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Movie: Golden Globe nominated Christina Aguilera in 'Burlesque'
Member Since: 8/14/2007
Posts: 29,341
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Aguilera can't act, and her singing sounds like calling hogs.
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So, acting, another field where Christina doesn't shine.
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Member Since: 5/1/2007
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What's the point of a record in amount of money wasted? 
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Member Since: 4/20/2009
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i'm still dying at this part. : 
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At the press screening I attended, the audience was laughing so hard I had trouble hearing the actors. Twenty-five minutes before the end, the person next to me said, "If they're gonna get a story outta this, they better hurry."
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Something tells me even more major publications are coming in hard. there's still so many more to go up at rottentomatoes. some movies even have 200+ reviews.
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ATRL Senior Member
Member Since: 6/15/2007
Posts: 29,795
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Originally posted by Satellites
The critic is probably a.....[insert common sense here]! I am going to see it anyway.  |
Same, I'm going to the midnight premiere and I'm excited 
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Member Since: 6/25/2010
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Originally posted by SiXo
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Member Since: 9/7/2008
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It's not bad! Cant' wait for DWTS!
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Member Since: 9/7/2008
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The New York Times:
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Small-Town Girl Trades Her Naïveté for Lingerie
The old bump and grind receives a squeaky-clean workout in “Burlesque,” a backstage tease-o-rama about life in and out of corsets and garters. Sparkly and smiley and thoroughly goofy (sleepy and dopey make appearances too), the story turns on an Iowan refugee for whom the Big Time means doing the hoochie-coochie in a Los Angeles club. There, where the dancers are dollies with Pilates physiques, the mistress of ceremonies should be Alan ******* (who shows up now and again, giggling on the sidelines), but turns out to be Cher, trying her darnedest to play older and wiser but without, you know, the wrinkles and gray.
More About This Movie
Cher plays Tess, the proprietress of one of those atmospheric holes in the wall where dreams turn into realities — or at least a savvy combination of a Disney tween program and a Lifetime weepie. It’s a perfect platter for the plucky Iowan dish, Ali, played by the pop singer Christina Aguilera, who enters in white hooker heels and a bright Beverly Hills smile. By all rights it should also be a nice fit for Ms. Aguilera, a graduate of “The Mickey Mouse Club” (where she appeared with Justin Timberlake and Britney Spears) and the seasoned music-video star of spectacles like “Dirrty,” in which she trampled on poor Walt’s grave (and her own bubble-gum persona) by feverishly pumping her hips in peek-a-boo chaps.
Alas, both her moves and her feature-film debut are perversely tame (no spanky-panky here, unlike in “Dirrty”), closer to your grandmother’s fan dance than to the neo-burlesque revues that began popping up in the early 1990s. As performed by troupes like the Velvet Hammer, the new burlesque put a feminist spin on the art of the tease with women who, with their tattoos and Bettie Page dos, bore little resemblance to the androgynous hard-bodies of mainstream music videos. In the new burlesque, women not only control their images (that’s the idea, anyway), but they also redefine what alluring looks like with sometimes proudly fleshy bodies. At its most radical, it is drag for women, a place where femininity is performed, not assumed.
“Burlesque” nods, though more rightly wags its derrière, in the direction of new burlesque, but it’s strictly old school — at times, really old school — with a story line that had already gathered dust by the time the choreographer Busby Berkeley pointed his camera up the collective skirt of the chorus in the 1933 musical “42nd Street.”
As in that old-studio gem, the story in “Burlesque” unwinds both onstage and off, a twinned perspective that in most backstage musicals helps define the line between ostensible real life and performance. No such line exists in this movie, either because the writer and director, Steven Antin, hasn’t a clue what real life looks like, or he actually does and has opted to sweeten these worlds with the same softly diffused, caramelized light.
So instead of hard times of the sort faced by chorines in Depression-era musicals, Ali struggles, well, not very much at all. Soon after she lands a waitress job at the Burlesque Lounge, she takes to the stage where, to the surprise of no one but the other characters (including Stanley Tucci as Sean, Tess’s wisecracking, i.e. gay, assistant), she begins exercising her buns of steel and lungs of iron. Tess, meanwhile, spends her time trading quips with her own Eve Arden (Mr. Tucci), wringing her hands about bank loans and beaming at Ali from the wings. Every so often, Tess also grabs the limelight and belts out an ear-melting power ballad, including the vaguely threatening “You Haven’t Seen the Last of Me.”
