With love is like with music, if you didn't feel it you will never know it...
My favourite film of all time, don't think anything will be able to top it. I love the actors, the music, the theming, the costumes, the choreography and of course the tragic love story.
Like binging on a bag of your favorite candy and it doesn't even make you sick.
Moulin Rouge is why people make movies and why you should see them on the big screen. It takes reality and makes it better, it takes your dreams and makes them bigger, it takes your feelings and makes them stronger. From the impeccable performances to the reworked songs that sound great and still don't ruin the originals, Baz Luhrmann hit all the right notes in this bohemian opera.
I was really disappointed in this movie. I generally like musicals and have enjoyed many of them in the last several years (La La Land, The Greatest Showman and Mama Mia! Here We Go Again, to name a few). In reading the reviews for this film I can see that it definitely has a love-it-or-hate-it feel to it and you can count me in the latter. Roger Ebert described the experience of watching it as "like being trapped in an elevator with the circus". Inexplicably he thought this was would be a good thing. And therein is the biggest problem that I had with it - at times it was complete sensory overload (especially the first 20 minutes). Is it impressive on some level? Sure, I guess it is if you're into seeing repeated tight shots of a lot of people dancing. It also tried to add a comedic feel in some of the dancing scenes - again, it was sensory overload. The movie's best scenes were the ones where there was little production and instead focused on the acting and singing. I get the the film is supposed to be campy but it can't have it both ways. The cheese and the sensory overload completely took away from the storytelling. I could actually see this being a decent stage musical once the over-the-top production is removed.
I've also seen reviews where people said that despite its flaws it is an original idea. I can't classify a musical that re-interprets someone else's music as being "original".
follow me at https://IHATEBadMovies.com or facebook IHATEBadMovies
Nicole, Ewan and John were fantastic! I loved this movie when I first saw it, and I love it still, as it is one of the most believable love stories, and Ewan Mc was "too die for", drop dead gorgeous!
Lady Marmalade was my jam. Dayum I gotta watch this again!
I didn't understand the hype. I love musicals. I love good stories. This didn't do it for me. There were some good moments, and the visuals were nice, but I kept wanting to turn it off. I kept watching hoping it would get better. Honestly, the best parts were the last 15 mins or so.
One of very few movies to me that every time I re-watch it is like watching it for the first time. <3
Extremely tacky. Spastic editing, an assault of colour and sound, terrible acting (even McGregor, who survived George Lucas’ direction, completely sucks here), cringy dialogue and a lot of awful song choices which are meant to juxtapose the vaudeville aesthetic but don’t work. I almost respect it for being so unashamed about what it is, but it’s too annoying to demand any real respect. Over the top direction needs to be rooted in something, otherwise it’s just going to be kitschy. I guess that’s just the best way of summarizing it: none of this rings true, every genuine emotion is buried underneath endless layers of cheese. Avoid this overproduced mess at all cost.
1/10
I gave up, can't watch musicals
"Moulin Rouge!" has always been one of the films I loathed when I was younger. And here I am, reevaluating it positively in the Year of Our Lord MMXXIII. The ostentation and extremization of all the clichés of melodrama, the unapologetically kitsch presentation, the epileptic '90s MTV-style editing… all factors that might sound derogatory, but instead become added values in this absurd operation undertaken by Luhrmann and company. A full commitment to bad taste in every detail, yet it never ends up becoming a parody. On the contrary, it’s a movie that in many ways dignified an iconography that we may now tend to sweep under the rug, but that will likely one day be aligned with the great classics of cinema. At times, it might even be compared to one of Disney’s finest classics, complete with hyper-choreographed musical sequences and the Bohemians working as the fairies/animal sidekicks to the protagonist.
You might think, can the presentation alone compensate for the utter stupidity of the story narrated? Yes and no. Despite the tight pace of the opening scenes, which first overwhelms and then intoxicates the audience, the film suffers from an interminable second act that feels obnoxious to say the least, especially when Kidman suddenly goes from Paris’ most known prostitute to a barefooted nun. The vocal performances of the two leads do not help either, suffering from an unwelcoming stiffness in what was supposed to work as the most emotional beats of the film. Fortunately, it all picks up in the final moments.
I’m not usually a fan of Luhrmann’s garish style and whiplash editing, but they really work well here for the most part. (My favorite is the editing work on “El Tango de Roxanne” and the sound mixing on “Lady Marmelade/Because We Can.”) The musical numbers are totally insane but lots of fun, with the “Elephant Song Medley” being particularly noteworthy. In a movie full of strange character tics and surreal moments, though, I’d still suggest toning down the craziness of the first 20 minutes. It’s a little disorienting.
Rewatched this after a long gap and it goes just as hard as the first time. Baz Lurhmann gave a masterclass in Cinematic Magic and the whole thing is amazing fun from beginning to end. Almost every scene is “oh, wait, no, this is my favourite!”
Worst movie I have seen in several years that others have liked. Nicole Kidman is some people's idea of beautiful, and she has some acting ability but I just can't take her seriously as a passionate woman. Ewan McGregor is entirely too pleased with himself as a hunk. I have nothing against wilfully strange/fantastic movies but this one can't seem to decide what kind of wilfully strange mood/vibe it wants to have. Is it being tongue in cheek throughout or does it want to have some emotional heft? Even the flashy dancing and singing is to my mind undermined by Luhrmann's excessive editing which means I often lost any sense of continuity. But I know it has provided great pleasure to some (and I did quite like Jim Broadbent's performance) so go ahead and try it - but you've been warned...
I strongly dislike musicals. I strongly like this musical.
amazing amazing amazing super duper amazing!
Guess musical isn't really my thing then. God I feel the runtime in my bones, like I'm dead tired after the movie end because it's so goddamn long. Sure there's few interesting scene and having Nicol act as an evil seductress was amazing not to mention Ewan's cute face and mesmerizing eyes. But other than that? Good god and lord in heaven
Review by Simon MasseyVIP 11BlockedParent2015-03-01T21:03:05Z
Even as someone who rates this so highly, it is easy to see why so many may be put off. From the opening scene, this is a film utterly committed to its theatrical style and format, making no concessions to those who may be put off by the excess and editing style that dominates the opening scenes and many that follow. And yet this is not a film out of control - far from it, the format perfectly suits the environment within which this musical takes place and each of these moments serves the story and stage format that Luhrmann is trying to adhere to. Nor is it these scenes that remain with you at the end - fortunately for a film whose essential message is about the power of love, it is in the central love story that the film’s greatest strength lies. Ewan McGregor and Nicole Kidman have yet to better their performances here and one would have to be a hardened cynic not to be swayed by their romance. Each of their musical moments together are beautifully played and so committed are they to playing their romance straight, that there is a genuine feel to their chemistry. It is also in these scenes where Luhrmann alters the frenetic style, allowing for these quieter moments to shine. The choreography is superb and the film is edited to within an inch of its life, the highlight of which is a stunning rendition of Sting’s "Roxanne" to a tango (though it is equally likely that the film’s version of Madonna’s "Like A Virgin" will linger in the memory too, but for different reasons). Luhrmann's finest film to date.