Rating: 
Summary: Bloody Brilliant
Review: The 2000 film version of Jesus Christ Superstar not only superceeds the orginal '73 version, but is a thoughtful, powerful and classy presentation of the brilliant musical penned by Andrew Lloyd Webber and Tim Rice.I first saw this movie several months ago, I was stunned. Based on the Broadway revival, this is essentially a stage play on film and perhaps that is why it keeps some of the "theatre magic". It should seem easy with the fantastic work of ALW and TM behind them but Gale Edwards and her team ought to be commended (actually, I think they were *cough*EMMY*cough*) for the presentation of this show; the lighting, the direction, the costumes, the setting all add, not only a modern and easily accesible feel, but a believable dramatic aspect that makes the story all the more heartbreaking. It is an undeniabley dark and tragic presentation, but this does not take away from it so much as add more power to the story. As Mr Webber says in the extras, this version is the one he always wanted. It is the actors however, that bring the most to JCS 2000. In particular Jesus and Judas (Played by Glenn Carter and Jerome Pradon respectively) bring an amazing dymnamic to the screen. Carter (after you get past the fact that he looks scarily like a cute crossbreed of Michael Bolton and Fabio) is an impressive Jesus, he adds a vulnerabilty to his character that makes him both intriguing and humanising. Jerome Pradon is even better, his vocals struggle at times, but his portrayal of Judas outweighs this. He is perhaps one of the most pathetic and simeltaneously heartbreaking Judas' ever played. He plays the inner conflict beautfully, and when Jesus and Judas come up against each other their scenes are rivetting and intensily emotional. The Last Supper and the Kiss Of Betrayal in particular is...just amazing... The supporting cast is brilliant also, Tony Vincent plays an great warmongering Simon Zealotes, and Pilate is given a newer, sadder aspect by the intense looking Fred Johanson. Perhaps the one exception is Renee Castle as Mary Magdelene, who while looks beautiful and sings even more beautifully, brings a touch too much drama to her part to take in. If you do not like musicals, or you do not think you can tolerate a story that explores the ideas behind the story of Jesus Christ then you wont like this film, if you do however, you are in for a real treat. Two very enthusiastic thumbs up. ;P
Rating:
Summary: The Definitive Superstar
Review: I have been a "Superstar" fan for over 30 years, and have seen many versions. This one should be the definitive production for posterity. It is near perfect. Musically, technically, dramatically, and theatrically, it is simply superb. As a former singer myself, I was especially impressed by the voices and particularly the diction. Technically, the sound picks up the perfect diction of the singers so that no words are missed at all. Glenn Carter as Jesus has a beautiful voice and brings out Jesus's humanity. Jerome Pradon as Judas, while maybe not perfect visually, is musically right on and exhibits Judas's agony. His voice is the best Judas I've heard. Renee Castle, although no Yvonne Elliman, brings her own persona as Mary Magdalene. Fred Johanson as Pilate is powerful and dramatic, with a gorgeous voice especially in "Pilate and Christ." Two minor imperfections in my view: in "Pilate's Dream," Johanson overacts a bit; and I would have preferred more singing and less speaking in rhythm for Rik Mayall's Herod. With those two minor exceptions, this is a magnificent production in all respects and should replace almost everyone's library of CDs and videos trying to achieve the ultimate "Superstar."
Rating:
Summary: Jesus Christ Superstar- This one DID NOT put me to sleep!
Review: Hey- Any one else agree with me that this british version is WAY better than the 1973 version with Ted Neeley? Well, I almost fell asleep watching that version- but this version had great setting, and in my opinion- a better Judus Iscariot- AND a better Pilot + Herod. I also thought that Glenn Carter did a wonderful job as Jesus of Nazareth, and that this version had so much more pizzaz, lights, and better singers- and I only saw the last half of this movie! I would rate this a 10/10! I highly recommend this movie to anyone- although young children might not understand- and might have a problem with the violence.
***** Five stars and Two thumbs up!
Hillary
Rating: 
Summary: Too Human
Review: I just watched this version for the first time, back to back with the 1973 movie version. I found the singing very solid. Glenn Carter, Jerome Pradon, and the others were all good, Renee Castle especially. The Simon Zealotes character was exciting, I don't even remember if there was a similar one in the 1973 version. Pilate here was superb, a lot better than the 1973 movie, so with Caipphas and Annas. They may have been a bit much, but hey, this is theatre. I wasn't impressed with Herod. What I couldn't quite take though, was that Jesus was played with too much humanity, as if he lost his Godhood. Glenn Carter pouted too much, he cried too much. I thought that Ted Neeley had more fire in his eyes. Glenn's Gethemane was alright, but I've heard Michael Ball in a concert do better. Jerome Pradon was interesting but he wasn't Carl Anderson. I liked the film being staged in an indoor set with a lot of interesting possibilities. The set was not limited at all. The interviews showed many points of view, how the actors/singers approached their parts, how the technical bits were put together.
