Upon finding out that her husband and sister cheating her, Velma Kelly, a successful vaudeville star, murders them, the thing that leads her to prison, but she by the help of Roxie, a young vaudeville star, who kills her boyfriend, flees from prison, the thing that brings terrible for them.
With performers as good as these and the freshness of Bill Condon's screenplay and Marshall's direction, there's really very little wrong with Chicago. What it lacks is something intangible -- heat.
You know you have just witnessed a good musical when you leave the theatre or cinema with one, or more, of its songs still ringing in your head.... But after seeing Chicago, I did not whistle or tap my way home.
Rob Marshall's screen version of the near-venerable show looks great, in its razzly-dazzly neo-Fosse way, and sounds good, especially when Renee Zellweger's gorgeous Roxie Hart is singing her heart out.
Whatever one's qualms about the material, its execution here is rock solid in ways that keep on impressing, right through to the niftiest end credits sequence in years.
