Live-action musical films such as West Side Story (1961), Mary Poppins (1964), My Fair Lady (1964), and The Sound of Music (1965) once thoroughly populated theaters and dominated the box office in the 1950s and 1960s. Now, modern audiences are accustomed to seeing only a few traditional large-scale movie musicals in theaters each year. Compared to the past, movie musicals today aren’t perceived as a solid investment.
Movie musicals, however, have started making a comeback in the 21st century after the latter 20th-century shortage. 2021 appears to be a great year for traditional movie musicals despite the COVID-19 pandemic. Three big-budget movie musicals are set to hit theaters: In the Heights, Dear Evan Hansen, and a West Side Story remake. Besides some setbacks (*cough cough* Cats), we may have finally reached a point where movie musicals are seen as relevant again.
As a massive musical theater nerd, I thought it would be fun to rank some of my favorite 21st-century movie musicals in order to celebrate these upcoming additions. The films on my list prove that modern audiences can still enjoy movie musicals, and that making new ones isn’t a misguided effort. For this list, I will only be discussing films that I personally enjoyed—apologies to any Les Misérables (2012) or The Greatest Showman (2017) fans. Furthermore, I will only include films where the musical numbers are non-diagetic, meaning the characters are not actively aware that they are in a musical, so no films such as Pitch Perfect (2012). Lastly, I will only be discussing live-action musical films, instead of animated ones like Frozen (2013) or Moana (2016).
8. Into the Woods
Into the Woods (2014) is a film adaptation of Stephen Sondheim’s stage musical of the same name. The film follows several famous fairy tale characters such as Cinderella and Little Red Riding Hood who travel through the woods as they attempt to live out their dreams. The stories are interconnected by the characters of The Baker and his wife, who are searching the woods to find magical ingredients to make a potion that will undo a curse placed upon them.
Into the Woods is a fun, darker perspective on fairy tales that many Americans might be unfamiliar with. The story smartly questions the logic of fairy tales and whether it is wise to blindly seek out your dream if it comes at the detriment of others. Sondheim’s music and score, difficult as it is to read and perform, has always astonished me by how masterfully it illustrates conflict and character development. Thankfully, Into the Woods boasts a phenomenal ensemble cast that can sing the challenging music while also demonstrating the necessary emotion. Standout performances are given by Emily Blunt, Anna Kendrick, Chris Pine, and Hollywood legend Meryl Streep. Although this will undoubtedly elicit gasps of horror from various fans, I typically view Streep’s musical ability as barely passable and competent, even in beloved movie musicals such as Mamma Mia! (2008). However, Streep is a perfect fit for the role of the prickly, abrasive Witch and she does a great job speak-singing.
Into the Woods does significantly suffer from its pacing. It becomes a little tedious constantly having the characters singing about what they have done instead of witnessing it firsthand. I believe that the filmmakers knew this and tried to fix it by shortening the second half, yet this makes the problem worse. The second half feels loosely tacked on in the film adaptation, whereas the stage version’s second half emphasizes the moral of the entire musical and the complications with some fairy tales. Furthermore, the film adaptation also struggles to fully embrace Into the Woods’ tone and humor. The film removes some of the darker, more questionable scenes in the stage version such as Rapunzel being crushed to death by the Giant’s Wife. Confusingly, the film fails to capitalize on its lighter tone and incorporate more humor. The stage musical can be very funny, but the film adaptation decides to play various scenes straight for no apparent reason.
However, from an overall perspective, the music and cast more than compensate for the film’s shortcomings. Into the Woods cements its legacy among 21st-century movie musicals for unforgettable moments such as Anna Kendrick singing “On the Steps of the Palace” as Cinderella.
Best Musical Number: Moments in the Woods
There are a lot of great numbers to pick from Into the Woods, but “Moments in the Woods” is my favorite because of Blunt’s wonderful performance as The Baker’s Wife. “Moments in the Woods” is a song about her conflicted thoughts after she succumbs to advances from Cinderella’s Prince. Blunt’s singing is lovely and she makes her adulterous character become sympathetic and funny. The song’s featured lesson about how one should learn from their mistakes is also quite profound.
7. La La Land
La La Land (2016) is an original film directed by Damien Chazelle. The film is about two people, an actress (Emma Stone) and a jazz musician (Ryan Gosling) who meet in Hollywood and fall in love, but are gradually pulled apart by their careers.