More About This Movie
There are also a few straight male characters to keep Ali busy offstage, notably the good boy with the cool motorcycle, Jack (Cam Gigandet), who bartends at the lounge, and the bad boy with the expensive sports car, Marcus (Eric Dane), who wants to buy the club. Both are bland, pretty and sexless, just like the movie. Mostly they are guarantors of Ali’s heterosexuality, even if neither inspires the same ecstatic reverie she exhibits when she sees the female dancers perform for the first time. There’s a suggestion of a more interesting movie in the rapturous look on Ali’s face when she watches these women, something that registers as more forceful than mere admiration and edges close to a visceral sense of desire.
Given that she spends much of the movie onstage, singing and dancing in what is essentially a succession of music videos linked with backstage filler, Ms. Aguilera doesn’t have much time to embarrass herself. She’s a serviceable screen presence who has a voice and an occasional song (Etta James’s “Tough Lover”) big enough to keep her from sliding off screen. It’s a dutiful, stolid performance in a movie that quickly proves achingly dull, with none of the madness, verve or talent of Paul Verhoeven’s “Showgirls” or even the workmanlike energy of Rob Marshall’s “Chicago.” Once again, Bob Fosse’s “Cabaret” haunts the stage with derbies and splayed legs, but with results that are strictly Sally Bowdlerized.
“Burlesque” is rated PG-13 (Parents strongly cautioned). Ladies in lingerie shaking and shimmying.
BURLESQUE
Opens on Wednesday nationwide.
Written and directed by Steven Antin; director of photography, Bojan Bazelli; edited by Virginia Katz; music by Christophe Beck; choreography by Denise Faye and Joey Pizzi; production design by Jon Gary Steele; costumes by Michael Kaplan; produced by Donald De Line; released by Screen Gems. Running time: 1 hour 40 minutes.
WITH: Cher (Tess), Christina Aguilera (Ali), Eric Dane (Marcus), Cam Gigandet (Jack), Julianne Hough (Georgia), Alan ******* (Alexis), Peter Gallagher (Vince), Kristen Bell (Nikki) and Stanley Tucci (Sean
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http://movies.nytimes.com/2010/11/24...burlesque.html
The Washington Post:
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Ann Hornaday reviews 'Burlesque'
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The first genuine showstopper in the musical "Burlesque" is a brassy, bawdy anthem called "Welcome to Burlesque," a valentine to pure camp made all the more exhilarating in that it marks Cher's return to the big screen after a too-long seven-year hiatus. Granted, this uneven but infectiously cheery movie is clearly designed around Cher's co-star, 29-year-old pop singer Christina Aguilera, who in her feature film debut bumps and grinds and shimmies and belts her way to certain stardom. But "Burlesque" also offers a case study in what has made the 64-year-old Cher such a captivating and enduring presence, a star of the glitzy old school who could scandalize Hollywood with a gloriously tacky Oscar gown - and deservedly win the award.
This Story
That, you'll recall was for "Moonstruck," a lovely romance that featured just one of several stunning, serious acting turns for Cher throughout the 1980s, including her grittily naturalistic supporting turn in "Silkwood" and equally sturdy performance in "Mask."
In her eye-popping opening number and later, in a surprisingly affecting power ballad, Cher proves that she can still belt, but more to the point, she can still act. (Some of us still think she was the best thing about 1999's "Tea With Mussolini.")
Sadly, Cher and Aguilera don't sing a duet in "Burlesque." But this corny guilty pleasure of a movie is nonetheless a fitting two-hander for these seasoned pros. Aguilera plays the young, ambitious singer-dancer Ali Rose, who joins a long line of similar star-struck, steely-eyed characters when she teeters out of her Iowa trailer park to make it big in Hollywood. There, while roaming the Sunset Strip, she comes under the wise - and really well cosmeticized - tutelage of Cher's Tess, who runs the Burlesque Lounge, a fading temple of rococo excess and tatty retro glamour.
