The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

It isn't all that great, actually. Really cheesy and very predicable of how certain scenes are gonna turn play out. However, I guess that's the charm of it all, because I would consider this one of my guilty pleasures.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

The movie really just wants to entertain people.

I never went to see this show at the theatre, didn't get the opportunity, but knew the music and saw snatches on TV over the years.I watched the Arena Tour on TV - what a truly wonderful experience. I couldn't take my eyes off. It was now a proper rock musical - I haven't been so enthralled or impressed since I went to see Hair in 1969, but this surpassed that by miles. Well done, a wonderful show with excellent performances; Tim Minchin was just superb, as was Mel C, and Ben Forster was so powerful at times it hurt. The ensemble cast were wonderful too.Changing the time worked very well, there are parallels with today which you cannot ignore and which made it even more dramatic. The set design was superb, the costume quite stunning.Yes, I enjoyed it! I just wanted to be there soaking it all up!

This is surely the best attempt at rejuvenating Lloyd Webber and Rice's under appreciated work since the 1973 movie featuring Ted Neely and Carl Anderson. It does however fall into similar traps from previous productions, in so much as, directors incessantly feel the need to modernise or set it in some kind of wacky environment, sometimes at the expense of logic. The most bizarre example being Ponteous Pilate doing push up's after tennis, whilst pondering Christ's fate. This production is for arenas and stadiums only; A gift to the awesome array of session musicians, who smash their way through the big numbers with aplomb, whilst still providing tenderness where needed. The cast also benefit from the size and scope of this production, but for different reasons. As a paying member of a 40,000 strong audience, one can imagine being swept away with Mel C's Magdeline, as would her voice have been swept away with reverb, and bolstered by the awesome accompaniment. But on TV, listening to the direct feed from the desk, her interpretation lacks all subtlety, and is harsh on the ears. No doubt her brief stint in the west end production of Blood Brothers, entertained Lloyd Webber's sensibilities both Musical Theatre, and commercial. Sadly, Ben Forster as Christ also disappoints due to a lack of rock authenticity. He seems to have the range (although he does seem to split his long held high note at the end of Everything's Alright - did that go unnoticed in post production? Or was it the 'warts and all' approach to editing live events?) but the higher notes are reached not unlike a choir boy. The 'screams' of Ted Neely and Ian Gillan are here replaced with a dulcet falsetto. And there is a lack of anger: Tim Rice's interpretation of Christ in his final days is as impatient and angry, as would any real man's mentality be. Forster however, is a whimpering victim, failing to find the good stuff needed for The Temple scene, and only marginally improving for Gethsemanie. Tim Minchin, however is a ray of light. There is no doubt that he delivers vocally in his big numbers, but that's where his focus seems to be, and not on the smaller moments where his voice is quite thin, and glassy. But due to the benefit of close up telly, his complete and utter emotional investment in the character, and what's at stake are undeniable. Whilst I'm not a massive fan of his tone, It's a great performance, with little attempt at hiding or covering up his own stylings, putting his own stamp on the character - a rock 'n' roll hallmark. Chris Moyles is adequate as Herod. This is to Superstar what Master Of The House is to Les Miserables, and is much loved, a lot of fun, and therefore, hard to get wrong. The 'wacky' re-imagining DOES work here, presenting the song as a live 'phone-in' /Jerry Springer-esque telethon of some kind. Bringing us round to design. It's done really well, with a huge screen covering various on stage moments, as well as providing storyline background ideas, atop a huge staircase. of which some steps retract or move. On the whole, it's great to see Superstar given the treatment it finally deserves, and as a fan of the show, musician, and actor, my hat goes off to the rollicking band, and energetic supporting cast. Superstar rocks, again!

This production is easily my favourite of the three currently existing "Jesus Christ Superstar" films, followed closely by the 1973 Ted Neeley, Carl Anderson film which beats the 2000 Gale Edwards video by a long way. Tim Minchin's Judas is absolutely superb. I'm a huge fan of his as a comedian and this production has lead me to hail him in an entirely new light. He gives one hell of an emotional performance as Judas Iscariot which will have you in tears. I also learned when I saw the show at Rod Laver Arena in Melbourne that he has awesome stage presence. I could not take my eyes off him. Ben Forster also gives a very powerful performance as Jesus Christ. Many people criticize it for not being very Jesus-like, but those people forget that that's the point of the show. Forster's Jesus is more of a man with good morals and a sensibility that most of the ensemble characters seem to lack. This production is set during the London riots of 2011, where what goes on is similar to the rioting that was occurring in Israel at the time of the biblical narrative. This shows that the story's messages are timeless and that it contains morals that are still relevant today. The reason I rated this 9/10 is because for the DVD Tim Minchin's voice was auto-tuned. This was not done in the live show and it should not have been done here. Minchin has announced his displeasure at this and the fact that he delivered the lines the way he thought worked best, and that having the DVD producers alter that is "insulting." Overall, this production is absolutely amazing and I would recommend it to any musical theatre fan.

JCS is on of the real classics. I've been listening it as a kid and imagining the ancient Jerusalem. Of course i'm talking about the 1970 version with Ian Gillan as JC. Then came the movie with Ted Neeley brilliantly playing JC. These two are classics are a real challenge for new versions to compete with. Now speaking of the Live Arena. We have brilliant Tim Minchin as Judas, incredible Mel C as Mary Magdalane and arguably a black horse Ben Forster as JC. We also have Chris Moyles as King Herod, probably a best man for the role. But the surroundings are really modernized. No priests in white clothings! Instead we have gentlemen in gray suits as Annas and Caiaphas and some punk-looking youth as JC's surroundings. And it works out! JSC have always been sorta 'look from our time' thing, and this modern scenery perfectly fits. Alexander Hanson who plays Pontius Pilate add some classical theatre touch to the vivid palette of the show. Now about the main three characters. As i've mentioned Judas played by Tim Minchin is brilliant, it's really the top performance of Judas. Mel C is perfect in the role of Mary Magdalane. To tell the truth i've never liked Spice Girls, but this show opened my eyes of Mel C's talent! As for Ben Forster.... well really he's not the best out-here. Ian Gillan is more passionate and truthful even though we don't see him! I'm not saying that Ben is bad! He's OK! But i've HEARD better JC! And even Ben's advantage of performing on stage can't overcome that. However i won't lower my vote 10/10. It's a classic and if these shows added at least a handful of new fans than it's worth it!