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This movie is really really well made. A little long, but for all the production value that went into it, it's completely worth it. A message that is just as relevant as today. All the acting, dancing, costumes, and overall production value are all absolutely top notch.

To be honest, "West Side Story" remade by Steven Spielberg was more an object of curiosity than the kind of cinematic-offer-you-cant-refuse. I could accept the premise since the Best Picture winner of 1961 was already an adaptation of the stage musical by Stephen Sondheim and Leonard Bernstein, itself an umpteenth retelling of Romeo and Juliet (which wasn't even a novelty). Such material is likely to be retouched, revisited and readapted to a modern audience and baby-boomer Steven who was enamored with the play decided to make his own version for a 2020s audience. He did well but that's not saying much.

Now, it was Godard who said the best way to criticize a film is to make your own and Spielberg's remake seems to carry some criticism against the original, and while enjoying both versions isn't an impossibility, one should question whether the changes enhance the story or not. Well, first the film doesn't take as many liberties as I expected: all the catchy songs featured in the original (practically all of them) are there... yet a few minor changes speak volumes about our world's overly sensitive mindset.

I can already imagine screenwriter Tony Kushner torturing himself with an adjective rhyming with "any girl who's not me today" during the "I feel pretty" segment until Eureka-ing with "bright" and prompting Spielberg to switch the scene from morning to night. It sounded a bit off for the word 'gay' didn't have the same connotation in the late 50s when the film is supposed to take place, that Spielberg removes it shows that he's not as much a purist as his insistance to have the Sharks talk non-subtitled Spanish implies. Sorry but either you play the full-authenticity card or you don't. Now let's get to the controversial lack of subtitles in theaters.

I saw it on Disney+ with subtitles but I can imagine the frustration in the theaters. If there's a point not to reveal the content of some exchanges, I understand, but depriving viewers from clear understanding in order to give a symbolic edge to the Puerto Ricans seems more like a guilt-trip move from a white director sucking up to the minority and it's utterly irrational. The Puerto-Rican chant might not have needed subtitles or some idioms like "guapa" or "vamos" etc, but following the same logic, wouldn't they sing "America, America" (or any songs for that matter) in Spanish then? Should we dismiss any film with foreign-speakers speaking English? Should we re-dub "Scarface"? How zealous should we get? How about suspension of disbelief, the essence of movie-making? Seriously, Spielberg's so-called respect to Spanish culture can hardly hide his desperate attempt to be 'relevant' and make the buzz through a little controversy. Not that it helped the film.

Some good points though: Rachel Ziegler was as convincing as Natalie Wood in her portrayal of the sweet and delicate (but strong-willed) Maria and while Ansel Egort as Tony didn't bring much magnetism, neither did his predecessor Richard Beymer. But "WSS" is essentially a supporting cast film and the juiciest roles belong to Riff (Josh Andres a little less charming than Russ Tamblyn), Bernardo (David Alvarez reprising George Shakiris' role) and of course, Anita (Ariana DeBose taking the part of Rita Moreno). In fact, Anita is the central protagonist who displays the widest range of emotions, she has that big sister's supporting instinct with Maria, she's strong, naughty, saucy and sassy with men, using both her tongue, her moves and dresses as deadly weapons.

And now, she belongs to these characters that won two Oscars by different actor like the Joker (Heath Ledger and Joaquin Phoenix). De Bose would succeed to Moreno, who has a small but touching role as Tony's drugstore employer. A nice touch. On the other hand, Alvarez doesn't have Shakiris' magnetism and never strikes as a gang leader.

Now, the film features a good deal deal of well-choreographed scenes and some brilliant camera-work from Spielberg, but they lacked the colors and the genuine punch of the original. The "America, America" song is one of the most iconic musicals moments of history and that it was shot in dark intimacy brightened the beautiful girls' dresses and the interactions with the boys made it look a fun inside joke, but Spielberg treats it as a Disney ensemble song shot in broad daylight... as for the "Tonight" song, I was so turned on by Rita Moreno putting on her stockings and saying she would get her kicks (for her little private mix), that I couldn't forgive they made her whisper that line in a church. The joke relieved that moment from its hot sexual tension.