First-time writer-director Steven Antin will never be accused of breaking new ground with "Burlesque," which favors "You didn't tell me you could sing!" cliches and other familiar tropes. But even within an otherwise predictable string of stock scenes and awkwardly staged montages, Cher can be counted on to deliver "Burlesque's" most poignant and funny moments. And more often than not, those moments occur when she's trading wearily affectionate banter with Stanley Tucci, who plays Sean, Tess's longtime stage manager and gay boyfriend, with his usual deadpan humor and sensitivity.
Aguilera, whose throaty, blues-inflected voice has always stood out from the Auto-Tuned bubble gum of her peers, gets to show off her prodigious range and vintage taste in "Burlesque," where she struts her diminutive frame in progressively more bedazzling - and revealing - costumes. With pipes and well-honed showmanship like hers, it's no surprise that Aguilera completely nails the movie's production numbers, which are staged with both a nostalgic sense of teasing playfulness and the high-tech extravaganza of a rock show. (Antin cut his teeth making music videos for neo-burlesque troop the Pussycat Dolls.)
As an actress, Aguilera's understandably a bit more unsteady. Her newcomer's uncertainty fits Ali's own fledgling self-awareness, but it remains to be seen whether Aguilera can become the multi-hyphenate on par with her co-star. Certainly her lack of experience helps explain why, of the two power-ballad solos in "Burlesque," Cher's "You Haven't Seen the Last of Me" lands with such powerful force. Written by the great Diane Warren, the song is Cher's "I'm Not Going" moment, a mirror-image of the resilience, autonomy and sheer chops she's come to represent.
When Cher/Tess sighs "Let's get this over with" before the song, her reluctance is obviously pure hooey, the kind of Hollywood artifice that "Burlesque" celebrates without a trace of irony. What's more, it provides welcome respite from the film's chief flaw, which is Antin's penchant for a constantly moving camera and whipsaw editing. What is clearly a sop to MTV-weaned younger viewers unaccustomed to letting a scene play out has become the scourge of movie musicals, where filmgoers can barely get a sense of where players are on the stage, let alone what their bodies are doing. There must be good dancing in "Burlesque;" too much of it gets lost in a Cuisinarted welter of swish pans and jump cuts.
"What happened to all the great dancers in L.A.?" Tess asks Sean at one point. "They're on 'Dancing With the Stars,' " he quips. And look! There's one now! DWTS's own Julianne Hough plays one of Tess's dancers, as does Kristen Bell (unblonded and almost unrecognizable), who engages in "Burlesque's" most picturesque catfights, both on and off the stage. Alan *******, nodding coyly to his own breakout performance in "Cabaret," is shamefully underused as the club's heavily guylined doorman-slash-bouncer, although we see plenty of Cam Gigandet as Jack, the Burlesque's cute bartender and Ali's (mostly) chaste love interest.
No less than Peter Gallagher, Eric Dane and James Brolin round out "Burlesque's" superlative cast, but make no mistake: This is a girls' movie throughout, from the spangled, sequined female drag queens onstage to the two powerhouses sharing the spotlight on screen.
As a musical, a backstage coming-of-age drama and an ingenue's burstingly assured star turn, "Burlesque" proves a worthy addition to those canons, landing on the respectable side of the "42nd Street"/"Showgirls" spectrum.
But it succeeds most as one generation's transfer of pop culture wealth to another. "Remember," Tess advises one of her dancers, "if you fall off the stage: legs extended, boobs out." That might as well be Cher's motto for life, the watchwords of a consummate professional who knows that, to survive, every diva needs a dash of self-deprecation. "Burlesque" delivers eyeful after eyeful of rapid-fire opulence and spectacle. But its most memorable sight is the indelible image of one star taking flight, and another triumphantly staying put.
Burlesque rr1/2 (100 minutes, at area theaters) is rated PG-13 for sexual content including several suggestive dance routines, partial nudity, profanity and some thematic material.
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http://www.washingtonpost.com/wp-dyn...112305731.html
Boston:
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Burlesque
‘Burlesque’’ lasts about 100 minutes. It doesn’t feel a hair over 95. It’s entertaining enough, like watching a celebrity workout film with a plot. But never once is it believable. Really, the movie should last 30 seconds. Christina Aguilera comes to Los Angeles from Iowa looking to perform and winds up in a female revue run by Cher. When her character, Ali, gets her big moment, she belts out a number that almost makes Cher cry. Ali could have saved herself the trouble and sang in front of the power-lunchers at the Ivy and been turned instantly into Christina Aguilera.
