With few respites, Marshall keeps the energy humming, and his edits, unlike those in Moulin Rouge, are crisp and purposeful without overdoing it.. By the end of Chicago, just about everyone in it has razzle-dazzled someone, and so has the movie, which leaves you thrilled at how good it feels to see life, death, and girl power turned, once again, into a cabaret.. Marshall betrays the dancing by never letting us see it properly.. The net effect of the incessant dazzle is depressing.. This Oscar-la...
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