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  • Belle of the Nineties

    Director Leo McCarey, whose obsessive Catholicism in the midst of anarchic humor sometimes made him the Fritz Lang of comedy, seems slightly ill at ease when faced with the unbounded libido of Mae West in this 1934 production. more...
  • Beloved

    Characters traipse around city streets singing 60s-style pop tunes in this ungainly, overconceived musical (2011), which begins as an exercise in Jacques Demy-style romance but keeps accumulating ideas and incident until it buckles under its own weight. more...
  • The Big Broadcast
  • The Big Broadcast

    Bing Crosby was once bigger than the Beatles, and this 1932 musical comedy from Paramount must have been an inspiration for A Hard Day’s Night—early in the film there's a slapstick sequence of Crosby being mobbed and chased by crazed women, and the ending hangs on whether he'll make the big radio show in time. more...
  • The Big Gay Musical

    This comedy by Casper Andreas and Fred M. Caruso focuses on two young actors (newcomers Joey Dudding and Daniel Robinson) costarring in an off-Broadway spoof of religious-right antigay bigotry called "Adam and Steve Just the Way God Made 'Em." more...
  • Black Nativity
  • Black Nativity (PG)

    This wholesome musical is supposedly based on the famous Christmas play by Langston Hughes, which retold the Nativity story with gospel tunes and a Moorish setting. more...
  • Bran Nue Dae (PG-13)

    Adapted from a stage show, this Australian musical-comedy seems like a project for which everyone involved had ideas but no one had veto power. more...
  • Breakin' (PG)

    Ice-T made his screen debut in this 1984 break-dancing musical, immediately followed by Breakin' 2: Electric Boogaloo. more...
  • Burlesque (PG-13)

    Christina Aguilera is an Iowa waitress who shimmies and sings her way to stardom in a fading bump-and-grind nightclub on the Sunset Strip; Cher is the owner and top chanteuse, mending costumes when not jousting with the rich developer (Eric Dane of Grey's Anatomy) who wants both the club and Aguilera. more...
  • Bye Bye Birdie

    George Sidney's tacky 1963 musical fantasy-satire about the Elvis craze, based on the Broadway show of the same title, isn't exactly good, but if you like what he does with Ann-Margret, Janet Leigh, and pink decor, it's sort of magnificent. more...
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  • Cabaret (PG)

    Bob Fosse pretends to be doing a Brecht-Weill while actually further sentimentalizing and glamorizing Christopher Isherwood's Goodbye to Berlin—adapted by Jay Presson Allen, and apparently closer to the play I Am a Camera than to the Broadway show. more...
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  • Calle 54

    A celebratory primer (2000) by Spanish director Fernando Trueba (Belle Epoque) on Latin jazz, a genre that can range from a Dizzy Gillespie big-band arrangement to a Charlie Haden ballad. more...
  • Carmen Jones (NR)

    There's something contradictory in the notion of an Otto Preminger musical: his admirable rational/realist sensibility doesn't settle too well with the whims of the genre. more...
  • Carousel

    The Rodgers and Hammerstein musical version of Molnar's Liliom, taken a step further into softness and forgettability by screenwriters Henry and Phoebe Ephron (Desk Set). more...
  • Catch My Soul

    Patrick McGoohan (co-creator of The Prisoner) directed this 1974 rock opera adaptation of Shakespeare's Othello. more...
  • Centennial Summer

    Pleasant, folksy musical comedy (1946), drawing on the tradition of State Fair and Meet Me in St. Louis with its story of a family transformed by the Philadelphia Exposition of 1876. more...