La La Land is a gorgeous, refreshing movie musical. Chazelle demonstrates his reverence for movie musicals such as Singin’ in the Rain (1952) and his masterful skill as a director with brilliantly shot musical numbers. The breathtaking production design and cinematography throughout the film transform Hollywood from a drab city of highways into a magical place of wonder. The story at the center of the film is also incredibly moving, emphasizing the sacrifices people choose throughout their lives. Stone and Gosling are an endlessly charming pair and do the story justice. Their near-perfect chemistry accentuates the story’s believability and makes it all the more emotional and heartbreaking.
Unfortunately, despite Stone and Gosling’s strength as actors, the film suffers from their relative lack of musical experience. Many people will likely disagree with me, but the film would have been better served by casting leads who could sing and dance as well as act. I know Chazelle wanted to emphasize authenticity, but Stone and Gosling’s charm and chemistry can only go so far in certain musical numbers. I was distracted throughout “A Lovely Night”—a cute, stunningly shot number—because Stone and Gosling’s choreography felt rushed and sloppy, and their singing was weak and hard to hear. Gosling’s musical performance is more egregious than Stone’s performance, but Stone still noticeably suffers from inexperience in her Oscar-winning audition song. The film also drags in the middle because it features no solid song and dance scores. The main draw of movie musicals is the big dance numbers, but Chazelle seems to forget this halfway through and then remember it only at the end.
My gripes about La La Land aside, the film is still worth a watch for its story and beautiful cinematography and design. Even if Stone and Gosling aren’t stellar musical performers, they demonstrated the potential of modern movie musicals. It’s unfortunate that most people associate La La Land with the Best Picture debacle when it is actually a decent film on its own.
Best Musical Number: Another Day of Sun
“Another Day of Sun,” which is the first number and does not feature either of the main characters, starts La La Land off strong. The song features people singing and dancing on a Hollywood highway about trying to achieve their acting dreams. The song is irresistibly upbeat and catchy, and the choreography makes the most of the unique setting. The number is also filmed to appear as one continuous shot, a cool effect that allows the audience to never lose focus on the action. I always get chills at the song’s final moment, when all the actors look at the screen and then get into their respective cars.
6. Dreamgirls
Dreamgirls (2006) is a movie musical partially based on the real-life history of a group of Motown singers known as The Supremes. The film follows the rise of a fictitious group of singers known as The Dreams as they become successful and navigate fame under a greedy, manipulative record label executive.
Dreamgirls is a dazzling tribute to Motown singers in the 1960s and 1970s. The Dreamgirls soundtrack is endlessly catchy and appealing, and encouraged me to add more Motown songs to my playlist. The costumes and production design are also gorgeous and scream 1960s and 1970s vibes. The main reason to see Dreamgirls, however, is the performances. Eddie Murphy’s portrayal of troubled singer Jimmy “Thunder” Early is one of his finest and deserved to win the Oscar for Best Supporting Actor. Murphy inhabits his normal, hilarious persona but also delivers a fantastic vocal performance while demonstrating the humanity of a faded star suffering from drug abuse. Legendary singer Beyoncé and Disney star Anika Noni Rose also bring excellent acting and vocal performances as members of The Dreams, but the show truly belongs to newcomer Jennifer Hudson. Hudson deservedly won a Best Supporting Actress Oscar for her soaring, passionate performance as Effie, the diva member of The Dreams who is eventually removed from the group. Hudson is able to make Effie both sympathetic and abrasive, a character that the audience roots for but is also constantly annoyed with. However, the true beauty of Hudson’s performance is her breathtaking vocals. Hudson is able to convey pain and fear through singing unlike any other actress before or after her.
The main problem Dreamgirls suffers from is a flimsy plot. Effie’s removal from The Dreams is supposed to serve as the film’s main conflict, but this plot thread is diminished by the introduction of side plots such as Jimmy Early’s drug problem and Deena’s acting career. Jamie Foxx’s character is supposed to be the film’s villain, but his actions feel contrived and nonsensical, seemingly done just to drive the plot forward. Because the film struggles to find a central conflict, the runtime feels bloated and the film outstays its welcome.
A flimsy plot, however, doesn’t distract from what Dreamgirls is as a whole. The musical performances are what people remember about Dreamgirls and what will convince them to see it over and over.
