2002, PG-13, 113 minutes

With the exception of Singin' in the Rain, I'm not exactly what you would call a musical type of guy. Most of them I dislike and many I downright loath, mainly because they tend to be a little too ridiculous or corny for my taste, and the production numbers often last too long and get boring. This is why I still can't understand how much I actually enjoyed Chicago, which completely eliminated my reservations and won me over. Not only is it the best musical to come out in a very, very long time, it also happens to be one of the year's best films.

When the story first begins by jumping into its opening musical act, I quickly found myself being pulled into the world director Rob Marshall wraps around his characters. Initially I assumed it was only the silk stockings, heels, and garter belts that were holding my attention, but as the story progressed I began to realize it was much more than that. Chicago is a great example of how raw energy and excitement can sometimes take a film to a whole other level and get caught up in the momentum it creates. Sure, it's pretty sexy at times and does so in a tasteful, non-exploitive manner, but it's also very smart and witty. Some people have criticized the film for being shallow, but they're obviously missing the point. Set during the roaring 20's, it's a tongue and cheek satire about the justice system, lawyers, the media, women's misinterpreted place in society, and most of all America's obsession with fame. The characters are supposed to be shallow and the story doesn't try to enlighten us about the human condition, it just wants to poke fun and have a good time.

The success of any musical, whether on the stage or on the screen, ultimately comes down to the performers. Renée Zellweger stumbles out of the gate and I was a bit worried, but once she gets a handle on her voice and the character of Roxie Hart, she really is quite impressive. In addition to her surprisingly strong vocals, her ability to produce deadpan humor is excellent; she's in on the joke, of course, but she never feels the need to stop and wink at the audience the way many actors do. Richard Gere was even more of a surprise in a wonderful performance as a stereotypical scumbag lawyer named Billy Flynn. I had no idea Gere could sing, but he never falters and ends up contributing some of the best work of his entire career. Finally, Catherine Zeta-Jones is simply superb. With a booming voice that can also be soft when it needs to, she plays stage performer Velma Kelly with a real edge. One second she can look happy and goofy and the next second she'll cast a forbidding glare of pure rage.

Every bit as mature and restrained as Moulin Rouge was not, Chicago succeeds as a film (not a stage-act on camera) because it takes full advantage of the format. Almost all of the sing and dance sequences occur in Roxie's little fantasy world, and instead of doing a plot scene followed by a music scene followed by a plot scene and so on, the two are constantly intercut back and forth with music and dialogue overlapping. The result is a faster overall pace, more energy, and the story is always moving forward rather than being delayed by a big musical production. This allows us to enjoy the music and dance numbers without feeling impatient.

In what is easily the most surprising delight of the year, Chicago is smart, funny, sexy, well acted and brilliantly pieced together. It may not be incredibly deep but then again it's not supposed to be, and I can only hope musicals in the future will take a queue from this film and understand why it works where so many others have failed.