Rating: 
Summary: FOSSE ON FOSSE
Review: With a typically sardonic and vicious glare, Bob Fosse examines his own obsessive life as a creator/director/choreographer -- and womanizer, drinker, druggie. While this movie has its shamelessly over-the-top qualities (Jessica Lange as Death, for one), the musical sequences are so dazzling that they instantly make this move a must-see, if not must-have, for any Fosse fan. The opening, a wow-you-in-the-gut audition sequence set to On Broadway (Benson's stunning version), does more in four minutes than the film of Chorus Line does in its entire running time to convey the show biz world of Broadway. And the then-gamine Ann Reinking is on hand to literally play herself, as well as dance in that feline way. The musical number Take Off With Us is at once amusing, sparkling, sensual and spectacular, featuring an explosive ensemble of dancers. Fosse's bitter take on his own mortality may slow things down (the Lenny-inspired sequences bore into your brain) a bit, when the music is playing you are in for a revved-up treat.
Rating: 
Summary: All that Jazz - one of the top ten movies in history
Review: After more then 16 years of Bob Fosse death, his movies are still touching and do not age at all. Why - Because, simply both the characters and plots are above down-to-earth experiences. It is about life, death, love, hate and most of all music and dance. ALL THAT JAZZ is about all those things, but it is the music and dance that delivers the message. You can see this movie once and be surprised how close it is to your own thinking of life and death. You see it 100 times and you still realize that you have not understand it all. Bob gives his life on the tray. THIS IS REAL MOVIE, REAL HISTORY. period. And this is why it is so great. No "please-the audience-numbers". Throughout the entire movie, you have a real story and real man. This is Bob, but it is also you with all your dreams and fears. What is great about this film, is not the story-line, music, dance or Jessica Lange. IT IS YOU IN THIS MOVIE. You simply identify yourself with the main character (not that all of us are SOB directors - but he is so human) and then you are flown to the next level of understanding. It simply shows you the universal side of the human nature. Regardless your history and experience. Afraid of death? Thought about how it actually happens? Do you care?
Well, see it and I bet you would say - "That's what I think, but nobody before expressed it better". This is a movie made by the guy obssesed with sex and death. But sex and death in this movie are only the metaphor of something deeper.Is the best Bob's film ever
And if you wait until the final scene - that's the way I want to die !!!!
Rating:
Summary: A visual feast even for an only lukewarm fan of Broadway
Review: Soon after its 1979 release, curiosity impelled me to see ALL THAT JAZZ. I say curiosity because anything smacking of a film musical didn't then attract my attention much. Not yet an old dog, and apparently still capable of learning a new trick, I remember being impressed. Recently, I saw it presented on the Big Screen once again as part of a classic film revival. I'm reminded what a truly superb production this is. Roy Scheider, in arguably his greatest role ever, portrays Joe Gideon, a work-obsessed Broadway choreographer and director existing on cancer sticks, booze, sex and uppers. Directed by the preeminent choreographer Bob Fosse, ALL THAT JAZZ was purportedly semi-autobiographical. Joe is struggling to put together a new dance production and, simultaneously, edit a behind-schedule film, all the while juggling the three principal women in his life: ex-wife, current significant other, and teenage daughter. Talk about stress! In periodic visual sidebars, we watch as Joe rationalizes his self-destructive behavior to a glamorous Angel of Death, coquettishly played by Jessica Lange. The film's dance sequences, products of Bob Fosse's brilliance, and sets by Phillip Rosenberg and Tony Walton, are visual extravaganzas not to be missed. (Oscars were awarded for Art Direction and Set Decoration.) Perhaps the cleverest is the solo routine performed by the ex-wife character as she rehearses a number to be performed in Gideon's latest production, all the while debating with him the course of their failed relationship. Positively engaging is the "impromptu" number performed for Joe at his apartment by his current mistress (played by the strikingly long-legged Ann Reinking), along with his daughter. Then there's the sexually suggestive "Air Otica/Come Fly With Us" ballet sequence, Gideon's attempt to energize an otherwise stodgy airline commercial. (As one of the airline execs resignedly puts it, "Well, we've lost the family audience.") Another nice touch for the uninitiated is the revelation that performer selection and training for a polished dance routine is a hard, sweaty, merciless process. The faint-hearted best not show up for the audition. Perhaps the film's only flaw is its length as it unwinds to its foregone conclusion. Although ALL THAT JAZZ won an Oscar for Film Editing, the Ben Vereen-assisted toe-tapper should have been considerably shortened. However, that said, it must be emphasized that the movie is richly entertaining throughout. Perchance you ever have the opportunity to see it on the Big Screen, don't pass it by. As Gideon so expressively states in front of the mirror each morning after he girds himself (with Dexedrine and Visine) for another grueling day , "It's show time!"