Best Musical Number: And I Am Telling You I’m Not Going
It’s nearly impossible to discuss Dreamgirls without mentioning Jennifer Hudson’s showstopping, Oscar-winning performance in “And I Am Telling You I’m Not Going.” The number occurs as Effie begs her friends and Curtis not to kick her out of the Dreams. Hudson is able to demonstrate the magnitude of Effie’s sadness and desperation while also delivering a near-flawless vocal performance. I can never tear my eyes away from the screen once Hudson starts singing this piece.
5. Hairspray
Hairspray (2007) is a film adaptation of the stage musical of the same name set in Baltimore during the 1960s, as the civil rights movement started gaining momentum. The film follows Tracy Turnblad, an overweight high school girl who dreams of becoming a dancer on a popular television program. After Tracy succeeds in becoming part of the show, she starts a chain of events that causes the show to reevaluate its discrimination against Black and African American dancers.
Hairspray is a vivacious, energetic film that isn’t afraid to be a little ridiculous. It reads like a love letter to dance, with cute, expert choreography accompanying a plethora of catchy songs. In between each musical number are numerous jokes that prevent the film from ever feeling too pompous. Every actor in Hairspray is perfectly cast and only adds to my enjoyment of the film. Nikki Blonsky as Tracy Turnblad carries the movie with her constant smile and infectious charm. Zac Efron pulls his weight as the romantic interest in one of his first roles outside of High School Musical, and Brittany Snow, Michelle Pfeiffer, and Allison Janney dazzle as bigoted caricatures.
The film’s main drawback is its naive attitude towards racism and possible elements of white saviorism. Hairspray treats racism as the product of a few bad apples such as Pfeiffer’s character that can easily be fixed by a couple of white Americans like Tracy. Racism isn’t depicted as a systemic problem, and the danger African Americans face standing up for their civil rights is diminished by goofy, humorous scenes between protestors and police officers. It is also worth noting that for a musical about racism, all the African American characters in Hairspray are supporting roles. Elijah Kelley, who portrays an African American dancer named Seaweed, gives one of the strongest performances in the entire film but isn’t given the screen time he deserves.
This drawback doesn’t affect the overall product of Hairspray too much, and the film remains one of the best modern movie musicals. Hairspray shows that films can be successful simply for being fun, and that 21st-century movie musicals don’t have to take themselves so seriously.
Best Musical Number: You Can’t Stop The Beat
“You Can’t Stop The Beat” is undeniably the best number and most popular tune featured in Hairspray. The performance occurs when Tracy unexpectedly shows up to the television program to compete for a pageant crown and to help change the program for the better. It’s a great payoff given that the entire movie has been leading up to this scene. Each character gets a moment to shine in front of the camera and demonstrate their amazing singing and dancing. The choreography is expertly done and it’s almost impossible to resist the urge to dance along.
4. Enchanted
Enchanted (2007) is an original, live-action Disney musical about a princess named Giselle (Amy Adams) who is transported from her fantasy cartoon world into present-day New York City. Giselle is pursued into the real world by a prince who wishes to save and marry her, as well as by an evil queen who wishes to kill her.
Although Enchanted technically breaks my rules by being partially animated, I couldn’t resist the opportunity to praise this film. Enchanted is a hilarious update to the Disney princess formula and lovingly makes fun of various Disney tropes. The premise is clever and well thought-out, from the production design to the musical numbers. The songs are catchy and ably convey the film’s clashing fantasy and realistic elements. The performances in Enchanted are considered nothing less than legendary, with Amy Adams’ meteoric rise to fame frequently compared to Julie Andrews’ film debut as Mary Poppins. Adams’ performance as Giselle is consistently entertaining and endearing. Giselle’s naivety and cheerfulness are cute and funny but never become annoying, a difficult feat to accomplish. James Marsden is also delightfully goofy as the prince who follows Giselle to New York City. His antics and princely mannerisms never fail to crack me up.
My opinion of Enchanted has only improved in recent years, as Disney continues to focus on remaking their classic animated films instead of creating new, original live-action musicals. Enchanted demonstrates that people love original movie musicals, especially Disney ones, regardless of whether they are animated or live-action.