Speaking of DeBose, not saying she wasn't good, she nailed the part but her Oscar win confirmed a certain trajectory taken by the Oscars lately making the Best Supporting Actress the most predictable slot. It seems that all it takes is to have a female character a little more charismatic than the heroine, and that's it. De Bose seems to have fun being Anita, overplaying her accent and intonations and I wish there could be one silent scene that showcases her dramatic ability, there was such a moment, it lasted only three seconds.

Anyway, it's worth watching this version to realize how the original stood the test of time, this one is a bit weaker but to the degree that it remained faithful to the original I kind of appreciated it, to the degree it tried to insert some relevant issues (although the tomboy girl seemed forced and gratuitous), I understood it, but to the degree that I like to rewatch masterpieces, I'll stick with the original. If anything, this film made me want to rewatch the 1961 classic.

Greetings again from the darkness. My 'old school' nature causes me to cringe at the thought of classic films being remade. Why mess with something that's already beloved? However, since we know this happens (and will continue to happen), let's at least breathe a sigh of relief that a true lover of cinema and one of our legendary filmmakers, Steven Spielberg, is responsible for this one. Teaming once again with screenwriter Tony Kushner (MUNICH, LINCOLN), the love and admiration of the 1957 stage production, its music, and the 1961 film (by Robert Wise) shine through in this beautiful presentation. It's Spielberg's 35th movie, yet it's his first musical. You will note a few changes from the stage production and 60 year old movie, but the timing of a couple of songs, more realistic brawling, and additional on-location scenes all blend seamlessly into this lovely version.

Kushner's adaption of Arthur Laurents' original work contributes to the contemporary, yet nostalgic feeling. It maintains the "Romeo and Juliet" story of star-crossed lovers at the core of a turf battle between the Sharks (Puerto Ricans) and Jets (white immigrants), which is driven by a prejudice stirring the hatred that leads to conflict. Sound familiar? It could be taken from the local news headlines just about any day over the past few years. What also hasn't changed is that the Sharks and Jets are so blinded by hate and pride that they can't see how much they have in common, with the same loss looming. In fact, the point is driven home in the film's opening. Cinematographer and two-time Oscar winner Janusz Kaminski (SCHINDLER'S LIST, SAVING PRIVATE RYAN) has his camera soaring and swooping to show us the neighborhood and ongoing demolition before zeroing in on a sign "Property Purchased by New York City for Slum Clearance". It comes in like a wrecking ball (literally). The two factions are fighting over turf that will soon be transitioned to Lincoln Center and high dollar real estate.

Ansel Elgort stars as Tony, the former leader of the Jets attempting to find a new path for his life after spending a year in prison for nearly killing an Egyptian immigrant in a rumble. Rachel Zegler, in a remarkable silver screen debut, stars as Maria, a bright-eyed Puerto Rican who sees the upside to limitless opportunity. Early on, we get our first conflict between the rival gangs, which introduces us to Riff (a terrific Mike Faist) as the quick-tempered Jets leader so desperate to protect the neighborhood, and Bernardo (a dynamic David Alvarez), Maria's older brother and proud leader of the Sharks - whose goal is to carve out a place in the new land as equal citizens. That first brawl gives Spielberg a chance to show off the choreography, as well as the new approach to fight scenes, which are less balletic and more bone-crunching. It's also the first run-in with local cops, Officer Krupke (Brian d'arcy James) and Lt. Schrank (Corey Stoll), neither of whom have much empathy or respect for the two gangs.

Tony (Ansel Elgort has a physical resemblance to Richard Beymer from the original film) and Maria get their 'eyes lock across the gymnasium during the dance' moment that really lights the candle for the big rumble. Of course, this is one of the most famous musicals of all-time, and the songs have become iconic. Elgort is handsome and has a smooth singing voice, but it's Ms. Zegler whose voice transcends and sounds heaven sent. If there is a negative, it's that no one will be able to sing along with her, as she hits notes most can only dream of. Listening to her sing is reward enough. Beyond the singing, it's the dance choreography that most recall, and although eclipsing what we saw in the original movie is beyond reach, the work of this cast will not likely disappoint anyone. The dance numbers are exhilarating and colorful. It's energized entertainment with a message.

