Chicago. The 1940's. Velma Kelly (Catherine Zeta-Jones), a Vaudville star, is arrested for the murder of her husband and sister. The same night we meet Roxie Hart (Renée Zellweger). She is a wanna-be vaudville star who, in a fit of rage after an affair, shoots her lover, and is arrested. The only thing Roxie is worried about now is being hung... she'll get the death penalty.
Both women are sent to the prison of Matron "Mama" Morton (Queen Latifah). "Mama", not one to work without a bribe, offers to get the best lawyer, Billy Flynn (Richard Gere) to take their case. Billy Flynn is the typical slick, high-priced lawyer who thinks he is the best... but this time it's true. He's never lost a case.
"If Jesus Christ had lived in Chicago, and if he'd had $5,000," he starts off, "...and had come to me... well,things would have turned out differently."
Now if that isn't confidence, what is?
Each woman caughs up $5000 to pay Flynn (Roxie gets her husband to pay), but Roxie Hart's case is the one he takes on full time; the one that's "on top of the pile."
Velma doesn't take kindly to Flynn forgetting about her, but in the meantime Flynn is working hard to get Roxie off.
Roxie fakes being rich, flung into a fast marriage, and a nun, just to win over the media and the jury. Could she really get an acquittal?
One great scene in the movie is that of Richard Gere, using Renée Zellweger like a ventriloquist's dummy, singing and having a press conference at the same time, with the press, as dummies to, in the background. Flashing here and there, we see Richard Gere holding up marionette strings, leading to the press. That is what Billy Flynn has been doing all along: being the puppet master, playing everyone for fools.
Soon there after, another murderess comes along (played by Lucy Liu). The press, tired of Roxie Heart, rush to this month's new story.
But even when the chips are down, a new flavour-of-the-month is rolling in, and it looks like her lawyer is going to forget about her, Roxie brings the spot-light back to her: she faints, falls, and hopes that "it didn't hurt her baby." But no, she is not really pregant.
Roxie is ready; the court date is set, and all she has to do is say her lines. Her fear of being hung will be over. That is, unless jelous Velma Kelly doesn't throw a monkey wrench into her plans.
Chicago is probably one of, if not, the best musicals ever made. If certainly beats 2001's Moulin Rouge, but is definatly on par with Marry Poppins and The Sound of Music.
It has all the right elements that make a great musical: Flashy costumes, dazzling dancing, wonderful moves, and very catchy songs.
Everything about Chicago clicks: the acting, the songs, the mood. It is a wonderfull film and was deservedly rewarded. The only thing, however, is that there are too many songs. Yes, it is a musical, but only a couple of sentances (even less sometimes) are spoken between songs. There could have been one or two taken out, but then that would have wrecked the chemistry of the film. With less songs, or left alone, makes no difference: it is a great film.
Plot: 
Chicago has a simple plot involving a murder or two. There is nothing to confuse. It was very well written, songs and all. Totally straight-forward.
Visual Effects:
In Chicago, they rock. They are superb. There is nothing more to say about them but "wow!"
Sound
Again, another knockout. The musical songs, the sound effects, everything... it all works to make Chicago a great movie.
Character Development: 
We know nothing about the lawyer, Billy Flynn, but from the start of the fiml utill the end, Roxie Hart goes through a dramatic transformation, and it shows. BIGTIME. "Mama" Morton doesn't change much, but we do see different sides of her personality, though.
And as for Velma Kelly, well, she goes through a change as well; she starts off competing with Roxie, but learns to accept her, which is evident at the end of the film.
Atmosphere:
Being yet another period piece has no bering on Chicago. The very first scene gets you in the mood right away. The sights, the songs, the costumes all give you the feeling that it is the 1940's.
Realism:
You can tell that the majority of the dance numbers are done on a big stage, which does take away from the film. Sets tend to look blank and dreary some of the time, but are better other times. Really, this is a minor detail.
Warren’s Rating:
Movies it beat out for Best Picture:
Gangs of New York, (2002); The Hours, (2002); The Lord of the Rings: The Two Towers (2002); The Pianist, (2002)
9.29/10 Is the movie worth your time to watch?
29-03-03
Age at win: 33
Nominated for: Best Actrees in a supporting Role, Velma Kelly, Chicago
Nomination: 1/1 (acting), 1/1 (total); Win: Only
Catherine Zeta-Jones had some memorable roles in such films as Traffic and The Mask of Zorro, but Chicago is her best work to date. Being a former dancer, she fit right in to the musical that is Chicago.
Catherine's performance was a knockout; she dazzeled every moment she was on screen. Her first number was sensational and gets you right into the film quickly.
With the exception of Renée Zellweger, who is equal to Catherine in this film, there is no one else who can compare. Her movements are flawless, and her singing is out of this world.
Catherine was perfect for the role of Velma Kelly. From start to finish, there is nothing else like her; it is refreshing to see a great movie honoured with an acting statuette for a truely great performance.
29-03-03