“Burlesque’’ is the sort of movie that asks us to pretend that we don’t know that this girl can sing. Or, rather, it asks us to wait for logical opportunity to stop pretending.
How an instrument like hers has been lying undiscovered on a farm in Iowa for 20-odd years defies the laws of the entertainment. Aguilera doesn’t have a set of pipes. She has a 4,100-horsepower engine. When she sings in this movie, the club’s audiences make the same face people did when Mark Wahlberg unzipped his pants in “Boogie Nights.’’
Ali’s big moment arrives when the revue’s resident shrew (Kristen Bell) tries to humiliate Ali by shutting off the music she and the other dancers have been using to lip sync in front of a packed house. The shrew thinks she has Ali right where she wants her. But Ali does a bit of pretending herself — as if she doesn’t know what to do — then proceeds to knock everybody’s socks off. The wait was worth it. But for her movie debut, why stick Aguilera in a performance musical? We already know what that voice can do. Why not have her play Xtina, a superhero who fights crime with her octave range? At least then she and Cher would be evenly matched.
Aguilera has a natural screen presence, more so than other singers — Tim McGraw, Jennifer Lopez, Madonna — who’ve devoted a lot of time to acting. But you watch Aguilera flit about in this nothing part and wonder if she really aches to impress you the way a Beyoncé does. Beyoncé isn’t a natural actor. She is, however, an insatiable one. Aguilera conducts herself here like a woman who knows from where her next meal is coming (expensive record producers).
And so, alongside a star like Cher, Aguilera no longer exists. As it turns out, that face of Cher’s remains a peerless instrument. It’s tight and shiny and angled (she’s 64 now), but it’s not a mask. It belongs to a wise woman with a performer’s heavy soul. A movie called “Burlesque’’ is probably not the place to bare it. Still, if you cut Cher, she’d bleed showbiz. Her opening minutes promise the world — or least the world of cosmetics. She rises from piles of dancers like a lipstick. Then she turns into a den mother, offering makeup advice and bantering with Stanley Tucci, playing another legend’s quipping gay sidekick.
She smashes a car window, refuses to sell her club to the real-estate sleazebag (the sheet rocky Eric Dane) who’s putting the moves on Ali, and performs a song — “You Haven’t Seen the Last of Me’’ — alone on the stage. Is this really a song Cher needs to sing? Greta Garbo, perhaps. Or a particularly cheeky Whac-a-Mole. But not a woman with this much Vegas under her belt. Are we to believe that, even in this economy, Cher — or a woman Cher is playing — would be running a club strapped for cash and that that place would be like the ***** Cat Dolls doing a dinner-theater production of “Cabaret?’’
At some point you wonder whether Ali and her boss will share a song. They do not, and my guess is we were spared. But that raises the question of why “Burlesque’’ exists at all. To unite two generations of gay men, I suppose, to remind fans of both women that they still have it, to give the costume designer of Hollywood something splashy to do. Of course, all the beads and feathers on display raise humanitarian concerns, like how many Muppets were killed to make this movie?
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http://www.boston.com/ae/movies/arti...atch_for_cher/
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Screen Junkies:
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Burlesque
I knew the story of Burlesque before I even saw it. Stop me if you’ve heard this. Ali (Christina Aguilera) starts out in a farm town dump called Dwight’s bar, but she leaves for L.A. dreams. After she can’t get work as a professional dancer, she stumbles into Club Burlesque, where she sees an extraordinary show put on by Tess (Cher) and her girls.
Tess isn’t interested in another wannabe, but Ali proves herself. On her rise up to the top of the burlesque game, Ali displays a secret talent that could save Club Burlesque from foreclosure. However, success also attracts temptations for Ali. She feuds with the other dancers and that flirtation with the model hot bartender Jack (Cam Gigandet) may or may not turn into more than friendship.