Ariana DeBose is outstanding as Anita, and takes the lead on "America", one of the most inspiring and fun musical numbers ever on screen. In addition to her singing and dancing, Ms. DeBose delivers a superb performance in the role that won an historic Oscar for Rita Moreno in the 1961 film. Sixty years later, the now 89 year old Ms. Moreno appears as Valentina, the widow of Doc. She now runs Doc's Drug Store and is acting as surrogate mother to Tony. It's certainly no cameo, and though Ms. Moreno doesn't have a dance number, she does get to sing "Somewhere", and this time is on the heroic end of the rape scene. She is the connective fiber to the original film and delivers a heart-warming performance, and is a strong presence where needed.

Other key supporting roles are Chino, Maria's would-be suitor, played by Josh Andres Rivera, and 'Anybodys', played by Iris Menas in a non-binary rather than tomboyish portrayal of the one skulking in the shadows. It's no surprise that Riff and Bernardo and Anita are the heftiest roles, and all three actors nail their parts. The big (and pleasant) surprises are newcomer and future star Rachel Zegler and the return of Ms. Moreno. Zegler sings "I Feel Pretty" while working the cleaning crew at Gimbel's, and her divine sweetness gets blown away in the finale, exhibiting an acting range that complements that voice.

The always stunning score from composer Leonard Bernstein sounds amazing as performed by the New York Philharmonic, and much of original choreographer Jerome Robbins' work is reproduced here. It's unfortunate that renowned lyricist Stephen Sondheim passed away mere days before the premiere, but his work lives on through new voices. "Tonight" and "Cool" both receive fresh treatments and are standouts in this version. The 1961 film won 10 Oscars, including Best Picture, and there is little doubt this remake will receive consideration in numerous categories, including Production Design and Costume Design. Spielberg opted to go with a more ethnically appropriate cast (no Natalie Wood-type in heavy make-up), and there is some Spanish dialogue without subtitles (the acting and situation keep us clear). It's a nostalgic, yet contemporary version that may not have you singing, "Krup You!", but will have you in awe with the story, dancing, music, acting, and story.

Opening in theaters on December 10, 2021.

Steven Spielberg remade the 10-time winner of the 1961 Academy Award and the musical known as "West Side Story." The film was definitely a remake, as it represents the conditions that were created in the 1960s, especially the social conditions and behavioral problems that existed in that decade. People waiting for a modern update will be really disappointed.

I must say right away that this is definitely my favorite piece of musical cinema. Based on Shakespeare's "Romeo and Juliet".

I really liked it, I advise everyone to watch it!!!

It's not a remake. This has absolutely nothing to do with the 1961 film. They are completely separate adaptations of the stage musical. This is not rocket science. New versions of West Side Story are made every year around the world. The 1961 film has literally zero ownership over this story and characters.

It's as simple as this.. anyone crying about this film being "woke" - has not seen it. The extremely short passages of Spanish dialogue are deliberately written to not need subtitles. The performances make the context of the speech obvious - and everything is repeated in English anyway. Anybodys is presented exactly the same as the 1961 film - no reference to "non-binary" is ever made. Ergo the people moaning about the casting have (again) not even seen the film. Nothing about the main plot is changed, but the backstory is developed with great success. Chino especially is a huge improvement from earlier adaptions. Tony's more genuine past is a big asset to the film as well. Rita Moreno's new role is wonderful.

It's an incredible ensemble performance. The dancing is amazing, and the singing is breath-taking. And there's no miming here - many of the songs were even recorded live on set! The work behind the camera is equally impressive. Stunning cinematography and direction. Tony & Maria didn't have perfect chemistry, but the rest of the performance more than makes up for that.

Why are people acting invested in how much money this film makes, as if that has anything to do with it's quality. For a reality check I will remind you Steven Spielberg is literally the richest film director is the history of cinema. The guy is a multi-billionaire. Some people make a success of their lives while internet trolls waste away. Make better choices. And I realise I'm shouting into the void here - this page has clearly been completely lost to those trolls. Or should just say "troll" - on the first page alone I count 6 users that are all literally the same person. That's the extent of my patience, but no doubt this bizarre person has dozens more fake accounts if I could be bothered to check. Why someone would waste their life trolling a film website 24/7 is beyond me - but whatever, it's a free country.

My first thought in hearing about this ... a thought I'm sure was shared by many ... was WHY? Why remake a movie that was done so well the first time. Still, I went to the theater and found a wonderful, well-made movie. I hadn't read anything about the movie before seeing it and I went in wondering if they would update it to present day. They didn't, but I think that might have worked too.

