Yay I get the first review.

OK, first let me bitch a little. I have no idea how Chris Columbus is so damn successful. His directing lacks vision or purpose or strategy. It really is crap. It amazes me that he is responsible for so many successful movies. I guess he's doing something right. So what is that thing?

He picks great stories and Rent is no different. This movie isn't awesome because of what you're seeing technically. It's not awesome because his actors are showcasing amazing performances. The movie is great because the story of these friends is really heart-warming. That's it.

Now that is out of the way, to the movie itself.

i laughed. i cried. i sang. it is definitely a musical. but it's a damn good musical. anyone who is not moved by the lyrics and the stories is just a cold human being. Could the movie have been better? sure. could the acting have been better? argubly yes. This was the original cast with a couple of newbies. They all did a wonderful job however. no oscar material here but i guess that's not what they are after.

overall, a nice entertaining a B+. Another director may have done more with the great material but i'm not really complaining much.

I have to agree with Sam on this...

The film succeeds not because of good direction. It succeeds because of the amazing vocal work, the great actors and the inspiring story.

Apart from that the film really isn't that great. The entire production is rather uninspired and nowhere near as good as it could have been. That is perhaps the biggest dissapointment with the film as the story itself is more then just moving.

The actors and actresses all deliver solid performances and some of the vocal work is amazing.

At the point I'd say it's a solid B but that could go up a bit. If it weren't for the second-rate production the film could have been so much more.

D (But it gets an A for enjoyment...huh?)

This is going to be scattered and confusing. Not my most well-written post.

I always thought Rent was pretty bad, good intentions and all. The movie just, you know, shoots the play.

It never stood a chance, if they were going to stick so closely to the format of the show. The structure of the show, which requires that we shoot through 51 weeks of the year in, oh, 25 minutes cripples any chance the movie had at being moving, engrossing, etc. Feels rushed and unfinished, no small feat for a 135 minute musical. The movie had to be structured differently; it wasn't.

I have to make sure I'm writing about the movie here, not the play.

You know, I can't really review this, my thoughts wind up all jumbled (that's because, as much as I hate the material, I was entertained/amused/fascinated by every second, and will no doubt buy the DVD....I have no explanation for that...does that mean it deserves better than a D? I'm so confused.). So here are random thoughts:
-Tracie Thoms, Anthony Rapp and Wilson Jermane Heretia were really, really good.
-I have no doubt she's a wonderful stage actress, but Idina Menzel does have not have any screen charisma. Furthermore, she looked washed out and kind of ill....which would have made sense if she were one of the other characters, but I digress.
-Adam Pascal was also a bit of a weak link
-The Tango Maureen was the best sequence in the film
-I also really liked Columbus' treatment of Rent
-Light My Candle was cringe-worthy
-Rosario Dawson's Out Tonight strip number was incredibly sexy, a compliment I can rarely give a film

Columbus adds nothing to the film. But he can't shoulder the blame; all the problems are RIGHT THERE in the source material. Rent is just so goofy, preposterous, and vaguely hypocritical.

I would still kill a loved one to get to see Spike Lee's version of this.

I have to elaborate on the A enjoyment rating. It's not a BATTLEFIELD EARTH, "so bad it's good" rating. No, no. There's something unexplainably endearing about this fucking thing. I enjoyed every second. The show didn't endear to me. This did. But using any objective means I can think of, it's a complete failure.

Movie musicals have always been a rather tough sell. They are expensive to produce, hard to market and are not always guaranteed success stories. For most of the 1990s, Hollywood left all the musical business to various stage shows on Broadway, with most of the film musicals being Disney cartoons or low-budget indie films. It seemed as if the musical genre was dead and gone. But then in 2001, an edgy and colorful film called Moulin Rouge came along. Not only was it a financial success, but the soundtrack was as well. It proved to investors that people were still very interested in seeing musicals on the big screen. The next year was even better for the genre. Chicago, the adaptation of the smash Broadway play, ended up being one of the highest-grossing titles of the year and won the coveted Best Picture Academy Award. Now, slowly but surely, musicals are making their return, with last year's adapation of The Phantom Of The Opera and this year's double whammy of The Producers and Rent.

Rent has a history of both triumph and tragedy to it. The famous Broadway play that the film is based on was written by Jonathan Larson, who based the story of starving artists partially on his own experiences in New York City. The play was set to premiere Off-Broadway in January 1996, and Larson couldn't have been more excited. However, he suddenly and tragically died on the day of the final dress rehearsal - never getting to see his work fully realized. The play became a sensation and eventually moved to Broadway shortly after its premiere, winning several Tony Awards and becoming one of the most popular musicals of all time. It still plays on Broadway to this day and will celebrate its tenth anniversary next year.

