A fairly straightforward and faithful adaptation of the stage production, Schumacher does a commendable job of bringing the musical to film. Perhaps it says a lot about how atmospheric the stage version is already, with the only real advantage here being in the ability to expand locations beyond the stage. Schumacher does add to the backstory a little and the opening scene from the stage is expanded upon to form a framing device that cleverly breaks up the different acts of the film. The biggest failing is it rarely overcomes the theatrical feel and Schumacher's choice of shots and composition are a little flat and stale for a genre that really needs a sweeping cinematic visual style. Ultimately however, the film stands or falls on the music and much of your enjoyment will depend on both the songs themselves and the performances of the central trio of characters. It may be well over 25 years old, but the historical setting of the film means the music has aged well ( perhaps with the exception of the title song, but this still fits the Gothic darkness of the particular scene ). This is certainly one of Lloyd Webber's best covering sweeping romantic songs to comic interplay between the cast. The film production gets so much right, from fantastic costume and set design, beautiful lighting and cinematography. Both Gerard Butler and Patrick Wilson are surprisingly good as the male leads vying for the affections of a young opera singer thrust into the limelight, though Butler's voice does occasionally lack the presence such a role requires. And there is some great support work from Minnie Driver and Miranda Richardson. But it is in Emmy Rossum that the filmmakers have struck gold - the central role of Christine is one that makes or breaks the stage production and Rossum absolutely nails the part - her rendition of Wishing You Were Somehow Here Again is stunning and her performance itself makes this worth seeking out as an alternative to the stage version.

**SENSATIONAL**

Great cast, fantastic music, beautiful storyline. Can't help but watch it over and over. The music just stays with you and haunts you for days after.

The Phantom just draws you in... this movie has everything going for it. It's a drama, comedy and romantic, and a great looking cast. The stage production was fabulous, it's so much better watching it on the big screen.

The phantom being the villain, you just feel for him and his love for Christine. Not to mention that fact that he's so hot. That's something I wasn't expecting. I couldn't keep my eyes off him.

The movie is stunning, the music absolutely superb. The cast WOW especially Gerard...what a hunk.

I must say I bought the DVD, which had extras of the original phantom with the original stage cast. The movie I think is so much better. Gerard is superb, his emotional state was so believable. As were the rest of the cast. I still cry at the final scene.

Definitely a movie to watch and don't forget the tissue.

A wonderful love story. Andrew Lloyd Webber is a genius and I've fallen in love with Gerard.

(This was my only IMDB review and I pinched it back)

I was fortunate enough to see this on stage and this version holds up quite well, by comparison. Sure, some of the dialogue scenes are cheesy, almost Disney-esque, but the quality of the music is consistently high with Andrew Lloyd Webber and Charles Hart's wonderful music and lyrics delivered well by Gerard Butler, Emmy Rossum and Patrick Wilson - who is surprisingly engaging as "Raoul". It hasn't the impact nor menace of either the 1923 or 1943 iterations, the colour and glamour of the costumes and sets see to that; but that doesn't impact too negatively on the story of a young opera singer "Christine" who becomes the obsession of the murderous "Phantom" who lives in the sewers beneath the Opéra Populaire in Paris. Luckily, she has the dashing, chivalrous "Vicomte de Chagny" to keep her from her scarred pursuer. Minnie Driver is great as the ultimate diva "Carlotta", and Simon Callow and Ciarán Hinds as the sort of "Stadler and Waldorf" of theatre management create some light comical breathing space now and again from the continuous pace of this sumptuous drama. Miranda Richardson doesn't quite cut it as "Madama Giry", nor Jennifer Ellison as "Meg" - but all in all, Joel Schumacher has created a feast for the eyes that does some justice to Gaston Leroux' original story, and even more to the magnificent musical theatre adaptation from 1986 with rousing performances of "Think of Me"; "Music of the Night" and the eponymous title track made famous by Michael Crawford and Sarah Brightman to entertain us.