Discussing the movie with my twenty-something son, I brought up the "why remake a nearly perfect film" question and his response was ... for a new generation. People his age were never going to see the 1961 version in the theater and most would never see a 60 year old movie at all. This movie allows a new generation (or two or three) to experience the magic on the big screen. Ultimately, the appeal of the movie lies in the music and the dance ... even more than the story. But the story is still powerful even after there have been so very many Romeo and Juliet adaptations.

A fun movie to see on the big screen.

Really great journey in the theater. Performances were really great and it was just well made and a powerful and emotional journey. Recommended and a really great ride through good times and bad. Spielberg is a Master, no doubt.

I confess, I am shocked at the number of positive reviews, both user and critical, in connection with this remake. I almost don't know where to start with its glaring flaws. This version retains none of the charm of the original. It plays more like a straight drama in which the music is a superfluous add-on.

The rewritten screenplay is dull, and the staging sterile. The characters do not engage you emotionally the way they did in the original. I should point out that I do not place the blame for that on the actors, but, rather, on the direction and script. The actors themselves are talented and did the best they could in the face of these limitations (Maria and Anita in particular).

I would only say that, while the 1961 version is my favorite movie, I have seen amateur productions, as well as the Broadway remake with Debbie Allen as Anita. I have been touched by high school productions, so the mere fact that this was a remake is not the determinative factor in my views. This remake just fell flat.

Living up to the highly praised 1961 movie musical of the same name, you'd think it would be hard for a reimagining to capture the same type of amazement that the original West Side Story movie had. But the 2021 version of this film is just as amazing as the original! Having director Steven Spielberg doing what he does best, you know you're in for a treat!

This one had a very talented cast as well from Ansel Elgort, Rachel Zegler, Mike Faist to name a few, and of course Rita Moreno herself! This version wasn't afraid to explore the inner workings of these characters. Which made for a very captivating experience.

Although it's not without it faults, the pacing felt a little strange in a few places. But it wasn't super noticeable as the story continued.

A benefit that this version has over the now 60-year-old original, there's more cultural awareness for the Puerto Rican characters that don't feel caricatures of what Hollywood believes all Puerto Ricans should appear. The use of Spanish dialogue allowed for a more authentic view into the lives of those characters when they weren't surrounded by members of the Jet's gang. Since this movie has been made well after the days of the strict guidelines of the Hays production code that took over Hollywood films from the 1930's to the late 60's, it allowed for this version to take more creative freedom and allow swearing, address racial issues, portray harsher violence, and display an emotionally darker tone that the 1961 version was unable to explore.

If you're "on the fence" about seeing this in theatres and waiting until it comes out on home video or streaming services, I suggested you should see it in theatres. This will give the most spectacular experience possible!

Just wanted to make that pun cuz no one else has. Great cast, great director, great movie. Also, if you don't wanna watch it cuz you don't like Ansel then dont. Hundreds of others worked on this, not just him. This is not the work of one, it is the work of many.

You don't get to bring down the whole building because you dislike 1 person inside.

I recently rewatched the original film version of "West Side Story" which I absolutely loved and was curious as to how Spielberg would approach taking on such a monument in film musical history. Personally, I felt it was a film which didn't need remaking and while the director may have felt some justification in so doing in the wake of the interracial strife in America in recent times, it seemed to me like he was really just hanging his movie on accidental topicality, certainly, nothing he did here stirred up any such-like socially-conscious feelings in me.

What I did get was an entertaining and invigorating movie which nevertheless fell some way short of the original. I was fine with the device of showing much of the dialogues by the Sharks in unsubtitled Spanish, as well as the voguish diversification in the casting, most obviously changing Doc's part to a women and of course, having Maria played by a young Latin American, if not authentically Puerto Rican actress. However I did think Rachel Zegler lacked the verve and appeal not to mention skill that the young Natalie Wood brought to the part 60 years ago. I somehow also felt that the rest of the young cast lacked the charisma of the younger Rita Moreno or George Chakiris I remember so vividly from Jerome Robbins' version. I also have to say that Spielberg didn't get close to replicating, far less surpassing that classic love-at-first-sight moment between the star-crossed lovers, Tony and Maria.

