90
The New York Times by A.O. Scott
Who would have expected Ms. Zellweger --- and Miramax -- to come through in a musical? And it's one of the few Christmas entertainments to run under two hours. Who couldn't love that?
What are people saying?
What are critics saying?
100
The singing and dancing in this Chicago are uniformly splendid, right down to Gere's tap dancing. The high wit and dark eroticism Marshall brings to the famous "Cell Block Tango" number are matchless.
50
Christian Science Monitor by David Sterritt
The trouble with Chicago is the sense it conveys that nothing is really at stake -- there's no moral or ethical question that can't be turned into toe-tapping fun.
50
It's hard not to wish that Chicago had taken place inside a more imaginative head.
88
ReelViews by James Berardinelli
Good, solid entertainment.
70
Wall Street Journal by Joe Morgenstern
By the end, though, the production is engulfed by barely controlled frenzy -- all decor and no air, music as lo-cal ear candy, scenes as merchandise to be sold, people as two-dimensional props.
60
Chicago Reader by Jonathan Rosenbaum
I seem to be in a distinct minority in finding the satire toothless, obvious, and insufferably glib -- Still, I found genuine pleasure in watching Catherine Zeta-Jones, Renee Zellweger, Richard Gere, and John C. Reilly try their hands at singing and dancing.
100
Portland Oregonian by Kim Morgan
With its eye-popping color, bold personality and snazzy tunes, Chicago is a breathtaking experience.
75
Chicago Tribune by Michael Wilmington
Zeta-Jones can belt out her numbers, Zellweger can purr hers, and Gere-a musician who played his own cornet solos in "The Cotton Club"-can sell his songs and even dance a spiffy little tap dance. They're better than you'd expect-and so is the movie.
91
Entertainment Weekly by Owen Gleiberman
Freshly transplanted from the stage, is a thrilling ode to the intertwined glories of sex, showmanship, and lying: what the film calls ''the old razzle-dazzle.''