The film adaptation has also had its fair share of troubles. For a long time, director Spike Lee was attached to direct the project for Miramax Films, but after they decided it was a tough sell the project seemed to die. However, Chris Columbus decided this was his dream project. The family-friendly director of the first two Harry Potter films and Mrs. Doubtfire passed on the idea to his good friend, Revolution Studios head Joe Roth. It was back on with an estimated 40 Million budget. Then came the trouble of finding cast members. Pop singers such as Justin Timberlake and Christina Aguilera were very interested in roles, but Columbus refused. He felt that in order to remain true to Larson's original vision, the original Broadway cast should play the leading roles. It now finally comes to the big screen, boasting six of the original eight cast members. After seeing the film I can safely say that Columbus has crafted a masterpiece - a moving, exciting and vibrant film that features an important and relevant message.

The film follows a group of eight friends and chronicles one year of their lives in the poor and impoverished streets of New York City. Mark (Anthony Rapp) is an aspiring filmmaker living with the AIDS-infected Roger (Adam Pascal), who is mourning the recent loss of his girlfriend. Mimi (Rosario Dawson) is their neighbor - an HIV-positive heroin addict and exotic dancer who takes an immediate liking to the lonely Roger. Maureen (Idina Menzel) has just broken up with Mark and started a new relationship with lawyer Joanne (Tracie Thoms). Tom (Jesse L. Martin) has also found love with drag queen Angel (Wilson Jermaine Heredia), both of whom also are infected with AIDS. Finally, Benny (Taye Diggs) is the landlord - a former roommate who married rich and has a superiority complex. We follow these characters through their loves, losses and triumphs, all told through song and dance numbers that display their emotions. The music is true to the time period, mostly filled with catchy, rock-tinged tunes that appeal to the masses. The film features only a small amount of dialogue, relying on the power of music and performance to get its point across.

There's one thing that cannot be doubted. This film is a musical, through and through. The characters break into song during everyday life, whether it is on the streets or in the confines of a cold apartment room. At first it seems just the slightest bit awkward, but this feeling quickly goes away and you won't even notice by the time the film is over. It is just such an enthralling and captivating experience that it takes you to another world, allowing you to suspend your disbelief for its duration. This is thanks to the excellent score and musical numbers by Larson as well as the surprisingly excellent direction by Chris Columbus. I have always been a fan of his and find him to be an underrated talent, and he proves why here. He does an excellent job with the film, showing both the light and dark sides of life in the city. He also refuses to shy away from anything in order to make his film more mainstream. This is the first film to be released nationwide in a while that has featured such a diverse group of characters - something that may trouble audiences in conservative communities. He also doesn't shy away from the horrors of drug addiction. The scenes involving heroin usage are appropriately disturbing and well-handled. I also loved the way the film started - beginning with the actors appearing on an empty stage performing the famous "Seasons Of Love" song in spotlights. It was so simple, yet so effective. It also paid tribute to the story's theatrical roots.

The acting here is amazing and there really isn't any bad performance. Each performer really makes the character realistic and memorable, leaving an impression on the audience in their own unique way. Anthony Rapp is solid as the struggling filmmaker Mark, and he does his best with what he has to work with. He comes off as sympathetic and likable. Adam Pascal is great as Roger, giving his role lots of depth and emotion. Idina Menzel is really charismatic onscreen, especially during her musical numbers. Taye Diggs is probably the weakest link here, but it really isn't his fault. He is given the least to work with of the eight leads, but he still does a good job and has a great singing voice.

The other four actors, however, are absolutely fantastic and really drive the movie to great heights. Jesse L. Martin is amazing as Tom, someone who seems like a genuinely nice person. Martin injects a lot of soul and heart into his role, making his portrayl powerful and moving. Wilson Jermaine Heredia is excellent as the sympathetic drag queen Angel. The character isn't afraid of who he is and is always in good spirits, no matter how distressing the situation may be. Martin and Heredia have great chemistry and the audience will easily sympathize with their relationship. Tracie Thoms is absolutely breathtaking as Joanne, mainly thanks to her outstanding vocal abilities. The real star of the show here, however, is none other than Rosario Dawson. She is simply jaw-dropping as Mimi and deserves serious awards recognition, delivering the best female supporting performance of the year. She is fiery and vibrant in the role, injecting so much life and emotion into the character that you can't wait until she appears again. Every time she is on screen she never ceases to amaze - making the character relatable, interesting, deep and sympathetic. I loved every minute of her scene-stealing performance.

