Best Original Song:
"Welcome To Burlesque" from Burlesque
(Charlie Midnight, John Patrick Shanley, Matthew Gerard, Steve Lindsey):
Dianne Warren's power ballad "You Haven't Seen The Last Of Me" may be the one making all the rounds on the awards circuit, but if you ask me, this glamourous number that introduces Cher and her posse of loyal burlesque tarts is much more memorable, and represents what I would have liked the film to be like.
"I See The Light" from Tangled (Alan Menken, Glen Slater):
I was already enjoying Tangled thoroughly up to the second act, but this is the moment when my heart melted. The song provides a well timed pause in the action for the characters to introspect. The lyrics may be a tad simplistic, but it's still gorgeously romantic in the old Disney tradition.
"Mother Knows Best" from Tangled (Alan Menken, Glen Slater):
Such a delightful villain ditty. And so catchy too! What a perfect way to subvert the usual badguy tropes with a faux lovey-dovey tone thinly veiling barbed condescension.
"Shine" from Waiting for Superman (John Legend):
An absolutely beautiful and moving song that draws attention to an important issue. Legend's lyrics are poetic and meaningful, effectively buttressed by his talented work on the piano. The film may not be a great one, but this song is, giving the movie a soulful and artful conclusion.
"You Haven't Seen the Last of Me" from Burlesque (Dianne Warren):
A rousing anthem about never underestimating oneself. And who better to belt this one than the immortal Oscar-winning Cher?
Just missed: "Coming Home" Country Strong, "Me and Tennessee" Country Strong
Showing posts with label Burlesque. Show all posts
Showing posts with label Burlesque. Show all posts
Thursday, January 20, 2011
Friday, December 17, 2010
Review - Burlesque
The musical purist inside my brain warned me that Burlesque would be little more than a loud, saucy cheesecake of a film that reeks of self-indulgence.
My response: “As well it should be.”
Christina Aguilera (cast more for her ferocious set of pipes than her “acting” ability) plays a hopeful young talent from Iowa who makes the trek to Hollywood where she starts off waitressing at a burlesque lounge run by a sardonic impresario played by Cher (the movie's real attraction). In typical rags-to-riches fashion, Aguilera eventually kick-steps her way to the stage where she floors the crowd with her killer singing voice, finds improbable romance, and helps save the club from total rack and ruin.
The beginning skips along at a mostly enjoyable clip, but suffers from major arrhythmia, mainly propagated by the immiscible interlacing of abrasive pop songs and traditional burlesque staples on the soundtrack, and by writer-director Steve Antin's poor grasp of montage. The musical numbers are expectedly glittery and randy, featuring plenty of sequins, ostrich feathers, flashy lighting, raucous editing, and enough boobs & booty shots to fill a 14 year-old's hard drive. Clearly it's been influenced by the likes of its older cousins Chicago and Moulin Rouge!. If that's all you came for (guilty), the first half will serve you reasonably well.
Aguilera is undoubtedly a talented musical performer, but her acting could use a lot of work, as she just can't strike a convincing balance between naïve farm girl and brassy go-getter. Her costar Cher acts with much more conviction, and her big entrance number “Welcome To Burlesque” is the best part of the film.
The second half starts to drag. Big time! Less sexy hip-thrusting and more contrived drama that simply grinds the whole thing to a halt. Had I but known! I'd have had no problem leaving after 60 minutes.
As for Oscar, I'd venture that the original song “You Haven't Seen The Last Of Me” by six-time nominee Diane Warren could be nominated. There's also an outside chance the bling-bling costumes and sets could find room, but I wouldn't count on it.
** out of ****
My response: “As well it should be.”
Christina Aguilera (cast more for her ferocious set of pipes than her “acting” ability) plays a hopeful young talent from Iowa who makes the trek to Hollywood where she starts off waitressing at a burlesque lounge run by a sardonic impresario played by Cher (the movie's real attraction). In typical rags-to-riches fashion, Aguilera eventually kick-steps her way to the stage where she floors the crowd with her killer singing voice, finds improbable romance, and helps save the club from total rack and ruin.The beginning skips along at a mostly enjoyable clip, but suffers from major arrhythmia, mainly propagated by the immiscible interlacing of abrasive pop songs and traditional burlesque staples on the soundtrack, and by writer-director Steve Antin's poor grasp of montage. The musical numbers are expectedly glittery and randy, featuring plenty of sequins, ostrich feathers, flashy lighting, raucous editing, and enough boobs & booty shots to fill a 14 year-old's hard drive. Clearly it's been influenced by the likes of its older cousins Chicago and Moulin Rouge!. If that's all you came for (guilty), the first half will serve you reasonably well.
Aguilera is undoubtedly a talented musical performer, but her acting could use a lot of work, as she just can't strike a convincing balance between naïve farm girl and brassy go-getter. Her costar Cher acts with much more conviction, and her big entrance number “Welcome To Burlesque” is the best part of the film.The second half starts to drag. Big time! Less sexy hip-thrusting and more contrived drama that simply grinds the whole thing to a halt. Had I but known! I'd have had no problem leaving after 60 minutes.
As for Oscar, I'd venture that the original song “You Haven't Seen The Last Of Me” by six-time nominee Diane Warren could be nominated. There's also an outside chance the bling-bling costumes and sets could find room, but I wouldn't count on it.
** out of ****
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