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The musicality's driving the plot along isn't quite as awkward as I expected, yet awkwardness is there, and common within the musical aspects, and with the musical aspects being so exceedingly prominent in the story structure, you better believe that this film's plotting is often rather problematic. The musical aspects that drive this film heavily are indeed competently crafted enough to aid in the final product's being as rewarding as it is, yet the incorporation of the musical goes plagued by a bit of inorganic forcefulness that not only overwhelms certain set pieces with profound prominence of musicality that distances you from reality considerably, as well as over-the-top flashiness to exacerbate the already pretty well-established cheesy aspects, but leaves the plotting that should be built around the music rather than more along the lines of a slave to the musical aspects to come off as more awkwardly manufactured than fluid. Now, we're talking about a Joel Schumacher-directed and written adaptation of a musical adaptation of a romantic drama dealing with an opera here, so it's not like you can't see corny coming, yet that hardly makes the cheesiness any less problematic, for although some fluffiness gets to be snappy, all too often, it's more along the lines of sappy, turning in some cornball set pieces and dialogue that momentarily take you out of the film, though perhaps not as much as much of the forced musicality. Still, make no mistake, this operatic opus hardly goes unhaunted. A film like this, on the other, regardless of what the critics say, is what Butler and Schumacher should be gunning more for. Man, that poor son of Scot just isn't doing it for the critics when it comes to romances and, well, that's good, because his romantic comedies deserve it. I reckon the critics can't help but look at cheesiness in a Joel Schumacher film and not think of "Batman & Robin", and considering that Schumacher is nothing short of cheesy, whether it be on a "Batman & Robin" scale or whatever, I guess he'll continue to never catch a break, as sure as Emmy Rossum will clearly have a hard time breaking out as a major star, even with a hit this massive under her belt, and Gerard Butler will never catch a break when it comes to romance films of any kind. Man, I certainly don't agree with the Rotten Tomatoes consensus, but I love how it goes on and on about how the film is "histrionic, boring, and lacking in both romance and danger", and then they turn right around and basically say, "Oh yeah, but it looks pretty". Speaking of finally getting the musical version, this is certainly Joel Schumacher's big return to the magical world of musicals, only this time, he's actually dealing with white people problems instead of trying to be "that white guy" who does a black film, which is probably why this film got better reviews other than "Sparkle", which isn't to say that this film's reviews have been all that glowing. even though it was a booming financial success and hit with audiences, though that's probably because the non-critic drama geeks likely didn't know about Joel Schumacher's filmography. and no film adaptations since, so that should probably tell you about how well this film did with critics. Man, this novel has been adapted to death, then back again actually in the form of a phantom, then back to death again, but now, we've got ourselves a little twist. It took them, like, 78 tries, but they finally got the musical version, which, in all fairness, didn't hit the stage until nearly 80 years after "Le Fantôme de l'Opéra" came out, but that still narrows the number of adaptations down to about 43 since 1986. The Lord of the Rings: The Rings of Power: Season 1.The Lord of the Rings: The Rings of Power: Season 1 The BMF Documentary: Blowing Money Fast: Season 1 The Bastard Son & The Devil Himself: Season 1

The Mysterious Benedict Society: Season 2 Guillermo del Toro's Cabinet of Curiosities: Season 1