The songs are also another reason this movie succeeds, and the actors are all excellent in terms of vocal ability. Each one adds something to the story, with several being undeniably catchy and really hard to forget. I had a list of personal favorites. Rosario Dawson's "Out Tonight" was probably my favorite number, a fun and upbeat song aided by her excellent vocals. It was followed by "Light My Candle" and "Without You" (also performed by Dawson and Adam Pascal). I also loved "I'll Cover You" (Jesse L. Martin and Wilson Jermaine Heredia) because of its strong importance to the characters of the film. Another fantastic number was "Take Me Or Leave Me" by Tracie Thoms and Idina Menzel. There really wasn't a weak link in terms of music, although my least favorite may be the title song "Rent." I liked the way the sequence was done, but I've never been a fan of the song - not in the musical or in the film adaptation. Either way, it begins and ends with two amazing numbers, immediately grabbing the audience and never letting them go - sending them on an exciting rollercoaster of song. I'll definitely be buying the soundtrack for this film.

Overall, I was amazed at how great Rent actually was. It is truly a fantastic film - on par with the excellent Broadway musical it is based on. It features amazing music and visuals along with great performances, especially from the radiant Rosario Dawson. This powerful, exciting and effective labor of love is easily one of the best films of the year.

9/10 (A)

Well, I just upgraded my knowledge of this gap in my 1990's pop culture - from the Team America parody of Lease: The Musical to this full blown film adaptation of the original stage musical.

I have now become a Renthead, or whatever it is we're supposed to call ourselves!

Even though it actually went too far (twice!), I was able to forgive this movie because it's just so darn earnest and sweet. I felt privileged to see this last "gasp" of the original cast - far from being too old, they captured the sentimental residue of the score perfectly.

Not up to the stratospheric levels of a Moulin Rouge or even a Hedwig and the Angry Inch, but Rent is nonetheless a crackin' good movie musical that I'm going to go see more than once...

5 out of 5.

RENT
Rated PG-13: mature thematic elements involving drugs and sexuality and some strong language
Running Time: 135 minutes

The year is 1989, Christmas time. The setting? Grand old New York City. There are eight friends, Mimi, an AIDS infected stripper. Mark, a guy who just wants his documentaries to get seen by someone. Maureen, Mark's ex-girlfriend and is now going out with Joanne. Angel, a cross dressing man who has AIDS. Collins, Angel's boyfriend who also has AIDS. Roger, an inspiring guitarist. Finally, there is Benny or better known as "Benjamin Coffin III." Benny was one of Mark and Roger's best friends but when he married rich, he kind of just stopped being friends with them. By next Christmas, these eight friends will go through love, heartache, depression, loss and overwhelming curiosity.

The acting in this film is pitch perfect. Most of the original Broadway cast members have returned, reprising their roles. The two that haven't returned was the original Mimi (now played by the beautiful Rosario Dawson) and the original Joanne (now played by the wonderful Tracie Thoms). Coincidentally, the best performance comes from a RENT virgin, none other than Rosario Dawson (ALEXANDER). I wasn't sure how I'd like her performance when I was coming into the film. I've listened to the original Broadway performers for such a long time, I didn't want to get used to someone else. By the first time I heard "Light My Candle," I was hooked. She turns in a memorable, gut wrenching performance. It feels like you know her, you want her to be okay. You want to help her get through her drug addiction and her depression but you, as an audience member, can only watch her spin herself into a web, that you're not sure if she can get out of. She turns in one of the most amazing performances of the year by far. The second best performance of the play, was Mark played by Anthony Rapp. I just loved his character, he was really great. One of my favorite characters of the year, actually. He seemed like a fun guy to just hang around, someone who goes through depression but never really gets so low that he's not going to be able to pick himself up. He stays active, has his friends to guide him. He's so nonjudgmental, like most of the other people in the show. He gives one of the best male performances of the year, I have always loved his singing voice and was glad that he reprised his role for this wonderful film version. The other RENT virgin, Tracie Thoms, was great as the somewhat over-protective lesbian Joanne. I loved her singing voice as well. She had big shoes to fill and she filled them wonderfully. The rest of the cast was great, making the characters feel like actual human beings and not one dimensional characters written for a two and a half hour film.

The music is just one of the things that makes this film. It has great toe-tappers, like "Light My Candle," "Seasons of Love," "La Vie Boheme," "Today 4 U" and "Tango: Maureen." It also has wonderful depressing songs, "Without You," "One Song Glory," "I'll Cover You" and a song that was mostly cut but still somewhat intact "Goodbye Love." The music will stay in your head for a long time. All of it is so catchy and moving, that it makes you want to go out and buy the soundtrack as soon as possible.

I've been listening to RENT ever since it's come out on Broadway. I've wanted to see it for such a long time and I was ecstatic when I found out it was going to be made into a film with the original cast. That's all I and many other RentHeads could as for. Seeing "our" play with the original cast members. RENT definitely didn't disappoint. It's one of the best films of the year by far and my second favorite musical of all time. Only THE PHANTOM OF THE OPERA is a better musical. If you can handle the subject matter (homosexuality, drug addiction, etc.), I'd say go see the film. You'll be in for a real treat.

