The Producers (2005)

Based on the multi-Tony Award-winning musical, which itself was based on the 1967 film written and directed by Mel Brooks, this film tells the story of two men and their crazy scheme to make millions of dollars.

Broadway producer Max Bialystock (Nathan Lane) is at his wits' end. He hasn't had a successful show in years; every single show he produces seems to fail. His latest show, Funny Boy - a musical-comedy retelling of William Shakespeare's Hamlet - closed on its opening night.

Public accountant Leopold Bloom (Matthew Broderick) is assigned to look over Bialystock's accounts. He notices that there is a discrepancy in the books for Max's latest show, to the tune of two thousand dollars: funds raised that were not spent on the show itself, given that it closed so quickly. He mentions to Max that under the right circumstances, a producer could make more money with a flop than he could with a hit, as the show would close long before it cost the full amount of investment.

Max Bialystock (Nathan Lane) and Leo Bloom (Matthew Broderick).

At this, Max's ears prick up, and he and Leo hatch a plan to make a lot of money in a short amount of time. They decide to find the worst script they can - a show that is sure to close as quickly as possible - hire the worst director and the worst actors, raise much more money than the show will require, open - and quickly close - the show, taking their money and heading to Rio.

The script they come across is titled 'Springtime for Hitler' - basically a love letter to Adolf and Eva Peron - written by former Nazi soldier now living in New York, Franz Liebkind (Will Ferrell), who is over the moon that they have shown interest in his script, believing he can finally clear the Führer's name.

They hire the worst director they know, Roger DeBris (Gary Beach), who wants to make the show 'as gay as possible', as he believes this is what a Broadway show needs to succeed. DeBris, his personal assistant Carmen Ghia (Roger Bart), and the rest of his production team set about bringing the show to life.

Franz Liebkind (Will Ferrell).

The first actor hired is Swedish beauty Ulla (Uma Thurman), who is hired as Leo and Max's secretary/receptionist, and later cast as Eva Peron. Max and Leo both think they have a chance with Ulla romantically, which is technically the only reason they hired her in the first place.

Everything seems to be going to plan, until the show proves to be the biggest hit on Broadway in years.

The screenplay, written by Mel Brooks and Thomas Meehan, is basically identical to the book of the Broadway musical; indeed, it was these two who wrote the book, and the film is basically a screen realisation of the show. There are one or two songs - and scenes - missing from the film, but these are cut primarily for length and cinematic flow (these songs/scenes do feature in the supplementary material on the DVD of the film). As you might expect if you are familiar with Mel Brooks - and certainly if you have seen the musical, or the original film - the screenplay is absolutely hilarious.

The songs were all written - both music and lyrics - by Mel Brooks, and are likewise hilarious, and very well-written. The film's soundtrack also features underscoring, written by Glen Kelly, which utilises themes and motifs from the show's score, expanding and re-using them in a more traditional cinematic context.

Ulla (Uma Thurman).

One of the most enjoyable aspects of this film - aside from the comedy itself - is the choreography of the numerous big dance numbers. Choreographer Susan Stroman - who also was the film's director - has done an incredible job bringing these songs and dances to life. They are all well-matched to the tone of the rest of the musical, and have a very 'Mel Brooks' feel to them.

The cast performances are also good, with the definite standouts being Lane and Broderick. These two Broadway alumni - who also premiered their same roles on Broadway when the show opened - are truly in their element here. Having worked together numerous times before, they have a great chemistry together, and play off each other exceptionally well. Will Ferrell also does very well as Liebkind (he did not play the role on Broadway, but certainly has made it his own here), his excellent comic timing and delivery are perfect for the character.

Director Susan Stroman has made a wonderfully enjoyable film here, a fantastic adaptation of a very successful Broadway musical. No matter how many times I watch this film - and it has been a few at this point - I enjoy every single moment of it. If you haven't seen it yet, you absolutely must watch it soon (also check out the original 1967 film, which stars Zero Mostel and Gene Wilder as Bialystock and Bloom).

8 out of 10.

Annie (2014)

The classic Broadway musical with book by Thomas Meehan, music by Charles Strouse and lyrics by Martin Charnin - which became a film back in 1982 - has been revitalised for a new century and a new generation.

Although it resembles the original in many ways, it is for all intents and purposes a completely new story, including some newly rewritten lyrics to go along with the changes in plot and character.

Firstly, Annie (Quvenzhané Wallis) doesn't have the curly red hair that audiences of the original film will remember. Also, she is no longer an orphan, but lives in a foster home with several other girls and foster mother, Miss Hannigan (Cameron Diaz), who used to be a singer but is now simply an alcoholic who fosters the girls for the money.

