Moulin Rouge!

A landmark musical movie -- controversial, mercurial, even cheeky. It's the kind of film that wildly divides audiences and critics -- people tend to either love or hate it. I loved it.

The movie is all color and music, sound and motion, kinetic energy, broad strokes, operatic excess.

A movie so cheeky, aggressive and bursting with vitality that it can't help being annoying and exhilarating at the same time.

A movie you can't readily get out of your head.

Diverting, energetic, and even reasonably satisfying, so long as you aren't looking for a real musical to take its place.

It wants to be like no other movie you've ever seen. It's more like every movie you've ever seen.

Ends up leaving you starved for a single moment of unhyped emotion. You can barely see the characters for Luhrmann screaming.

Loved it. Radical, modern, hilarious, charming and tragic. As my first Luhrmann experience, the first 10 minutes were tedious, but as soon as I entered the Moulin Rouge I instantly fell in love with the story and Luhrmann's style. A unique piece of art that goes directly to my all-time favs list. Can't wait to watch Elvis.

It's a good movie, but maybe if it weren't musical it would have been better. This film is a mind-boggling trip to the bohemian world of Paris of other times, when the city of lights was the capital of vice and art, in a Europe more interesting than today. The Moulin Rouge is a cabaret, one of the most famous in the city, and it still exists, but this film shows its golden age, when the choristers were also prostitutes or "suggar-babies" of the elite. The script is based on a triangle of love, sensuality and interest formed by the chorus singer Satine, the powerful Duke and the romantic Christian, an English writer who falls in love with her. This film has a beautiful tragic love story to tell, and that was what I liked most here. The best scenes in the film are the most romantic and the final part. Nicole Kidman looks wonderful, knows how to be sexy without being vulgar, and has very good chemistry with Ewan McGregor, who is another great actor in great shape here. The film was good for both their careers and they both earned all the credit they got. In the supporting cast, Richard Roxburgh and Jim Broadbent deserve an applause for their good work. The problem with this film is, basically, everything else. Instead of focusing on history, creating a romantic drama with tragic contours, the dazzle of Paris was stronger and decided on a Broadway-style musical. This can be pleasant, in other films, when it is done properly. "Les Misérables" or "Sweeny Todd" are good examples of films of this style that worked wonderfully. Here, the Broadway style and the comic touches came totally out of the question and only served to distract us. Of course, in the middle of the error there are good things. For example, the songs were excellent (Your Song is particularly striking) and so was the music. The entire choreography and dance department of the film deserved to be congratulated for the excellent work, at the level of the best that is done on Broadway. I just think that the film, due to the good love story it brings, did not ask for this cheerful style, especially if we take into account the tragic touch it has. I didn't like John Leguizamo either. He looked like a clown all the time. The film was well directed by Baz Luhrmann, but the film may not be as good as other films of his career, like "Gatsby", which was one of the best films he directed, in my opinion. Here, I think he was too bold and followed a path that he shouldn't have followed. But despite that, the film has quality and is worth the time we spent watching it.

Pretty good from Luhrmann, good acting and use of music, though pretty ridiculous too.

Luhrmann usually gives us stylistic films with substance, but he falls extremely short here. The style is used to disguise the fact that the plot makes little sense and that they are ruining generally highly regarded songs (e.g. The Show Must Go On). The only moment in the film I could enjoy for what it was was the Roxanne scene. Beautiful imagery and symbolism and provided characterisation to a character previously used as simply comic relief (though the outrageous nature of the film hardly needs a comic relief character). If the whole film and been like that, I would have certainly enjoyed it much more.

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