Best Musical Number: Happy Working Song
When people or children think of Enchanted, their first thought is likely of “That’s How You Know,” where Giselle sings to Robert (the New York City lawyer played by Patrick Dempsey, who Giselle falls in love with) about how one should express their love. However, my mind always goes to “Happy Working Song,” where Giselle sings a cute tune that attracts vermin to help her clean up the apartment where she is staying. The cheerful number perfectly embodies the beautiful absurdity of Enchanted and never fails to make me laugh. Adams’ charm and singing talent are on full display and demonstrate why she deserves her current status as a Hollywood A-lister.
3. Sweeney Todd: The Demon Barber of Fleet Street
Sweeney Todd: The Demon Barber of Fleet Street (2007) is another adaptation of a popular Stephen Sondheim stage musical. Directed by noted horror mastermind Tim Burton, Sweeney Todd tells the story of a crazed barber (Johnny Depp) who comes to London to seek revenge on a corrupt judge who previously exiled him. After failing to kill the judge, Sweeney Todd flies into a murderous rage and starts killing his barbershop clients, whom his partner Mrs. Lovett (Helena Bonham Carter) then cooks into meat pies to serve to the public.
Sweeney Todd is probably the most disturbing, unique movie musical on this list. The film combines elements of the slasher genre and the musical genre to create a masterpiece. Sondheim’s score is mesmerizingly haunting and increases the tension felt throughout the film. The blood effects are grotesque and would make doctors feel squeamish. The cast is a sight to behold, delivering perfectly creepy performances and supplementing Sondheim’s eerie score. The film depends on the strength of Johnny Depp’s performance as Sweeney Todd, and Depp steps up to the plate, making his character believably insane from his ghoulish makeup to the deranged look in his eyes. Helena Bonham Carter’s Mrs. Lovett is the ideal complement to Depp’s Sweeney Todd, almost stealing the show with her failed moral compass and blind devotion. Alan Rickman is perfectly cast as the corrupt, evil judge, increasing the list of his memorable portrayals of villains.
People may be reluctant to see the film because of Depp’s recent controversy, but I urge them to see it anyway. I rarely encounter a movie that both completely repulses me and terrifies me to the bone. I also consider Sweeney Todd all the more impressive given that slasher movie musicals often come across as overly campy, such as Anna and the Apocalypse (2017) or Stage Fright (2014).
Best Musical Number: Epiphany
“Epiphany” is the film’s most terrifying number, representing Sweeney Todd’s full descent into madness after failing to kill the judge. Having seen him murder one person already, the audience knows how dangerous Sweeney Todd is and that he is not joking when he says he wants to slit the throats of random people. Depp gets to demonstrate the range of his acting and vocal ability, and I love the way he is staged throughout the number. The staging emphasizes how unaware the people of London are that a demon is about to be unleashed on them.
2. Moulin Rouge!
Moulin Rouge! (2001) is a jukebox musical directed by visionary Baz Luhrmann. The film follows a young writer named Christian (Ewan McGregor) as he falls in love with a courtesan named Satine (Nicole Kidman), who is the star of a French cabaret known as The Moulin Rouge.
Even though I don’t typically like jukebox musicals such as Mamma Mia!, I adore Moulin Rouge! Other than Sweeney Todd, Moulin Rouge! is probably the strangest and most unique movie musical on this list. Many people liken the experience of watching Moulin Rouge! to an absinthe trip, and I agree with that assessment. Moulin Rouge! is incredibly bright and fast-paced, never letting the audience grow comfortable with the status quo or a musical number. Luhrmann’s use of hit songs such as “Your Song” and “Diamonds are a Girl’s Best Friend” for the musical numbers work because they adhere to the rapid editing style of the overall film. The production design and costumes also play into the film’s absurdist nature, making it seem like a weird dream.
Ewan McGregor’s portrayal of Christian is phenomenal, and in my opinion, it is the finest male movie musical theater performance of the 21st century. McGregor’s voice is strong and powerful, but can also be vulnerable when it needs to be. Christian is also required to go through a variety of emotions, all of which McGregor cycles through with seemingly ease. Nicole Kidman’s performance as Satine, while not as strong as McGregor’s performance, is still very good. Kidman can be silly and overtly sexual during the lighter scenes at the beginning of the film, but is also able to be emotionally wrecked and melancholy at the climax. Her vocal performance isn’t transcendent, but it serves the movie fine, at least better than Stone’s voice did for La La Land.