You know the story. It’s Funny Girl in lingerie. Burlesque has good music and dancing, so that’s all it needs. It’s no Step Up 3D but they put on a good show. They’re not as awesome as the “Hellcats” but their kicks are still impressive. It’s a high energy party full of fun camaraderie.
I really like this version of the archetypal story. They always have the doe eyed dreamers imagine they’re the stars. At least when Ali pretend sings to herself, it’s Christina Aguilera belting it out and doing real choreography, not some America’s Sweetheart lip syncing into a hair brush.
Ali absorbs the choreography like she’s downloading it from the Matrix. They’ve got montages where she practices her moves on the street. She’s Full Montying it. When they have to have a plot, the dialogue is witty with puns and inside jokes. How else do you want them to get through this plot? That nickname line is classic. They get catty too, and there’s high melodrama. Tess’s mentorship is honest and present. She’s not sure about her feelings, she’s just sharing them. That’s the difference between A-list writing and clichés. The A-listers give it a little life. Tess’s number two Sean (Stanley Tucci) gets some great moments of wisdom with a little more life than the usual wise old gay comic relief.
The film is definitely loaded towards Aguilera. Sorry, Cher fans, but at least Tess randomly comes in late one night to do a solo. They should throw that in more. That’s what movies are for, just have characters be awesome just to be awesome. Now it seems like that’s just how Tess rolls. She comes in to sing demos for the Oscar reel. Somehow they forgot to do a duet though.
I don’t understand the level of some critical hate though. Do they just hate evergreen stories every time they come back around? Okay, but do they hate fun too? A movie ticket price is a bargain for this level of A-list stage spectacle, and they point the camera at all the good parts so you don’t miss anything. You’ll be singing the songs all the way home. At least I did.
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Los Angeles Times
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Movie review: 'Burlesque's' pop tarts
It's showtime all the time in this film about a dance club starring power vocalists Christina Aguilera, Cher and any number of dancers and razzle-dazzle costumes.
Think of "Burlesque" as one ginormous music video theme party thrown by Christina Aguilera, with Cher in the house, plus boas, bustiers and dancing girls and about a thousand humongous Broadway-style showstoppers. Which is a far better way to consider "Burlesque" than thinking of it as a movie — there, words fail. (Their words, not mine. I'm a long way from finished here.)
But should you find yourself in the mood for Big Musical Numbers by the score rather than a film, there's a lot to like about "Burlesque." Anyone who's listened to Top 40 radio in the last decade has no doubt been blown away by Aguilera's powerful pipes and wide vocal range that puts her in Whitney Houston territory. She's pure pleasure to listen to, for a while. The singing-songwriting pop phenom is a cutting-edge maestro of the music video too. She was creating provocative pomp and circumstance extravaganzas long before Lady Gaga was saying "gaga." (OK, that might be a slight exaggeration.)
"Burlesque," then, is a safe place for Aguilera to show off her song and dance chops. And that she does, belting out bluesy songs left and right, many inspired by that smoldering torch queen Etta James, while bumping and grinding around the stage with other pretties for roughly two hours straight. Whew.
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It's a visual feast of feathers and rhinestones and pearls that makes you want to use words like razzle-dazzle amazing when talking about costume designer Michael Kaplan. Shot with a gorgeous lushness by Bojan Bazelli ("Hairspray" and "Mr. and Mrs. Smith"), the entire world of "Burlesque" evokes an earlier, vaudevillian era. But it's not set way back then. A ghastly "Dancing With the Stars" line lets you know that "Burlesque" is taking place "now," as does the mega real estate development that's putting the old L.A. club's fate on the line.
Writer-director Steven Antin, making his feature film debut, has borrowed the oldest story in the Hollywood book. Young girl from Iowa or somewhere in the American middle — so she's blond — comes to Tinseltown to find fame and fortune. First she will face hard times, then find a big-city cheese to woo her (Eric Dane's Marcus), a sweet Kentucky farm boy to maybe love her ( Cam Gigandet's Jack), and an aging diva (Cher's Tess) who will take her under her wing. And when she finally gets her shot at the big time — why gosh, that girl can sing.