Annie (Quvenzhané Wallis).

Every Friday night, Annie sits across the street from the restaurant where her parents abandoned her when she was four. She has a handwritten note from them that was left with her that says they will come back for her when they are ready, so she continues to wait for them every week, but they never come.

Meanwhile, tech entrepreneur Will Stacks (Jamie Foxx), who runs a cellphone company, is running for Mayor of New York. As he struggles to get ahead in the polls - and after saving Annie from being hit by a car - his advisors decide that perhaps if he were to take Annie in for a time, it might make him more appealing to voters.

He reluctantly agrees, and Annie comes to live with him in his enormous penthouse apartment, where she has a bedroom all to herself that is bigger than Hannigan's entire apartment, and everything she could ever want (except for her parents, of course).

Miss Hannigan (Cameron Diaz).

While she is living with Stacks, she actually becomes closer to his staff than she does to him: assistant Grace (Rose Byrne) and chauffeur Nash (Adewale Akinnuoye-Agbaje). She tries to get close to Stacks, but his tough exterior and incredibly high work ethic keep him at a distance.

The screenplay, by Will Gluck and Aline Brosh McKenna, is very well written, taking the original story and bringing it into a new century, updating it where necessary. Of course, the changes in the plot also means the songs needed to be updated, too, and new lyrics have been written - by Greg Kurstin, Sia Furler and Will Gluck - for almost every song. These new lyrics keep the essence of the original musical intact, while simply changing relevant words and phrases that the new plot require.

The score, by Greg Kurstin, primarily uses themes and motifs from Strouse's original music to tie the film together as a whole, only occasionally going in a different direction musically by developing new themes.

Annie (Quvenzhané Wallis) and Will Stacks (Jamie Foxx).

The cast all work well together, and all are wonderfully suited to their respective roles. A clear standout is Rose Byrne, but young Quvenzhané Wallis also shines as young Annie. Sure, she doesn't have the curly red hair, but she does have an on-screen presence, and can sing and dance just as well as she can act.

Director Will Gluck has done well in his attempt to update this musical. The film is incredibly enjoyable, and will still have you tapping your toes and singing along (once you get your head around the new lyrics). I would certainly recommend the film to anyone who enjoyed the 1982 version, but it's certainly not a prerequisite, and new audiences will surely love this film just as much as the original.

7 1/2 out of 10.

Hairspray (2007)

First it was a film. Then it became a hit Broadway musical. And now, it's a film again.

This adaptation of the stage musical by Marc Shaiman and Scott Wittman (with book by Mark O'Donnell and Thomas Meehan) - which was itself an adaptation of an earlier film by John Waters - features an all-star cast and many memorable song and dance numbers.

The year is 1962. The location, Baltimore. Tracy Turnblad (Nikki Blonsky) is a girl with a dream. She wants to dance on The Corny Collins Show, a music program for young people hosted by - you guessed it - Corny Collins (James Marsden). Unfortunately, her mother (John Travolta) doesn't think it would be a good idea. And she's not the only one.

The show's stage manager (Michelle Pfeiffer) also doesn't want Tracy on the show, because she doesn't think it would be good for ratings. But she couldn't be more wrong.

With the help of her best friend Penny (Amanda Bynes) and her teen heartthrob crush Link (Zac Efron), Tracy manages to secure a spot on the show, and ratings go through the roof.

Now Tracy wants to use her influence to get people of colour on the show with the white people (Remember, it's 1962, and segregation was still very much a part of American society). The show's co-host (Queen Latifah) who is usually only on screens on so-called Negro Day, gets behind Tracy's cause and vows to fight with her to see people of all colours and creeds represented together on screen.

I won't go into any more detail than that on the plot, but I do want to mention other notable cast members. Christopher Walken does an amazing job as Tracy's father; we all know he can dance, but I don't think we've heard him sing before this (feel free to correct me if I'm wrong on that). Allison Janney plays Penny's mother, and does an okay job of that (it does feel like a character she's played many times before though).

All the songs are catchy enough to find yourself humming them after the film is over (as a musical should be), and the dance numbers are beautifully choreographed.

At the time of writing, I have not seen the original John Waters film, but as this is a review of a musical film, not an adapted film as such, I don't know that that is necessarily an issue.

This film is a lot of fun, and has a very serious message behind it, too. A great way to spend a couple of hours, especially if you know the songs and can sing along.

7 out of 10.