Rating:
Summary: Better than Jewison's dated 1973 version
Review: Gale Edwards succeeds in liberating JCSS from the inspiration of HAIR and other time-locked musicals of the late 60s/early 70s era as memorialized in Jewison's dated film. Musically more consistent then Jewison's version. The backing tracks are closer to the original 'soundtrack' (which is still the best for pure listening). This version lacks Carl Anderson's and Ted Neely's vocal tension, but makes up for it with the secondary characters (notably a Pilate and a Herod that improve greatly on the Jewison version). The Jewison film was already dated when it first appeared in theaters--it had a tired, hippy dippy look that was an embarrassment to look at. This version has a more modern avant-garde approach (portraying Herod as manic broadway impressario which is implied in the Superstar lyrics anyway and the use of Darth Vader like clothing for the Roman soldiers). This version is likely to be the filmed version that others have to top and it may be 20 years before someone attempts it. It does use sparse stage settings that school/community theaters are likely to use as either a model or inspiration for their own avant garde stagings that juxtapose 20th (or 21st) century elements with more traditional Roman elements.
Rating:
Summary: Very intense
Review: This is a fantastic version of my all time favorite musical. Jesus and Judas Play their parts perfectly. Much better than the 1973 version b/c it's more realistic, and more intense musically. Get this if you like Jim Steinman and Meat Loaf's Bat Out of Hell, and you might still like it even if you don't.
Rating:
Summary: A creative but uninspiring version of the rock opera
Review: In seems to me that pretty much every singer in this production of "Jesus Christ Superstar" made a concerted effort to try and sing these familiar songs in "new" ways, or at least ways in which we have not heard on previous cast albums and video versions (although the finish of "Gethsemane (I Only Want to Say)" is something I first heard on Michael Crawford's version of the song). The result is pretty much guaranteed to be a hit and miss proposition for fans of the show, which simply means you will see things that you like and things you do not like. I especially liked the way the "Thirty-Nine Lashes" were dramatized and using the nailing Jesus (Glenn Carter) to the cross as the ironic counterpoint to the emergence of the "Superstar" theme. I was considerably less enthralled with the smirking Judas (Jérôme Pradon), Jesus banging his hand on the table during the Last Supper, and Herod (Rik Mayall) being played as a cross between Noel Coward and Hannibal Lecter. I expect any viewer to have a similar response, albeit with different examples of what they liked or disliked in this filmed play production. The "Making Of" documentary that is available on the DVD lends some insights into the creative efforts of director Gail Edwards and the thinking of the key cast members, as well as the history of the work. What develops is an emphasis on the songs and story from a personal perspective more than scriptural, which explains why they have the idea that Judas is jealous of Mary Magdalene because she has usurped his rightful position at the right-hand of Jesus. The insights from Tim Rice and Andrew Lloyd Webber are certainly interesting as is the history of the controversial rock opera. Overall, the singing is certainly better this time around than in Norman Jewison's 1973 film, but not as memorable for me as the original concept album (but, then, how could I be?). However, for the most part the emotional impact of this production seems to be lacking. Part of the problem is that the tempo of the music is just a tad slow where the tendency is rather to pick up the pacing (case in point, "Jekyll and Hyde: The Musical"). Another part of the equation is that Carter's Jesus is not charismatic and his eyes lack the fire of Ted Neely in the movie version. So there is enough of interest here to worth watching once, but repeat viewings will not be to everyone's taste.
Rating:
Summary: Fantastic
Review: I absolutely loved this version of the movie. Fred Johanson played an excellent Pilate. Jérôme Pradon makes a very expressive Judas Iscariot, angry when anger is implied, worried when worry is implied. My only problem with the film is Glenn Carter, he's a bit more screamy than musical on his higher notes. But the rest of the cast makes up for it. Making it a great production.
Rating:
Summary: A real treat for JCSS lovers!
Review: I was amazed at how other reviewers either loved or hated this production. If you love JCSS as an "opera", you should love this production. I was one of the people who bought the original album back in 1970, before JCSS was ever performed as a musical, because I loved the music and words and the way they told the story. The movie version was a giant stinkeroni, so it was with great trepidation that I tuned into this PBS version. Was I ever thrilled, however. I have never been lucky enough to see a stage version of JCSS (though I have seen at least 6 other Andrew Lloyd Webber musical productions in San Francisco, so I am no stranger to professional theater) but this is pure Webber, and the performers voices are fabulous. My son, who is the same age I was when I originally fell in love with the record, says this is his favorite musical (and he has seen many live productions too, including Phantom in New York!). It is not because he grew up with the music, because we haven't has anything to play my record on for many years - most of his life. It is just because it is a great musical (believe me, he is not influenced by my opinions about anything!). There is no question this is not your typical musical - it is more like Evita than like Phantom, and if you are looking for The Sound Of Music, which I also love, you will not like this - but this 54-year-old and her 21-year-old son give it 2 thumbs WAY up!
Rating: 
Summary: Painful viewing
Review: This is the worst adaptation of this musical -- ever! This was my first experience with JCSS and after watching the video, I hated it -- vowed never to watch or listen to anything related to this musical ever again. The leads, although obviously talented, are not suited for the range needed to sing these songs. At times, listening to Pradon as Judas is just too painful for words. The only saving grace of this video version is the supporting cast -- Caiaphas: Frederick B Owens, Annas: Michael Shaeffer, Simon Zealotes: Tony Vincent, Peter: Cavin Cornwall . Avoid this at all costs. I was later introduced to the 1973 film version and fell in love with the story and the music. Ted Neely and Carl Anderon are wonderful and hit every note just right. Buy the 1973 version instead and save yourself a headache.
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