Kiss of the Spider Woman

Kiss Of The Spider Woman has an intriguing premise, but it consistently undermines it's purpose with scattershot direction, aimless ambition and a lead performance that fizzles more than sparks. Now, I've never seen the 1985 original or read the book by Manuel Puig. However, I can confidently assume that this rendition of the film is missing some very key elements to the story, at least that's how it feels as you're watching it.

As the film within the film plays on, it feels completely disconnected from the jail cell we share with our 2 exquisite actors. It's not until the climax that things start to come together but it all feels just a bit unearned and pointless. The story was told in such a way that it did not start to interest me until the last quarter of the film. Disappointing as this story is a good one.

On another note, Jennifer Lopez is a good dancer and a good actress. There's no denying that. Where she faulters is her singing. Flat, the entire film. Not once was there a stand out moment for her, and she is supposed to be the film's centerpiece. It's not all J. Lo's fault though, the songs they were making her sing are incredibly lackluster.

Not one shred of pizzazz or sparkle. I couldn't wait for the songs to end so we could get back to the story, which was far more interesting than whatever Bill Condon thought he was bringing to the table with this disasterous musical that, if I'm being honest, didn't need to be a musical at all.

Overall, I didn't hate everything about it. Diego Luna and Tonatiuh are both excellent and their side of the story is easily the best part of the film. However, as far as musicals go, this was a complete miss. Almost as bad as the Cats remake. Not quite, but almost.

2 Kisses out of 5.

Watched at the 2025 Sundance Film Festival.

The original "Kiss of the Spider Woman" from 1985 is pretty good, while it does have it's fault, it's an ambitious tale of romance, politics, and meta-fiction. Based on the musical version of "Kiss of the Spider Woman", this adaptation is a mixed bag for me. I appreciate several aspects as the camerawork, the production designs, and a new direction approach from Bill Condon does offer a grand and new upscale vision of the source material. Orchestrated with some interesting musical numbers and score compositions throughout.

The performances are mostly solid as they are able to offer their emotions and attachments. What makes this not fully work is due to it's narrative being uneven with how it wants to approach it's themes and the characters, unlike the original movie (yes, I understand it is based on the musical adaptation and it's different), felt lacking with any emotional connections. Condon direction seems to struggle with certain aspects that don't feel fully balanced and ends up feeling more unstable and unmemorable.

Despite good musical score, some of the musical lyrics don't really hit a punch. Many aspects are too recapture the period times of musical eras and while I do appreciate the new approach, it doesn't feel memorable and at times, feels repetitive. Alongside with some strange dialogue choices that felt out of place.

Overall, I am left with more mixed feelings as I do love the atmosphere and the new direction it takes, but it's uneven narrative and lack of emotional connection doesn't work for me.

I've always had a deep fondness for Héctor Babenco's 1984 version. With Jennifer Lopez and Diego Luna both artists I admire in the cast of this new musical adaptation, my expectations were high. But the truth is, this film, its budget, and the cultural legacy inherited from both the novel and the original movie were simply too big for Bill Condon to handle. There's a pervasive sense of unfinishedness hanging over the whole thing.

Honestly, the moment they invited Ben Affleck to the premiere, it was clear where things were headed no studio that truly believes in its film feels the need for such a clumsy PR stunt.

I'm intrigued that Bill Condon has chosen to remake "Kiss of the Spider Woman" as a musical. Based on a Manuel Puig novel, the story focuses on two men imprisoned under Brazil's 1970s military dictatorship: Valentin, a leftist suspected of seeking to overthrow the junta, and Molina, a gay man held because of his sexuality. The narrative contrasts the characters shared plight with their sharply opposed attitudes toward power, and with the evolving hopes and stories that keep them going. Director Eduardo Barreto's 1985 adaptation garnered high praise, as did stars William Hurt, Raul Julia, and Sonia Braga. The film is a harrowing exploration of oppression which subtly pressed 1980s Western audiences about the brutal authoritarian regimes our governments backed for the sake of anticommunism, about the marginalization of both egalitarian politics and gay people throughout the world. Yet, the cellmates aren't given a free pass: They waver between selfishness and solidarity. Just when you think you've figured them out, they take a turn. Forty years later, the story seems roughly the same, but our context has changed. Today, Condon's KOTSW remake is being released into a U. S. A. That's taking its own authoritarian turn. The government isn't a military dictatorship, but the president rules by decree, defies the courts, disappears thousands of civilians daily to prison camps, and floods the streets with troops at the slightest pretext. Fittingly, Andor star Diego Luna takes over Raul Julia's role as the revolutionary Valentin.

Above all, this is half musical, half movie- and perhaps not a moviegoer's favorite combination.

I first watched the original Kiss of the Spider Woman nearly twenty years ago. The 1985 version was a landmark - both a critical and commercial success - and by the time I discovered it, it had already earned its place as a classic. I never saw the Broadway musical adaptation, but the new 2025 remake brings an intriguing reinterpretation: a re-imagined musical that shifts its focus from identity, sexuality, and politics to themes of imagination, transformation, and the power of art to inspire life.

This shift in focus, however, is precisely what seems to divide audiences. Musicals are not for everyone, and for many fans of the original, the idea of turning a politically charged drama into a stylized Hollywood musical feels like a dilution of its essence. Despite the strong marketing campaign and high expectations, I anticipated that this version might struggle to connect with general audiences - and I wasn't entirely wrong.

That said, the storytelling remains engaging and structurally sound. The characters are vivid and entertaining - particularly Jennifer Lopez as the glittering fantasy showgirl Aurora, who brings charisma and flair to her scenes. But with a terrible make-up and wardrobe... Musical numbers such as "Kiss of Spiderwoman," "Gimme Love," and "Only in the Movies" are catchy and well-executed, adding bursts of energy and theatricality. The choreography is polished but visually boring, and often the film's saving grace from autonomy.

Performances by Tonatiuh and Diego Luna are compelling from an acting standpoint, though their singing voices lack the strength one might expect from a traditional musical. This seems to be a growing trend, following the likes of Emilia Pérez - prioritizing raw, untrained vocals to achieve a more "authentic" sound. It's an interesting creative choice, though not always effective.(!)

Visually, the film's dual-world structure - alternating between gritty realism and vivid fantasy - gives the impression of two different directors at work. Unfortunately, the lighting and color palette don't always harmonize with the story's tone, leaving some sequences feeling uneven or over-stylized, and some very weak and dark.

At over two hours, the pacing does drag at times, and while the musical interludes add life and spectacle(for the music lovers), they may test the patience of those who aren't fond of the genre. Still, for viewers open to experimentation, Kiss of the Spider Woman (2025) offers a refreshing if flawed reinterpretation - one that dares to transform a somber political drama into a dazzling exploration of imagination and escape.