This new film version of "West Side story" is a gritty morality tale with an emotional impact—I’d give it 85%. Since I hadn't experienced the stage production or its earlier film adaptation, which is considered a classic, my frame of reference was limited. Even though I live in Australia, I was familiar with songs and scenes from the original Hollywood movie through pop culture exposure. The story draws inspiration from an older narrative—I won’t go into details to avoid spoilers. This second film version (at least as far as US productions are concerned) is set in a New York slum during the 1950s, which the title references. The setting is effectively established; the opening shot shows partially demolished buildings with a sign indicating plans for gentrification. Nearby high-rise apartments have an appropriately run-down look without being overly stylized. From this desolate area emerges a gang of Anglo background called "The Jets." Their bad reputation stems from terrorizing the neighborhood through dancing and singing, seemingly unchallenged. It’s safe to say that the idea of a musical in modern times hasn't lost its appeal; seeing young men dance, sing, and snap their fingers on city streets doesn’t seem odd anymore. We soon learn The Jets have a rival gang, "The Sharks," who are Puerto Rican. The animosity between The Jets and The Sharks is rooted in racial prejudice—the police share this bias as well. It's suggested that the Sharks don’t belong in the US and should return to their place of origin. Their initial encounter involves violence, suggesting escalating conflict ahead. If you thought nothing could worsen the situation, enter Tony (Ansel Elgort) and Maria (Rachel Zegler). Tony is a co-founder of The Jets but after serving time for severely beating an Egyptian man, he’s trying to reform, holding down a job and distancing himself from gang life. Maria is Bernardo's (David Alvarez) sister, who is attempting to escape the slum; Bernardo acts as a father figure alongside his girlfriend in their shared apartment. He finds the idea of Maria dating a "gringo" unacceptable, something we later discover when Tony and Maria meet at a dance and instantly fall in love—he’s also the leader of The Sharks. The moment they fall in love is charmingly portrayed. Maria, as played by Zegler, initially appears like a traditional Disney princess, displaying timidity before showing unexpected assertiveness—perhaps akin to a modern-day Disney princess? Although I'm not an expert on Disney films about princesses, her performance seems worthy of recognition. It occurred to me that Rachel Zegler would be a strong contender for "Best Actress" at awards season; even though I haven’t seen many high-quality movies this year, I believe I can recognize a quality performance when I see one and an award for her wouldn't be undeserved. If Maria couldn’t possibly seem more endearing, you should hear her sing—she possesses a lovely voice, the best in the musical, in my opinion. Elgort occasionally uses falsetto. Regarding the music itself, I suspect that if someone simply wanted to listen to the musical, they would find superior versions from previous stage or screen productions; elsewhere, the arrangements might be bolder, brassier, and more pleasing (at least to my ears), as would the vocal performances. However, since I haven't heard those other versions, I can’t recommend any specifically. It also struck me how similar Tony and Bernardo are—I alluded to this earlier when discussing their shared desire to leave the slum. Another comparison could be made with The Jets' new leader, "Riff" (Mike Faist). They both share attitudes towards those perceived as different. Ultimately, just as Tony thought he was free from gang life, Riff pulls him back in. I enjoyed this film and recognized familiar elements—finger snapping and many songs. One aspect that felt jarring was Maria’s reaction to some distressing news about Tony; it didn't seem authentic. Perhaps with more time, it might have worked better. Later, when the police officer recounts the events, the brevity of the timeline came as a surprise. The film was initially shaping up to receive an 80% rating from me, but the emotional impact near the end prompted me to add another 5%, reflecting that experience. A few random thoughts: Is the ending different from previous versions? If so, it can be interpreted either as a return to realistic character motivations or as a characteristic Steven Spielberg touch. There’s also some realism in the violence, making it unsuitable for very young children. I wasn't sure if there was strong language or if it had been toned down. Finally, prices like 5 cents for a Milky Way chocolate bar and $15 for a fashionable scarf were displayed—interesting details.

Source on TMDB