Megamind To all those who have watched it: I hope you enjoyed it as much as I do.

Aiden Melton The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

Frances Chung Through painfully honest and emotional moments, the movie becomes irresistibly relatable

Allissa .Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

CanadianRonin This isn't as good as most stage versions I've seen, and the 1920's version of the film is far superior (I know many people won't like it because it's so old), but this is still a good film. The story is so good it still works even when it's not a perfectly told version. Acting is good.

angelofvic This is definitely not a production for traditionalists.Rodolfo and Mimi have sex after finding her key, before joining the others at the Café Momus.From the beginning, Mimi is dressed like a harlot -- in red, with plunging décolleté, large exposed breasts, and bright red lipstick.The set colors in general are loud and bright, sets are incongruous, and the cinematography is grossly oversaturated in an almost cartoonish fashion.It might fly with the iPhone generation and the sex-obsessed, but I'd bet Puccini is turning over in his grave.

Gyran I expected to hate this because I can't stand dubbed opera but, to my surprise, I found that I loved it. Considerable trouble seems to have been taken with the lip synching and Rolando Villazón in particular really looks as though he is singing rather than just opening and closing his mouth in time to the music. So what this film lacks in operatic authenticity it makes up for in dramatic impact. Villazón has an impressive dramatic range with a very mobile face, OK so sometimes he looks like Mr Bean. Anna Netrebko does not have to do much more than look lovely and sing divinely, two things that she does supremely well. Nicole Cabell is a scream as Musetta and almost outglams La Netrebko. I was going to say that Schaunard, Marcello and Colline are well sung and well acted but, checking the credits, I see that they are performed by three on-screen actors miming to the singers' voices. That probably explains why I thought that the lip-synching was not so good in those roles.There is just enough opening up of the action. We see Mimi right at the beginning in her room listening with interest to the antics of the four artists. We also see her cross the landing and deliberately blow out her candle before knocking on Rodofo's door. Most surprisingly, we see Mimi and Rodolfo pause on the way to the Café Momus to go to her room and consummate their relationship.Such a splendid production makes you wonder why they did not do it this way and also record the sound live. The technology is available these days. I suppose it was a question of priorities with the first priority being to make a perfect CD with the film being a subsidiary aim.

swamiharinanda Some things were really excellent about this movie. The production and mimicry of Paris was superb. All scenes in the movie beautifully constructed, giving a correct pacing for the actors to have enough space to create their roles.The colour superb.Netrebko as always fine, but lacking in the bloom of her voice. I have heard her many times before on DVD, and it seems to me the sound engineer put a hard edge on her voice. Her acting is superb and it was finally nice to see the role interpreted as though Mimi was a mature woman and not some girlish female fingering her clothing is some coy way as Georghiu does in the met DVD production. Both woman I mention in this paragraph are stunning. Netrebko comes off tops because of her portrayal.Villazon's voice , and he is not to blame loses its line because of a faulty sound engineers inability to keep the voice in focus and at the right forte, as in the example of his top C in Che Gelida Manina, where it seems to drop off in volume and tone. He also does not sing his mezza voce where it is called for in the score. As usual his acting is contrived and over the top, with flailing arms and hands touching his face and head in place of honest acting. He is not a very pleasant looking singer to watch in the way he has been trained to use his mouth.The other men are fine actors and the behind the scene voices were admirable.Musetta was fabulous and a real scene stealer in the café scene. She looked good. Her acting was great, and her voice was very fine for the role. I really liked her.On the whole I will not watch this production again, as for me, in opera it is the voice which is the most important. Here I blame the sound engineer.When I listen to La Boheme again, it will be the Met production with Vargas and Ghiorghiu - or the earlier recording of Teresa Stratas and Jose Carreras. Now this is a Mimi and Rudolpho, and although an older recording, you see and hear two artists in their prime.