Hairspray

Not rated yet!
Director
Adam Shankman
Runtime
1 h 57 min
Release Date
13 July 2007
Genres
Family, Comedy, Music, Romance
Overview
Pleasantly plump teenager, Tracy Turnblad and her best friend, Penny Pingleton audition to be on The Corny Collins Show – and Tracy wins. But when scheming Amber Von Tussle and her mother plot to destroy Tracy, it turns to chaos.
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Kyle Smith3
National Review



(Reviewers' Site/Bio)

  • Review: "Hairspray" the Movie Musical with John Travolta
      SMELLS LIKE TEEN SPRITES! HAIRSPRAY review by Kyle Smith Running time: 107 minutes Rated PG (mild profanity, suggestive content, brief teen smoking) “Hairspray” stars John Travolta and Michelle Pfeiffer–so is it going to be more like “Grease” or “Grease 2”? Very much the former, and this dizzy delight is going to knock the barrettes off the “American Idol”/”High School Musical” crowd. Fellas, some advice: there are going to be a lot of little hotties at this movie. Here is an ideal place to catch them off-duty, their hair up in scrunchies. No, it won’t turn you gay. From the opening number, “Good Morning, Baltimore,” sung by chipper but chunky teen Tracy Turnblad (played by a sweet-tempered little charmer called Nikki Blonsky, whose last job was working at the Cold Stone Creamery in Great Neck, Long Island), “Hairspray” is a great big aerosol can–of Reddi-Whip. No screen musical has been this much fun since “Chicago;” comparing it to the glum “Dreamgirls” is like comparing MTV to the History Channel. Not only may you be tempted to boogie right out of your seat; the spilled Coke can barely stay stuck to the floor. Going in, I was expecting the movie to disappoint, but the difference between a campy musical and a straightforward one is the difference between a smirk and a smile. This one is sweet smiles all the way through, with no hint of the eye-rolling that defines so much camp. John Waters, who wrote and directed the original 1988  movie that led to the Broadway musical version, pops up in the opening sequence, delivering one of many big laughs in a terrifically witty, fast-moving script.    The musical comedy numbers fly like confetti at a political convention, and they’re separated by only a few minutes of talking scenes as we learn that, in dreary, segregated 1962 Baltimore (post-Mencken; pre-Ripken), Tracy and her BFF (a wide-eyed Amanda Bynes, nearly as good as Blonsky) want to be on the local daytime teen dance show hosted by Corny Collins (X-Man James Marsden), where the lead dancer is a snooty alpha girl (an icy Brittany Snow) whose stagemom is the bitter, racist station manager (the sub-zero Michelle Pfeiffer). Tracy’s washerwoman mom Edna (John Travolta, looking like he swallowed Kirstie Alley whole at a Scientology meeting) hasn’t been out of the house in 11 years (“I once had a coin-operated laundromat, and I came down from that dream real quickly!) and her dad (Christopher Walken) sells gag gifts. He loves his wife: “My heart only beats for size 60.” Fortunately for all of us, there are no love scenes between Travolta and Walken. The characters are broad but the actors don’t overplay them; Travolta, for instance, who doesn’t seem like a mincing drag queen but just a shy little woman inside a body the size of the Goodyear Blimp, uses pretty much his normal voice instead of a falsetto, and Pfeiffer is hissable without stomping and screaming the way, say, Glenn Close would have. Goofy names like Prudy Pingleton aren’t played up for their jokiness but there are several inspiring and touching scenes amid the laughs, such as when the black kids get to show their stuff and when Edna leaves the house in one of the zippiest numbers, a little burst of sunshine called “Welcome to the 60s.” In school, Tracy keeps getting sent to detention, which is where the black students teach her to dance in some more nifty scenes. Because it’s 1962, blacks can’t appear on the Corny Collins Show, except on Negro Day (host: Queen Latifah). When Tracy gets a chance to be on the show–“To think that we stopped her from reaching for the stars,” crows her dad, “Here she is on local daytime TV!”–she wants to add some black to black and white TV.  Standing in their way are the station manager, the sponsor from the hairspray company, and all of society. “They’re kids, Corny,” argues Pfeiffer. “That’s why we have to steer them in the white direction.” Right, white, whatever. The delirious musical numbers are going to appeal to every female from eight to 79 and a half, and they’re filled with eye-catching details (the local Supremes-like trio, pictured on billboards, suddenly start bustin’ a groove) and funny gags about both the high school experience (Tracy dreams about kissing a cute boy from the dance show in his car–but she’s only in Driver Ed) and the era: in a bar scene, a merry gang of drinkers hoist martinis and smoke cigarettes–while toasting the babies they’re all carrying inside them.  Tracy gets her big break, by the way, because one of the other dancers on the TV show is temporarily leaving the show. “Just for nine months,” she says. The movie has two weak parts, but they come back to back: one in which Mr. and Mrs. Turnblad sing an uninspired love duet, and a scene after it in which the Queen Latifah character and Tracy lead a civil-rights march, Latifah gets handed a lovely ballad, but heavy drama doesn’t belong in this movieh, even for five minutes. It’s like biting into a hot fudge sundae and finding a carrot stick. Besides, the racial tolerance point gets made in much more clever ways throughout the movie. You can make a serious statement with humor. In the end, though Travolta isn’t really the star, he gets another highlight to add to his dance reel to go with “Grease,” “Saturday Night Fever,” “Pulp Fiction.” Who would have guessed, after “Battlefield Earth,” that Travolta would have two big hits left in the rest of his career, much less within six months of this year? Here’s hoping the biker dudes who wrote in to tell me they loved “Wild Hogs” show up at “Hairspray” and leave the theater tapdancing on clouds of cotton candy.]]>
    ...
    (Review Source)
  • Mary Poppins Returns, in Splendor
    (”Hairspray” is briefly mentioned in this.)
    Mary Poppins wasn’t broken, so Disney wisely didn’t fix it. Almost everything is the same, right down to costumes and sets that closely follow the original,
    ...
    (Review Source)