The musical numbers were handled well enough if again not outstandingly so, making good use of modern technology in overhead drone shots and CGI cinematography for backgrounds (I especially liked the overhead shot of the two gangs shadows converging for the final rumble) but I still know which staging of, say "America" I prefer, and it wasn't this one. I too noticed some differences in the song lyrics (and did I hear right, was the word "gay" really excised from Maria's "I Feel Pretty"?) as well as their placement in the narrative and occasionally who was singing what, compared to the earlier film.

Anyway, in the end, it didn't feel to me like Spielberg brought much that was new to this wonderful old musical and I strongly feel that the 1961 original still sets the benchmark in terms of colour, vibrancy, energy and musicality. In the end, I was glad I watched the original first but am pretty sure I'd have arrived at the same conclusion as to the respective merits of both versions, no matter the order in which I watched them. I hope in years to come that the original will remain the go-to movie production of Robbins, Bernstein and Sondheim's theatrical masterwork and not this high-profile but not so high-achieving remake.

Reviews often talk about a lack of chemistry between lead characters. Any version of a Romeo & Juliet story has to convince the viewer that these lead characters truly love each other whilst their families hate one another with deep intensity. In Zeffirelli's version these 2 criteria are met convincingly and also in the 1961 version of West Side Story to a lesser degree. On-screen chemistry must mean good acting since Natalie Wood disliked her co-star Richard Beymer but both managed to act like they were in love. The same can't be said about Rachel Ziegler & Ansel Elgort who can't seem to muster the chops to show real passion for each other. The new sequencing of the songs often weakened the excitement of the plot: I Feel Pretty - straight after climactic fight/murder scene and Crazy Boy - during Tony's lame attempt to take Riff's gun are a couple of examples. The Jets and Sharks didn't get each other in this version. In the older one their mutual loathing was fierce & obvious. In spite of the high standard of Tony, Maria & Anita's vocals this production is bland and unmemorable.

West Side Story does just about everything right. The musical numbers, the choreography, the cinematography, all beautiful. A set of spectacular performances, particularly Rachel Zegler. Spielberg directed the quintessential version of West Side Story and one of the best musicals in a very long time.

The only place West Side Story falls short for me is that a lot of the Jets performances fell a little flat for me. Ansel Elgort in particular as Tony just didn't work for me. Aside from that, West Side Story is nothing short of spectacular, and one of the best releases of 2021.

Over the years I have rated hundreds of movies, but I have only given twenty five a 10 out of 10. One of these was the original WSS movie version of 1961. So how does the old one stand up to the latest Spielberg outing? Ok, the original had it's faults but it took itself seriously enough to be a fairly successful transfer from stage to screen. This new version, while still setting it in the 1950s, tried to bring it into the 21st century with flashy camera work, ginormous sound stages and hundreds of extras. Gone is the feel of a theatrical stage production. In fact, the editing of some of the dance sequences (e.g. Dance at the Gym) was so spit-second fast that it was impossible to concentrate on any one performer.

Now to make Romeo & Juliet/West Side Story work we rely heavily on the chemistry of the leads. I'm afraid Ansel and Rachel have no chemistry. They can sing well but as lovers...well? The original Dance at the Gym meeting was laughable. At least the '61 version treated it as a sort of dance fantasy. Which worked. If you can't feel some sympathy for the leads then who cares what happens to them later.

Rather than focusing on the negative side of the movie then let's mention the things that worked. There were several stand-out performers. Ariana DeBore (Anita), David Alvarez (Bernardo), and Mike Faist (Riff) stole the show with some great acting and amazing dancing. I did miss the Jerome Robbins' choreography but I am sure the Justin Peck version would have impressed me as much if the camera would stop darting all over the place. Two other actors deserve mention. Josh Andres Rivera (Chino) did so well in his slightly beefed up role, and, of course, Rita Moreno would have me even if she was promoting baby nappies!

The costume designs were great, especially the men. The women's were a bit loud and a little too perfect for Puerto Rican's who hang their washing on the fire escape to dry.

So this version does not replace the original '61. It may appeal to a younger generation who have never seen the other....although I wonder if they would really sit through a number like 'I feel pretty' without bursting out laughing.

Utterly amazing. This movie just amazes me; there is talent within the choreography, the music, the scenes, the acting, the emotion, everything... I don't want to spoil anything but it is really just Romeo and Juliet (you guys probably already knew that) but in the 1950s. Absolutely beautiful. Must watch.

