| Paramount Pictures | Release Date: June 16, 1978 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
14
Mixed:
0
Negative:
1
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Critic Reviews
GREASE is not really the 1950's teen-age movie musical it thinks it is, but a contemporary fantasy about a 1950's teen-age musical—a larger, funnier, wittier and more imaginative-than-Hollywood movie with a life that is all its own. It uses the Eisenhower era — the characters, costumes, gestures and particularly, the music—to create a time and place that have less to do with any real 50's than with a kind of show business that is both timeless and old-fashioned, both sentimental and wise. The movie is also terrific fun.
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Sandy, Danny, and their sexier counterparts Rizzo and Kenickie are spectacular fun to watch, especially in their non-TV-edited glory. Though it's virtually impossible to forget, and stay quiet during, the film's many songs, it's also surprising to remember all of the racy dialogue and double entendres in the original. Or maybe it's just that we never got them when we were ten.
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The screen Grease seemed at the time a big, overblown version of the sassy, gritty stage musical. Now the differences seem less important. What the two versions share are sizzle and a refusal to ignore the sexual energy of an exuberant cast. Grease seems kickier now than it did 20 years ago. [27 Mar 1998, p.D6]
there are times when Grease really kicks in. I'm fond of Channing singing "Look at me, I'm Sandra Dee, rotten with virginity" and then telling an imaginary Troy Donahue, "I know what you wanna do." And most of the big musical numbers work, especially the showstopper: the sunlit Danny-Sandy duet to "Summer Dreams." Greasy kid stuff it all may be, but just like rock 'n' roll, it'll probably never die. [27 Mar 1998, p.A]
Grease isn't a four-star musical. It's fluffy and unimportant, and it gets tedious toward the end with the car-racing sequence that Kleiser staged in the paved-in-concrete Los Angeles River. The friskiness of the performers, the choreography by Patricia Birch and most of all Travolta's phenomenal charm give it its value.
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Travolta's star presence is confirmed in Grease, a weak musical comedy vehicle . The strength of Travolta's performance isn't from dialogue but shots of Travolta reacting, suddenly becoming macho when he realizes the gang is watching him talk to his girlfriend or smothering a giggle after accidentally elbowing Olivia Newton-John in the breast. These moments alone make Grease worthwhile. [17 Jun 1978, p.P31]
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