9/10 (A-)

this just totally takes away any credibility to your review..

That scared me too...

I don't understand why there is so much hate towards PHANTOM

Because it's awful.

I thought the actual original Broadway cast recording was awful but the film is amazing, imo anyways.

As a stage musical, B/B+; as a movie, C+. One problem is that the source material isn't great, as the songs aren't as pleasing to the ears as Chicago's are, but I still like it as a musical. However, Columbus didn't do much effort to make it a real movie.

Like I said, although I thought it had some great energy and a few songs I really liked (the funeral one, a couple others), it really was just a whole lot dumber than I thought it would be. Some awful, unintentionally funny lyrics, a couple horrific sequences (Maureen's protest thing), and although the death late in the film is quite moving, the resonance is fleeting, as it moves quickly onto other far more uninteresting events. Roger's car singing scene? Awful.

I give it a C/C+

Succeeds despite Columbus. Not because of him. More to come...

B-

My final thoughts on the film:

http://www.worldofkj.com/reviews/Schade/rent.php

Dissapointing but emotionally impacting. An oxymoron.

I felt that way too.

It's like I don't want to like it yet something pulls me in. It's not particularly well-made or directed yet goshdarn it, I feel like a cad and a curmudgeon if I dare despise it.

B

Exactly. I felt that if I wasn't at least impacted by it I was inhuman.

Well, If I'm inhuman, I'm inhuman, but I wasn't the least bit moved by any of it.

And it SHOULD be powerful material. But both times I've seen it, stage or screen, it failed to strike any chords in me other than laughter. Mark's movie? Hehe. Roger's song, a pop number that Justin Timberlake wouldn't be caught dead singing? Oh, man.

I wouldn't say i was moved, but I realize my lack of appreciation for the source material to begin with. I will say, at the time it was more poignant to mention AZT in a public space, however, so I understand the impact regardless of the upbeat delivery that made it sound like nothing more than popping advil.

RENT is probably the first "new" non-classical stage performance of my generation. So part of seeing this on screen was archival to me, and I liked the raw energy of some of the performers. That being sad Columbus just somehow always manages to go through every motion to make a movie and yet not build a convincing space. It felt montone and lacked any emotional resonance. I feel the same way about his Potter work. Rich, yet somehow empty.

On the other hand, after hearing the soundtrack and having people in the late 80's go nuts on this production, I realize it wasn't meant to be emotionally resonant in the first place. It's still chock full of heavy camp and sticking it to the professional world. Its interesting to look at, as the Bohemian lifestyle is, and probably should be dead. There's nothing glamorous about taking two years being unemployed and not even getting around to writing one song. So I actually sympathized with Mark Coehn and the Maureen and her lawyer girlfriend alot more than everyone else who just seemed to be chilling around. Something that used to be alot more prevalent in new York in the late 80's. Like I said, it's a play that made sense at a certain time and place, and wasn't meant to be emotional as much as it was meant to be political.

It did its job then, and now begs the question as to if resurrecting the content is poignant or not. I think it is, but would have been smarter if they'd switched up the heroine for pharma drugs. Maybe that's just me.

Anyways one I get to the understanding of the play, and the "new" style of screeching music which I don't personally love but I understand was part of democratizing theatre, then I think its fine. I think Columbus managed to miss alot of the spirit, but the cast that created the roles managed to compensate a bit for it. They don't translate well to big screen at all, so it felt awkward. I enjoyed that awkwardness. Reminded me what RENT was before it was a movie.

Is this play only about people not being able to pay the Rent? or anything more.

Way more, IMO.

That and a transvestite. And all the requisite things that might accompany a film about singing bohemians.

The more I look back on the film the sillier I find it.

You forgot AIDS. Everybody has AIDS.

Yeah. But it was alot more relevant in the early 90's, in that form. I wish Columbus had updated the contents a bit, or at least the delivery. After heavy activism on "getting it out there" through such shows as these, and street-performances and add campaigns in the mid 80's and early 90's, testing numbers and clean needle drives actually showed improvement. Then we slipped into comfort, and the numbers are back down again (tis true). And one need only look at some the consitutional proposals and stances towards homosexuality to realize its a necessity to keep bringing up as well. So while I think its important to keep the subject out in the public, some of the ways it was first delivered don't responate anymore. The AZT popping "I should tell you" song hurt. Make it seem like taking advil for a bad shoulder. But I do still think its important to keep the topics going in the mainstream, so I applaud Columbus for doing it. I just think he could have taken some liberties to make it more poignant and/or informative to a crowd in 2005.