Now.....YEAH!") and you know what? Everyone either laughed like crazy or wants to kill me! Ask my husband. I really tried it, it's the truth, and I don't think I'm ever allowed to go to the movies again.
Richard Gere's performance was at best, a parody and at worst, overrated. And, I wondered, other than the fact that it was a theatrical re-hash, was there any real reason why the story needed to take place in Chicago, or during Prohibition, other than for flash potential? Because you could base it in, say, Detroit in say, modern times, and you could call it, say, "8 Mile."]