The film begins back in the heartland with Aguilera's little orphan Ali taking cash from the register in the diner, just enough to cover what she's owed. But before she packs up and heads to the bus depot, there's that stage in the corner of the diner that beckons.…
Once in L.A, Ali hits the streets looking for work and ends up on the Sunset Strip, where the neon Burlesque sign calls her in from the night. "Is this a strip club?" she asks, blinking those baby blues at the guy in the ticket booth, played by Alan *******. To wit he answers that the only pole in here is Natasha (or Svetlana, or something equally cringe-worthy). Before you know it, Ali's chatting up that hunky Kentucky wonder who happens to bartend at the club, grabbing a tray and serving drinks, and vowing to convince Tess that she ought to be on the stage.
The filmmaker is apparently not only into borrowing plots, but recycling too since so many lines get reused like: "don't call me Ma'am" (that's Tess), "don't touch my stuff!" (that's Kristen Bell's Nikki, the young starlet who drinks too much, is always late, has a bad attitude and is about to be replaced by Ali), and "that's just the kind of friend I am" (Jack and Ali do multiple readings of that one, clearly a keeper). It's a shame because if you've ever seen "Moonstruck," "Silkwood" or "Mask," to name a few, you know that Cher can act, something she's never pressed to do here. Meanwhile, it will take more than "Burlesque" to know whether Aguilera will ever be able to make the transition.
Now when it comes to Stanley Tucci, it's another story. Truthfully I can't remember anything he says, though there was some warning about an expiration date on milk, or maybe that was love, but God bless him, that man can read a phone book and make you feel the pathos. As Tess' main confidant and best friend, stage manager Sean, he's tangy and tart and the only one you'd want to take home (though possibly Jack too, but just because he's so pretty).
On the story front, things unfold exactly as you would guess, not one surprise squeezed in anywhere no matter how hard you look. But with Aguilera and Cher center stage, there shouldn't have been any vocal issues to contend with. And yet…
As much as I love the seductive low rumble that Cher still commands (and I will pay good money to see her in her latest Final Concert Tour, of which I think there have been three thus far), and while I'll take a jolt of Aguilera in the morning over Red Bull every time, any world-class singer knows you don't keep the volume blasting and the beat rocking hard the whole time.
It is a tip they should have shared with their director — one that might have led him to add shadings and nuance, a quiet ballad here and there, a moment or two with no spangle-y things to distract you. But no, "Burlesque" is top-heavy from start to finish. Maybe that's what you do when you have nothing new to say.
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Member Since: 9/7/2008
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Originally posted by Genie00
omg amazing on DWTS.
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What?? she already performed?? 
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Member Since: 1/22/2005
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It's still getting better reviews than Love And Other Drugs...
And let us not ignore the fact that this is currently Kristen Bell's best reviewed movie this year. 
It's far from a disaster (like Glitter, Crossroads, Gigli, Showgirls, ect...) However, I'm still a little disappointed with the consensus. :-\
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Member Since: 1/22/2005
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Oh, and she totally slayed that performance.
They said she's coming back for more.
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Member Since: 9/7/2008
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Quote:
Originally posted by .Chad.
It's still getting better reviews than Love And Other Drugs...
And let us not ignore the fact that this is currently Kristen Bell's best reviewed movie this year.
It's far from a disaster (like Glitter, Crossroads, Gigli, Showgirls, ect...) However, I'm still a little disappointed with the consensus. :/ |
Exactly!! 
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Member Since: 9/7/2008
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Quote:
Originally posted by .Chad.
Oh, and she totally slayed that performance.
They said she's coming back for more. |
Streaming link? 
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Member Since: 1/22/2005
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^Not yet, she did "Show Me How You Burlesque."
So I'm assuming she'll come back and do "Bound For You."
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Member Since: 9/7/2008
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Member Since: 9/7/2008
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Quote:
Originally posted by .Chad.
^Not yet, she did "Show Me How You Burlesque."
So I'm assuming she'll come back and do "Bound For You."
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She'll sing Beautiful!
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Member Since: 11/25/2008
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Quote:
Originally posted by .Chad.
^Not yet, she did "Show Me How You Burlesque."
So I'm assuming she'll come back and do "Bound For You."
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The 2nd song is always an old 1, so I guess something from Stripped.
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Member Since: 1/22/2005
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Yeah, but don't forget she's promoting the MOVIE, not herself.
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