Crosswalk1
Cross Walk



(Reviewers' Site/Bio)

  • Hairspray Holds Up As a Solid Movie Musical
    Movies DVD Release Date:  November 20, 2007Theatrical Release Date: July 20, 2007 Rating: PG (for language, some suggestive content and momentary teen smoking)Genre: Musical ComedyRun Time: 107 min.Director: Adam ShankmanActors: John Travolta, Nikki Blonsky, Amanda Bynes, Christopher Walken, Zac Efron, Elijah Kelley, Queen Latifah, Michelle Pfeiffer, Brittany Snow, James Marsden, Allison Janney, Taylor Parks It’s been a long time since we’ve seen a musical comedy make it to the big screen that was worth the trouble of heading out to the local cinema-plex. Yet easily the year’s most entertaining film thus far, the bright and cheerful Hairspray, gives us a reason to like musicals again. Based on a Broadway show that was based on the 1988 John Waters film, Hairspray launches immediately into the energetic song “Good Morning Baltimore” as we meet Baltimore native Tracy Turnblad (Nikki Blonsky). It’s 1962 and teen Tracy loves only one thing, dancing. She dreams of being a regular on The Corny Collins Show, a local version of American Bandstand and performing with the show’s Elvis-like teen heart throb, Link Larkin (Zac Efron). But unlike the show’s current flock of skinny blonde girls, Tracy is short and heavy. When the show holds open auditions, Tracy skips school and is first in line with best friend Penny Pingleton (Amanda Bynes) in tow. But in spite of her dancing skill, she is rejected and humiliated by the cruel television station manager Velma Von Tussle (Michelle Pfeiffer) and her simpering Barbie-doll looking daughter Amber (Brittany Snow), currently the show’s lead dancer and Link’s girlfriend. Tracy, however, gets the last laugh as she catches the eye of show host Corny Collins (James Marsden) with some new dance moves she learned from black fellow-student Seaweed (Elijah Kelley) during a recent trip to detention. Tracy lands the gig on Corny’s show and becomes a local star. She garners additional ire from the Von Tussles with her open and on-air appreciation of the African-American kids who taught her the moves and appear on the station’s “Negro Day” broadcast. Not only is Tracy overweight, she’s a radical. googletag.cmd.push(function() { googletag.display('gpt-ad-1'); }); Fine performances by the film’s young stars are reminiscent of a time when Hollywood musicals reigned over the box office. Efron, Bynes, Kelley and newcomer Blonsky are all perfect in their respective roles, and tear up the screen with their singing and dancing prowess. The old guard actors are a lot of fun to watch as well, especially Pfeiffer who plays a villain you love to hate. The always watchable Christopher Walken is hilarious as Tracy’s goofball father Wilbur.  James Marsden, in a decidedly different part from his usual “superhero-movie-straight man,” nails the role of kitschy Dick Clark doppelganger, Corny Collins. But what is sure to cause the most stir is John Travolta’s turn as Tracy’s mom Edna. As part of the joke, the role of Edna in the earlier versions of the story on stage and screen has gone to a man. But rather than play the role as a gag, Travolta finds a sweet side to Edna, the overweight mom who doesn’t want her daughter hurt by the pretty people. Sometimes this works and sometimes it doesn’t. If you are familiar with the stage version you are probably looking for Travolta to be a little more comical than he is as Edna. But one thing’s for certain, Travolta still has those dance moves that made him famous early in his career, and now he can do them in a fat suit and high heels. The pacing sags about two-thirds of the way through when the film slows a bit to moralize about the evils of segregation. It’s a switch from the earlier approach to making the film’s racists look like ignorant fools by making fun of them, and it leaves you feeling like we had our fun, and now is our serious “learning time.” Also during several of the songs it seems like the sound dubbing was off in spots. Fans of the Broadway version will note some major plot changes, especially in the ending. Despite these minor flaws, Hairspray’s music is fun and infectious mimicking the familiar doo-wop sound of 1960s rock and roll. Its dancing and choreography energize and make you forget how very silly it is for characters to simply burst into song during the pivotal moments of their lives. In contrast to the musical numbers of last year’s Dreamgirls, the music here tells more of the story instead of bogging it down. Director Adam Shankman has managed to put together the most engaging on-screen musical since 2002’s Oscar-winning Chicago. And in some ways, Hairspray surpasses Chicago with its vastly more redeeming message. googletag.cmd.push(function() { googletag.display('gpt-ad-2'); }); if (gptClientWidth >= 992 && gptClientWidth <= 1000000) googletag.cmd.push(function() { googletag.display('gpt-ad-3'); }); CAUTIONS: Worldview: Racial segregation and interracial dating are big themes of this film, but these issues are mostly addressed in a lighthearted way. Penny’s devout Christian mother is portrayed as an old fuddy-duddy who won’t let her have any fun. Drugs/Alcohol: A small amount of drinking and smoking, most of it in the background. Language/Profanity: A handful of minor profanities. Sexual Content: Early song references a “flasher” who we see briefly startling a group of ladies standing on a street corner. Some of the teens on The Corny Collins Show, it is revealed, have stuffed padding in their bras and shorts. One of the show’s teen dancers is forced to leave because she is pregnant. During one song, Velma admits that in her youth, she had sex with the judges of a beauty pageant to win. Velma tries to seduce Wilbur to no avail. The scene is more comic than anything else since Wilbur is at first clueless about her advances, but also completely devoted to Edna. The film contains quite a few subtle sexual double entendres. Most of these will fly completely over the heads of children, but adults will pick up on them. A few dance moves are sexually suggestive, and there are several close-ups on the “bum-shaking.” Violence: Tracy bops a policeman with a sign during a protest, then runs to avoid arrest. ]]>
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    (Review Source)

