By Michael Koresky, Jeff Reichert | December 15, 2003

Is it parody, pastiche, or homage? Can there ever be another Fred Astaire or Gene Kelly? Most interestingly, is it possible any longer to make a musical without the text making reference to itself as such?

By Nick Pinkerton | December 14, 2003

What’s astonishing is that the cockeyed combination of Potter’s moral wariness and Ross’s earnest showmanship, for every botched dialogue, twice as often stumbles into the sublime.

By Michael Koresky | December 13, 2003

Everyone Says I Love You (1996), was something slightly baffling, a head-on plunge into a recently “lost” form that acknowledged its own limitations and wore its goofiness on its sleeve. Affectionate tribute or flat-out parody?

By Suzanne Scott | December 12, 2003

The Classical Hollywood Musical has come to be recollected and revered as a form of social prozac, born in the depression of the Thirties in an effort to prove a simple theory: throw enough sparkle in the spectators’ eyes, and they’ll forget that they’re waiting in line for bread.

By Jeff Reichert | December 11, 2003

If there’s a contemporary director’s filmography that cries out more for the inclusion of a musical than Tsai Ming-liang’s, I’m not aware of it.

By Jeff Reichert | December 10, 2003

R.E.M., “Bad Day”; OutKast, “Hey Ya”; The White Stripes, “I Just Don’t Know What to Do With Myself”; Britney Spears (w/Madonna), “Me Against the Music”; Liz Phair, “Why Can’t I?” Stars, “Elevator Love Song”; No Doubt, “It’s My Life”; The Strokes, “12:51"; Bubba Sparxxx “Deliverance”

By Bob Carroll | December 9, 2003

Hedwig and the Angry Inch may be trashy, camp, messy but it is quality. It’s just remained a cult thing. And considering its origins, that’s probably for the best.

December 9, 2003

Selma does spontaneously express herself through song, but how do you truly classify the way music functions here?