Rating:
Summary: Oh, no! They're taking their clothes off !
Review: And so they do in what is arguably the most electrifying erotic sequence captured on film. Nope, it's not an orgy nor a couple faking passion---It's a dance number. Surprised? Do you dance? I mean have you ever really, really gotten into it at a party or a nightclub? When it clicks, the gods take hold. Dionysus made flesh. With the phenomenal success of "Chicago" a new generation has been re-discovering the director of 'Cabaret' and 'All That Jazz'---Broadway's greatest choreographer, Bob Fosse. Dead for nearly two decades, his influence continues to grow. Many have tried but no one has been able to match his style. Ok, so what's the plot of the movie? Roy Schreider plays Joe Gideon, a thinly disguised Fosse. He's the director and choreographer of a Broadway musical who is fighting the clock to come up with original ideas before opening night. Ruthlessly self driven, He pops amphetamines, so he can be always 'on.' (It's Showtime!) Destructive towards his health, he ends up fighting the clock in more ways than one. Though Gideon states that his only belief, his only certainty is the reality of death, he's really a woshipper of The Goddess. To call him a womanizer is to miss the point. Women are his religion. Thus we have Jessica Lange, a sexy and bemused Angel of Death, who is is mythically woven in 'dream sequences' with the real women in Gideon's life: A threefold Muse arrangement comprised of his young daughter, his current girlfriend and his older ex-wife. Men are not important. There is no secondary male lead. The music is spectacular. The dancing even more so. Schreider and the supporting cast are superb. The flaboyant show biz world, contrasted by the intimate scenes at home work well to pull the audience into Gideon's mind. Many a good film is derivative from an earlier classic. The Nutty Professor is Dr. Jekyll and Mr. Hyde. Jaws is Moby Dick and "All That Jazz" is Chaplin's bittersweet masterpiece of soul, "Limelight." Too many similarities to explore, so I'll confine myself to two: Both are love letters to artists and both are the 'last will and testament' of the director, a tribute of his life. (Moral: If you're going to steal, steal from the best.) People, you've got to see this film!
Rating:
Summary: All That Music, All that Drama, ALL THAT JAZZ!!!
Review: If you have very little knowledge of the life and work of Bob Fosse, you'll probably see this movie as dark and pointless. But for anyone who knows anything about this legend, you'll agree that "All That Jazz" is nothing less than a MASTERPEICE! Fosse was nothing short of a genius. That fact that he could actually predict his own death and face his vices head-on proves what an intelligent, strong, sensitive, and brilliant man he was. Yes, this film is very depressing, but life isn't always a Walt Disney film. Like his other musical triumphs, "Sweet Charity" and "Cabaret", the film is dark and sexy, but has plenty of heart. And like all of his film work, it is visually stunning and truly original. This is one guy who didn't do stuff by the book, and the results are always unique and dynamic. Roy Scheider and Ann Reinking give the best performances of their careers. Fosse is an icon who will never be forgotten, and this film does justice to the virtuoso he was. If you aren't familiar with Fosse, I would recommend one or both of the excellent books "Razzle Dazzle: The Life and Works of Bob Fosse" or "All His Jazz: The Life and Death of Bob Fosse". It will give you appreciation for this hauntingly poetic piece of contemporary cinema. A true work of art.
Rating:
Summary: has one of the most drawn out death scenes ever !
Review: The good news about this film... some phenomenal choreography, and very strong performances by the ensemble... The bad news... woe, do they milk that death scene and the open heart surgery... It seems to go on and on and on for about half the film, until you feel like applauding when he finally goes... any minute, any minute, any minute... beeeeeeeeeeeee...pppp... oh wait... another dance number ! ! ! - - At times, it also has the feel of one of those great Broadway musicals captured on film, but that just doesn't seem to work as well on film (all in all, Broadway dance numbers are rarely true to themselves when captured on screen... atleast if you saw them on stage...) - - In the end, any film featuring Fosse or about his work is well worth seeing... however, unlike the great Fosse musicals, this film does have a tendency to drag at times (in terms of plot) (Yeah, we get the point, too much boozin', womanizing, a clogged artery, and he's about to go...) ... the choreography borders on making up for it though... I say borders because with such great acting, dancing and scripting you'd wonder why both couldn't have fit in together.
Rating:
Summary: It's show time!