Christian Toto1
Hollywood In Toto



(Reviewers' Site/Bio)

  • ‘Mary Poppins Returns’ Pulls Off the Impossible
    (”Hairspray” is briefly mentioned in this.)
    Mary Poppins Returns reviews

    Let’s tally up all the reasons “Mary Poppins Returns” should be one catastrophic dud.

    The 1964 original doesn’t fit in modern times, what with its overly strict father, gooey sentiments

    The post ‘Mary Poppins Returns’ Pulls Off the Impossible appeared first on Hollywood in Toto.

    ...
    (Review Source)

Kelly Jane Torrance1
The Weekly Standard



(Reviewers' Site/Bio)

  • 'High School Musical 3' renews youth musicals
    (”Hairspray” is briefly mentioned in this.)

    The movie musical has undergone a big revival in the past five years. When the big-screen adaptation of "Chicago" won the Oscar for best picture in 2003, it set the stage for "Dreamgirls," "Hairspray" and "Mamma Mia!" to make a lot of money. Published October 24, 2008

    ...
    (Review Source)

Soiled Sinema1
Soiled Reviews



(Reviewers' Site/Bio)

⚠️ EDGY 🔥 CONTENT 🔥 WARNING 🔥 (NSFW?) ⚠️

🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻🔻


  • Cry-Baby
    (”Hairspray” is briefly mentioned in this.)
    Cry-Baby is the undeniable mainstream cult success of John Waters' career. Although Pink Flamingos is more known to the midnight movie cr...
    ...
    (Review Source)

PJ Media Staff1
PJ Media



(Reviewers' Site/Bio)

  • 4 Ways My Moviegoing Habits Changed After I Grew Up
    (”Hairspray” is briefly mentioned in this.)
    Lifestyle I've been a movie buff all my life, but the way I consume movies (as the kids put it these days) has evolved.Sure, the technology has changed. Good thing I didn't "follow my dream" and become a film projectionist, because I'd be on the unemployment line. And I finally dumped my last box of old VHS tapes on the sidewalk the last time I moved.But I've changed, too.I've written about these changes here before, like how fogeyish it made me feel when I realized I no longer automatically identified with the teenagers in movies.Sometimes I miss the old me: the weird girl who scanned the new TV Guide with a red pen, hoping All About Eve was coming on, and who practically lived at our city's only "rep" cinema... class="pages"> https://pjmedia.com/lifestyle/2012/4/16/4-ways-my-moviegoing-habits-changed-after-i-grew-up/ previous Page 1 of 5 next   ]]>
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    (Review Source)

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