Kiss of the Spider Woman

KISS OF THE SPIDER WOMAN has in interesting history. It was originally a 1976 novel by Argentine writer Manuel Puig, then a popular film of 1986 that received 4 Oscar nominations, including Best Picture. It was a 1993 Broadway musical winning multiple Tony awards, including Best New Musical. The songs were written by John Kander and Fred Ebb, who had also written the hit shows, CABARET and CHICAGO (both becoming hit movies).

The early buzz on this film has been favorable, so I was eager to see it. My verdict: Mixed. It takes a long time to get moving and most of the musical numbers were boring to me. But after it finally takes off, it's pretty good. Its biggest asset is a sensational performance in the lead role by the mononymous "Tonatiuh," an actor I'd never heard of. I assumed he was a Latin American movie star, but according to the IMDb, he was born in Los Angeles! He's made a few movies, none of which I have ever heard of. It's premature to make Oscar predictions, but he's going to be hard to beat. It's a good role (William Hurt got an Oscar for it in the original film and the Canadian actor who played it on Broadway got the Tony for it.), but Tonatiuh also has the Latino good looks and the talent to pull it off. Other cast members were okay. Lopez did not look very attractive to me. I don't know whether or not it was intentional, but later in the movie when Tonatiuh was in drag, he and Jennifer Lopez looked alike.

Above all, this is half musical, half movie- and perhaps not a moviegoer's favorite combination.

I first watched the original Kiss of the Spider Woman nearly twenty years ago. The 1985 version was a landmark - both a critical and commercial success - and by the time I discovered it, it had already earned its place as a classic. I never saw the Broadway musical adaptation, but the new 2025 remake brings an intriguing reinterpretation: a re-imagined musical that shifts its focus from identity, sexuality, and politics to themes of imagination, transformation, and the power of art to inspire life.

This shift in focus, however, is precisely what seems to divide audiences. Musicals are not for everyone, and for many fans of the original, the idea of turning a politically charged drama into a stylized Hollywood musical feels like a dilution of its essence. Despite the strong marketing campaign and high expectations, I anticipated that this version might struggle to connect with general audiences - and I wasn't entirely wrong.

That said, the storytelling remains engaging and structurally sound. The characters are vivid and entertaining - particularly Jennifer Lopez as the glittering fantasy showgirl Aurora, who brings charisma and flair to her scenes. But with a terrible make-up and wardrobe... Musical numbers such as "Kiss of Spiderwoman," "Gimme Love," and "Only in the Movies" are catchy and well-executed, adding bursts of energy and theatricality. The choreography is polished but visually boring, and often the film's saving grace from autonomy.

Performances by Tonatiuh and Diego Luna are compelling from an acting standpoint, though their singing voices lack the strength one might expect from a traditional musical. This seems to be a growing trend, following the likes of Emilia Pérez - prioritizing raw, untrained vocals to achieve a more "authentic" sound. It's an interesting creative choice, though not always effective.(!)

Visually, the film's dual-world structure - alternating between gritty realism and vivid fantasy - gives the impression of two different directors at work. Unfortunately, the lighting and color palette don't always harmonize with the story's tone, leaving some sequences feeling uneven or over-stylized, and some very weak and dark.

At over two hours, the pacing does drag at times, and while the musical interludes add life and spectacle(for the music lovers), they may test the patience of those who aren't fond of the genre. Still, for viewers open to experimentation, Kiss of the Spider Woman (2025) offers a refreshing if flawed reinterpretation - one that dares to transform a somber political drama into a dazzling exploration of imagination and escape.

I've always had a deep fondness for Héctor Babenco's 1984 version. With Jennifer Lopez and Diego Luna both artists I admire in the cast of this new musical adaptation, my expectations were high. But the truth is, this film, its budget, and the cultural legacy inherited from both the novel and the original movie were simply too big for Bill Condon to handle. There's a pervasive sense of unfinishedness hanging over the whole thing.

Honestly, the moment they invited Ben Affleck to the premiere, it was clear where things were headed no studio that truly believes in its film feels the need for such a clumsy PR stunt.

I won't spoil anything, but I was disappointed when I saw it.

I had only seen the first trailer, and I thought the plot was about a movie star from the 1950s-60s but it turned out to be totally different.

They had some genuinely good and authentic ideas, but it felt like they tried to cram them all in a bit too forcefully.

I gave it that rating because the movie offered some glimpses into the Argentine dictatorship, which made me want to learn more about it.

Kiss Of The Spider Woman has an intriguing premise, but it consistently undermines it's purpose with scattershot direction, aimless ambition and a lead performance that fizzles more than sparks. Now, I've never seen the 1985 original or read the book by Manuel Puig. However, I can confidently assume that this rendition of the film is missing some very key elements to the story, at least that's how it feels as you're watching it.

As the film within the film plays on, it feels completely disconnected from the jail cell we share with our 2 exquisite actors. It's not until the climax that things start to come together but it all feels just a bit unearned and pointless. The story was told in such a way that it did not start to interest me until the last quarter of the film. Disappointing as this story is a good one.

On another note, Jennifer Lopez is a good dancer and a good actress. There's no denying that. Where she faulters is her singing. Flat, the entire film. Not once was there a stand out moment for her, and she is supposed to be the film's centerpiece. It's not all J. Lo's fault though, the songs they were making her sing are incredibly lackluster.

Not one shred of pizzazz or sparkle. I couldn't wait for the songs to end so we could get back to the story, which was far more interesting than whatever Bill Condon thought he was bringing to the table with this disasterous musical that, if I'm being honest, didn't need to be a musical at all.

Overall, I didn't hate everything about it. Diego Luna and Tonatiuh are both excellent and their side of the story is easily the best part of the film. However, as far as musicals go, this was a complete miss. Almost as bad as the Cats remake. Not quite, but almost.

2 Kisses out of 5.