Review: Hard to believe this great movie has so few reviews. I was impressed from the opening scene of dancers leaping across the stage to the final zipper at the end of the movie the very first time I saw this movie 20-odd years ago, and every time since. As Joe Gideon's producer said, "every dollar is on the screen". I had the feeling I was really watching a work of genius. Even if the movie is Bob Fosse's bloated egotistical account of his life and career (not my viewpoint), it is still amazing in its scope. To predict your own death is one thing, but to put into one of the best 20 minutes on film is quite another. Good acting, writing, directing, cinematography - you name it, it's there. Sparse extras on the DVD, but worth it for the movie alone.
Rating: 
Summary: Waste of my money
Review: I loved Chicago and thought from the other posted ratings that this would be just as great - or better. It was NOT. I haven't been able to watch the full movie YET!!!!
Rating:
Summary: Richard Dreyfuss was Joe Gideon First!
Review: First of all, let me just say that this is one of my top ten movies ever! Fosse was a true genius and this is a great film. But how many of you know that Richard Dreyfuss was cast in the lead first and then came to Fosse shortly after filming started to say that he didn't feel he was right for the part and dropped out with Fosse's blessing. Fosse admired him so much as an actor and while I'm sure Dreyfuss' acting would have been great, he was wrong for the part physically and bore no resemblence to Fosse. Hard to picture anyone other than Scheider in that part now! Again, a must-see film for everyone!
Rating:
Summary: Not perfect but in a class by itself. A must see for adults
Review: 1979 was one heck of a year for American cinema ("Apocalypse Now","Kramer Vs. Kramer", "Starting Over", "The China Syndrome") and leading male performances (Jack Lemmon, Al Pacino, Dustin Hoffman and Peter Sellers just to name a few)and "All That Jazz" certainly meets both criteria. Although I hate it when reviewers give too much away, it's safe to say that most people familiar with the film know that this is Bob Fosse's not-so-thinly veiled autobiographical film and viciously honest portrayal of the central character, Joe Gideon, a brilliant but deeply troubled and self-absorbed director/choreographer who has ongoing problems with drugs, alcohol, and fidelity. The firm centers around Joe's new Broadway production, while he concurrently tries to edit a new movie, interpersonal relations, and ..... one other thing that I will leave viewers to find out for themselves. Triva and pop culture buffs will recognize that the new show that the lead character, played with bravura by Roy Scheider, is working on is none other than "Chicago," which initially flopped but when on to be revived on Broadway to win several Tonys and you know all about the Oscars that the movie version received. Seeing this movie there are many elements that make it hard to believe that it was released a quarter of a century ago. The best example of how current it looks can be found in the sensual and acrobatic choreography that defines Fosse. But the kicker here that although Fosse is does an excellent job in the serio-dramatic sequences, it is the MTV-like direction that Fosse brings to brilliant dance sequences that feel more than contemporary as no amount of grinding or posturing by Madonna, Britney et al can compare to a sequence titled "AirRotica." It is adult eye and ear candy that will make those who've only seen Paula Abdul's late 1980s homage to it see why it is such a masterpiece. The acting is also outstanding and holds up quite nicely. Besides the aforementioned Scheider, there are unsung performances by Ann Reinking, Sandahl Bergman (man this woman can dance and it's really too bad that Hollywood did not know what to do with her) and an actress named Erzsebet Foldi, who plays Joe's daughter. Her performance to me (especially when considering the challenging dance numbers) has to be one of the most accomplished performances ever by a child actor. I don't think she ever acted after being on this film. This movie represents one of the few movie musicals that worked after the 1960s and the genre is so challenging that it took more than 20 years for Hollywood to do it well. Like the man, the movie suffers from some excesses which could have been curtailed to make for a 5 star review. I am not referring to the AMAZING numbers towards the end of the movie, but there are some attempts to show the seamy underbelly of the showbiz world and one too obvious attempt to show the audience why the character behaves in the manner in which he behaves. Also, there is an annoying cigarette fetish that is taken to almost cartoonish heights and really distracts when it is trying to highlight other elements. I also thought most of the scenes pertaining to Joe's editing of a stand-up comic were repetitive and really brought little to the table. Notwithstanding these mild deviations, I think that this is one of the strongest and most consistently entertaining movies that has been made using the musical genre as a point of departure. It's not perfect, but a must see for adults as I don't think this movie is for kids. Fosse's genius comes across in not only his choreography of the dancers but in how he makes sure that the camera works to enhance what is important to him. This talent is most evident in an opening scene that has been attempted and imitated many times, but it has never been as good this one.
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