Jennifer Lopez to Star in KISS OF THE SPIDER WOMAN Film — Page 31

Than something happened with the moment when “Where you are” began. It became thrilling and a different energy was born, everyone hit their stride and a capturing story started tO unfold.

I totally agree. I watched it at home on a huge 4K 60” TV via an industry screener and actually was enjoying Lopez and the film as it was unfolding but when Molina started singing those first lyrics to “Where You Are”, I erupted in applause and stood up with excitement and boy, did Sergio Trujillo deliver and with endless nods to the original Broadway choreography. Here Lopez oozed complete confidence and this was a true showcase of a superstar. Every nuanced gesture was brilliance.

Is there a streaming date yet?

CarlosAlberto said: "I have a feeling this is one of those films that, even though it didn’t make a splash on release, will find new life on streaming—reaching a fresh audience and finally getting the appreciation it deserves."

I think it might too, partly because one reason it had such a tiny audience is a lot of people (frankly even more than I expected) seemed to have no idea what this even was, and would be more willing to check it out on streaming. I kinda wish it would go direct to a free streaming service instead of rental/buy (just because in the past few years when a movie that made no real impact at the theatre and then blows up on streaming, that's bee the model, not that I think this would ever be something like Saltburn which no one talked about in theatres and then everyone was obsessed with when it was streaming...) but I guess they want to try to make *some* money.

But it still has barely opened in any markets outside N America from what I can tell (well Roscoe just reported it has just opened in Australia where it seems to be doing just as well as it did here in Canada and the US judging by his empty theatre--glad you liked it though!)

Dame, the sties I see think it will go pay/rent on demand by the end of November and then streaming (apparently Lion's Gate has a deal with Hulu) in January but I wouldn't be surprised if they bumped it to earlier...

Updated On: 11/4/25 at 04:34 AM

I say this with true affection, but your posts about this movie here have left me completely bewildered as to if you liked it or not. Weren't you just complaining in that the songs had too many cuts (and Where You Are--which I loved--was actually the only song that DID have a lot of quick edits...)

I watched the film just the other day for the first time. My other post from weeks ago was referencing comments made from others (YouTube reviewers, mostly) and not my assessment (re-read it: “And I watched a handful of YouTube reviews…”). One who did like the film never had seen the original Broadway production and watched the slime tutorial and saw how vastly different both adaptations are therefore said it’s ludicrous to compare them. The film is simply a Cliff Notes adaptation of the Broadway production.

I saw the original Broadway production with both Chita and Vanessa and will admit, though the musical is beautifully crafted, my only interest in the musical has always been, and remains, the Aurora sequences. I always zoned out during the rest of the show just waiting for the Aurora numbers. For this, I enjoyed the film adaptation. Didn’t have to slodge thru those endless non-Aurora numbers, which to this day, I can’t recall as even on the 2 separate cast recordings, I always skip.

DAME said: "Is there a streaming date yet?"

There is not, but it’s pretty normal for a movie not to announce until the day before that it’ll be streaming (Tuesdays and Fridays). So keep an eye out!

Good. The FYC screener is already out. But as usual with those things, it is of poor quality.

I’ve always put this in the top three of Kander and Ebb scores to me it’s brilliant.

Jeffrey Karasarides said: "BrodyFosse123 said: "I saw the original Broadway production with both Chita and Vanessa and will admit, though the musical is beautifully crafted, my only interest in the musical has always been, and remains, the Aurora sequences. I always zoned out during the rest of the show just waiting for the Aurora numbers. For this, I enjoyed the film adaptation. Didn’t have to slodge thru those endless non-Aurora numbers, which to this day, I can’t recall as even on the 2 separate cast recordings, I always skip."

I have noticed that there are people out there who are familiar with the stage version, but don't find the score to be top tier Kander & Ebb. Although some have found the movie to be an improvement in part because it doesn't use any of the songs set in the prison."

I fall somewhere in the middle. I think in various ways most of the dropped songs don't work in terms of bringing conviciton to the material (mainly an issue with lyrics which have straight men articulating ideas in a way no straight man ever would; though it's actually the music that is mostly the problem with The Day After That--too close to One More Day from Les Mis), I absolutely love this score as an audio experience. I never skip a number listening to either cast recording.

Heartbreaking to learn the film has only grossed $2M globally on a $30M budget (excluding the cost of promoting the film). After all the press interviews across the board and countless media coverage the film was completely ignored by the movie going public. Globally.

BrodyFosse123 said: "Heartbreaking to learn the film has only grossed $2M globally on a $30M budget (excluding the cost of promoting the film). After all the press interviews across the board and countless media coverage the film was completely ignored by the movie going public. Globally."

It's my understanding it hasn't opened yet in many international markets (there's some question if it will.) And there really was not that much media coverage if you ask me--why were so many musical theatre fans completely unaware it was out? At any rate, there weren't any UK or European press tours or anything so it wouldn't add up to much globally.

bwayobsessed said: "joevitus said: "Jeffrey Karasarides said: "BrodyFosse123 said: "I saw the original Broadway production with both Chita and Vanessa and will admit, though the musical is beautifully crafted, my only interest in the musical has always been, and remains, the Aurora sequences. I always zoned out during the rest of the show just waiting for the Aurora numbers. For this, I enjoyed the film adaptation. Didn’t have to slodge thru those endless non-Aurora numbers, which to this day, I can’t recall as even on the 2 separate cast recordings, I always skip."

I have noticed that there are people out there who are familiar with the stage version, but don't find the score to be top tier Kander & Ebb. Although some have found the movie to be an improvement in part because it doesn't use any of the songs set in the prison."

I fall somewhere in the middle. I think in various ways most of the dropped songs don't work in terms of bringing conviciton to the material(mainly an issue with lyricswhich have straight men articulating ideas in a way no straight man ever would;though it's actually the music that is mostly the problemwith The Day After That--too close to One More Day from Les Mis), I absolutely love this score as an audio experience. I never skip a number listening to either cast recording."

Having only listened to the OBC after seeing the movie I will say I miss a lot of the score that was cut. I think the prison sequences in both versions are just a bit more enticing to me than the Aurorasongs"

I mean I love listening to it, but in terms of appropriateness for their song spots, "Dressing Them Up" is too much of a light, traditional "charm song" for someone in Molina's position, as "I Draw the Line" is similarly musical comedy thinking out of place in that locale with those characters. Real straight men obviously dream about hot women, but they don't use terms like "big bosomed women." They use a different vernacular. The lyrics of "My First Woman," hold the odd contradiction of Valentin continually saying he remembers her, but then adds "What did she look like? Probably plain." What? He doesn't remember the thing he's supposed to remember so well (this doesn't feel like a Sondheim moment where a character slips up, revealing more about their pysche than they themselves realize). "The Day After That" sounds like a mash-up of "The Bells of St. Sebastian's" from Nine and "One Day More" from Les Mis. None of this makes for bad listening on a cast album. But all of it reads--to me--pretty false for the characters and the situation. I fully acknowledge this is just my own personal opinion.