I will admit that the flashy style of Moulin Rouge! is not for everybody. The film can be hard to follow and the viewer will crave a break and not be given one. My rule of thumb is that if you enjoyed other Luhrmann films such as The Great Gatsby (2013), you should give Moulin Rouge! a watch.
Regardless of what anyone thinks of Moulin Rouge!, all movie musical fans should thank Moulin Rouge! (and my top-ranked Chicago) for bringing movie musicals back into fashion. Moulin Rouge! was the first large-budget movie musical of the 21st century to defy conventional wisdom and succeed at the box office. Movie musicals today can be less concerned with their widespread appeal and take more risks because of Moulin Rouge!
Best Musical Number: Come What May (Reprise)
The reprise of “Come What May” is my favorite musical number on this list. “Come What May” is the only original song in Moulin Rouge!, and it is sung by Christian and Satine to demonstrate their love for one another. The song is a beautiful, soaring tribute to the power of love, and I don’t want to spoil it by saying much more. I will say that I had to watch this number three times because I couldn’t get through it the first two times without sobbing like a madman.
1. Chicago
When people think of modern movie musicals, they inevitably think of Chicago (2002), for good reason. Chicago is THE modern movie musical, the film that musical theater nerds and casual moviegoers alike adore, the film that officially ushered in a new era of big-budget movie musicals.
Chicago is set in the 1920s during the Jazz Age and follows the sensationalized trial of Roxie Hart (Renée Zellweger) after she murders a man with whom she was having an affair. Roxie’s growing profile threatens the career and fame of Velma Kelly (Catherine Zeta-Jones), another murderer, and the two struggle against one another for publicity.
Chicago is an unapologetically loud, colorful movie musical. From the opening number “All That Jazz,” the film never stops inundating the viewer with instantly memorable, impeccably choreographed musical numbers. The musical pieces never feel the same and are distinguished by their pace and style of dance. “All That Jazz,” “Cell Block Tango,” and “I Can’t Do It Alone” not only rank as some of the best musical numbers of the 21st century, but of all time!. Furthermore, the film uses a unique plot device that helps separate Chicago from other modern movie musicals. The musical numbers are portrayed as a part of Roxie’s imagination, while the trial and everything else are shot as a part of her reality. This clever plot device allows the musical offerings to use more creative and outlandish production and costume designs as compared to the film’s non-musical portions, adding to their memorability.
The terrific leads in Chicago are largely why its musical numbers are considered to be so iconic. Renée Zellweger is in peak form as Roxie, one of her best cinematic roles to date. Zellweger doesn’t shy away from portraying Roxie’s faults, such as her aggressive narcissism, but is also charming enough to make us root for Roxie. Despite this, however, Catherine Zeta-Jones is the real shining star of Chicago. Zeta-Jones’ performance as Velma Kelly is among my favorite musical theater performances of all time. Velma is equally as unforgivable as Roxie, but Zeta-Jones is more terrifying than Zellweger because of her ability to convey emotion and anger through music unlike anybody else. The dynamic between Zeta-Jones and Zellweger is also fantastic, and I love the game of cat-and-mouse they play throughout the film.
The film’s reputation has been understandably marred in recent years given revelations about Harvey Weinstein’s relentless Oscar campaigning that allowed it to take home Best Picture. However, I still think Chicago deserves its place at the top of my ranking and in movie musical history. No one can deny that the image of Zeta-Jones as Velma Kelly is burned into pop culture. Without the commercial and critical success of Chicago, we would be living in a movie musical drought today.
Best Musical Number: Cell Block Tango
Chicago features so many iconic numbers that it feels like a crime to choose only one, but “Cell Block Tango” has my vote. “Cell Block Tango” is an expositional song, where the group of women imprisoned alongside Roxie sing about how and why they murdered their respective lovers. This premise may sound morbid, but the end product is one of the best musical numbers in film history. The tango dancing is phenomenal and perfectly translates the anger each woman felt towards their now-deceased significant other. Despite this film’s endless supply of outstanding performances, my opinion is that Catherine Zeta-Jones won her Oscar for her insanely fiery, intense portrayal in this number. One can almost feel the emotion and heat emanating from Zeta-Jones as she sings and dances.
What other modern movie musicals would you add? Feel free to agree or disagree with my choices in the comments below, and be sure to see In the Heights when it premieres on June 10!
See what else William is Currently Watching and Recommending!
I love Enchanted- one of my favorite Disney musicals