Note: I am rating the film, without consideration of Elgort's recent allegations.

Expectations were mixed for this remake of 'West Side Story'. The 1961 adaptation of Leonard Bernstein's classic is one of my favourite musicals and an all time favourite as well. Have always loved Steven Spielberg as a director, despite him being hit and miss for quite some time. Not to mention the awards attention. Remakes do not have the best of reputations, with many being pointless and bad on their own terms (i.e. 'Psycho', 'The Wicker Man', 'Rollerball').

Likewise with major directors directing one musicals, look to Sidney Lumet for 'The Wiz' and Richard Attenborough for 'A Chorus Line (actually found it hard to believe that they did those films). John Huston's 'Annie' also has a not so good reputation, have personally always loved that film while acknowledging that Huston was not the right director. While not loving it as much as the critics and understanding the division, 'West Side Story' does not disgrace the original and is one of Spielberg's better films in recent years, while also having a huge amount to love on its own terms.

There are issues. The weak link is the stiff, bland and one note performance of Ansel Elgort as Tony, who also overacts unintentionally humorously towards the end. Also would have liked a lot more romantic chemistry between him and Rachel Zegler, which is nowhere near as well developed or interesting as the gang rivalry.

What would have made it a little more believable would have been to have had "Tonight" more stripped back and straightforward and not have the amount of clambering there was. Did think too that it was misjudged to not have subtitles, which is likely to confuse those with limited or no knowledge of the language and the idea to give "Somewhere" to Rita Moreno's character and at the time it was placed made no sense.

However, so much is great. There are improvements here, the rivalry between the gangs is much grittier as is the portrayal of the Sharks (if the film did exactly how they were portrayed in the original it would be seen as problematic). Really appreciated that a backstory was given to Tony and Riff has a lot more depth too. The diversity did not bother me at all. It is beautifully made, with stunning photography and absolutely loved how they opened up the action with more authentic and uncompromising locations. Spielberg is far from out of his depth, directing it like a love letter to the genre and with affection while not being overblown.

Bernstein's music is still timeless and vibrantly arranged, especially "America". Many of the musical numbers are staged incredibly well, with "America" being a hugely colourful showstopper. "Officer Krupkee" is absolutely hilarious and the montage in the second rendition of "Tonight" was beautifully put together and sweet. And then there is the showdown, which is full of fierce brutality. The rest of the performances are terrific. Zegler is a revelation and it was like she had been doing film and musicals for years, she really charmed and moved me. Her one failure was Maria's indifferent reaction to Bernardo's death, but that was a directing issue rather than her. Ariana DeBose is amazing too as Anita, the fire and passion she shows sizzling. Mike Faist brings so much nuance and depth to Riff.

Concluding, really liked it while not loving it. 7/10.

I recently went to see this late one night with a couple of friends. I still haven't seen the original so I wasn't ready to be absolutely destroyed. Visually this movie pleased eyes, it's poetic shots of the church stained glass enthralled me and the set showed no signs of modernity. The music was beautifully written and the voices of Ansel Elgort and Rachel Zegler fit together incredibly well, making the songs smooth together and really instill emotion within you. Along with the music came the exquisite dancing from all the actors, and it benefited the musical aspect of this movie. I think this remake was perfect for retelling this devastating story while also involving the new generation. I started the movie not knowing what I should expect and came out quite literally a new person. Towards the end I started to realize what was happening and without spoiling too much, I started crying at the hour and a half mark and didn't stop throughout the entire thing. When the end credits rolled, my mouth was agape in wonder and complete shock at what I had just watched. With a single watch, you can easily see the quality in not only the words but also the picturesque views of the movie, the songs (lyrically and emotionally), the actors, and dancing. Please take some time out of your day to go see this movie you "will" be benefited.

I'm 72 years old. I saw the 1961 version when I was about 15 years old on TV a few years after its release. I immediately thought it was great. One of the finest movies ever. I say that because the comparison with the two versions is unavoidable. The newer version had big shoes to fill. In my opinion, it didn't quite make it. Close, but not quite. The older and the newer version are equal in most ways. The acting in both is good. The casting is undoubtedly better in the 2021 version. The one thing that makes the older version better is that in the scenes with violence, the 1961 version had a kind of "theatrical" form of violence. Whereas the 2021 version had more of a contemporary, realistic form of violence. When it comes to moving from violence right into singing and dancing, the theatrical form of violence makes for a better transition. To give the newer version its due, some of why it is rated below the older version is not because the 1961 version is so much better. It is because the older version holds sentimental value to many moviegoers.

Choreography proves that, while it is easy to be different than Robbins, its very difficult to be as good as Robbins. Filming and editing of dance sequences are often cliched and no less often overly sentimental...not surprising from Spielberg. "America" is an exception to most of these comments although the editing is still choppy and interrupts the flow the choreography itself is hot. Again the slow dolly down at the end is cliched to the max (perhaps trying to pay tribute to the end of American in Paris.) Mostly this number is great because Ariana DeBose is fantastic here, and throughout....a well-deserved Oscar winner in an otherwise 2nd rate production.

Most of the vocal performances are lifeless and never more-so than when Ansel Elgort's Tony is singing. Most of the numbers were recorded off set contributing to the lack of emotion. One Hand One Heart was apparently recorded on set and had much more feeling than most of the other songs but I still find Ansel 's Tony lacking in passion here.

Much of the orchestrations are modified from the original, not sure if driven by the choreography but they often result in the diminishing of a great score.

The non-lead characters of the Sharks and Jets, women and men, are excellent .

Rachel Zegler's Maria nicely acted, well sung, and believable. I found little honesty in Ansel's portrayal, your mileage may differ.

I was hesitant to go after hearing some negative reviews and stories of disapppointing box office after release.

But he music treatmeant of Bernstein's score, the choreography, the cast, were reallyjust excellent. Tony and Maria have more chemistry and talent than the originals (movie version), and I was blown away by the "I Want to Be in America" street scene. Not woke, not lame. See it.

Some classics just can't be remade. Attempts at re-creating On the Waterfront, Gone with the Wind, Lawrence of Arabia would be acts of futility trading on the ghosts past. Such is the case with the remake of West Side Story. Flexing his power and pride director Steven Spielberg with the song book at his side flails away at making bigger better with a grimier edge but with little new to add.

Avoiding comparison is impossible and Spielberg botches matters from the opening scene that linger until he takes it to the streets in a rousing presentation of "America." The remake then makes a mess of the dance scene Maria Tony hook-up by retreating behind the stands followed-up by a train wreck performance of Officer Krupke. By the time Rita Moreno becomes an odd choice to croak out "Somewhere," it's apparent this version for the new generation short changes.

The actors to their credit do their own singing and Rachel Zegler as Maria is outstanding with Ariana DeBose's Anita earning acting honors but the rest of the cast simply lacks the charisma that Chakiris, Moreno and Tamblyn supplied in the original.

The production value is naturally top notch but the choreography no better and while lengthier by ony 3 minutes it seems far longer as Spielberg adds copious amounts of Spanish and an extra tune to the proceedings with some half baked social consciousness that flattens the rhythm of the film, zapping energy. West Side Story "21" is not without its stirring moments but at the end of the day remains a glossy study in redundancy.

It is fairly entertaining, fairly decent, but that's about it. Should it have been remade? I see no reason at all. Sure, they can sing, I guess, but everything lacks feeling and is ultimately empty.

I saw both the stage version live and the 1961 movie in the past, and even though I always loved the music and dance numbers, I was never really sold or engaged by the storytelling. I would go as far as saying that the story almost bored me on both the movie and stage musical.

This adaptation from Spielberg however manages to turn the characters into real people, the situations get higher stakes, the emotion is palpable. The quality of the songs and musical numbers are impressive, but they always were, you can't do West Side Story without it. But those numbers are greatly enhanced by a really dynamic direction from Spielberg. A direction, that stays masterful throughout and that is really working with the score of the movie.

The acting is so much more real that the 61 movie, Ariana DeBose is simply incredible at both singing and dancing, but her acting chops are really shining here. She carried the movie for me, even though to be fair, all the cast did a great job.

The focus on giving an emotional story and emotional performances from the actors was the way to go, and it is what makes this adaptation a great one. I cried so much (mostly thanks to DeBose and Moreno's performances) throughout the second part of the movie, while I had never shed one tear on the stage musical nor the 61 movie that never managed to move me.

Overall this new adaptation is clearly a love letter to the source material, not trying to reinvent what was already working, but enhancing what wasn't to make it a movie that can move people from our generations.