Kiss of the Spider Woman review: Jennifer Lopez shines in uneven musical which lacks bite

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A star rating of 3 out of 5.

This version of Kiss of the Spider Woman focuses on the bond between two men sharing a prison cell during Argentina’s military dictatorship. It’s based on the 1993 musical and the 1985 film starring William Hurt, and takes place in 1983, near the end of the “Dirty War.” The story blends glamorous musical numbers from classic Hollywood with the harsh realities of prison life. While director Bill Condon excels at creating lively, musical scenes, he struggles to fully capture the bleakness and intensity of the prison setting.

The movie centers on Valentín Arregui, a political activist imprisoned for his beliefs, and Luis Molina, a newly incarcerated gay man jailed for a public offense. They’re forced to share a cell by the prison governor, who hopes Molina can get Arregui to reveal information the authorities haven’t been able to obtain through other means.

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The activist is a hardened man inside prison, a stark contrast to Molina, the cheerful window dresser. Molina copes with the harsh reality of jail by escaping into daydreams about his favorite actress, Ingrid Luna (Jennifer Lopez).

When Molina starts describing his favorite movie, Kiss of the Spider Woman, the story shifts into a movie-within-a-movie format. He pictures himself as the secret gay assistant to Aurora, the editor of a magazine Luna plays, and casts Arregui as her boyfriend, Armando. Lopez brilliantly plays two roles: both the alluring and dangerous Spider Woman, and a character within the imagined movie. The Spider Woman threatens to ruin Armando and Aurora’s relationship with a single kiss.

Luna is a vibrant, over-the-top spectacle, like a dream come to life in full color. The film features lavish musical numbers with stunning costumes and energetic performances from Jennifer Lopez. If you enjoyed the musical style of Chicago (also written by the director), you’ll love these beautifully choreographed scenes.

While Jennifer Lopez is the star of the show, Tonatiuh is given ample opportunity to shine. Diego Luna tries his best, but doesn’t quite match Lopez or Tonatiuh in either singing or dancing ability.

Let me tell you, watching Arregui initially dismiss Molina’s stories was fascinating. But it quickly became clear that these tales weren’t just fantasy for Arregui; they were a much-needed escape. The guards were relentless, throwing everything they had at him to get him to talk, and Molina’s stories offered a brief respite from that brutal reality. It was a clever way the film showed how even imagination can become a form of survival.

Condon’s portrayal of the prison feels too artificial and lacks a harshness that would make Molina’s fantasies stand out. The lighting and set design feel like a theatrical production rather than a realistic place, and this softness undermines the impact of the characters’ attempts to escape their circumstances.

Tonatiuh carries the emotional weight of the story, showing the struggles within Molina’s life. He makes it clear that Molina is trapped not only by prison walls, but by a system that condemns his gender identity. The film powerfully illustrates that Molina’s fight to be true to himself, despite facing prejudice, is just as brave as Arregui’s political efforts.

Luna faces a difficult challenge, largely because the character of Arregui is portrayed as overly masculine. The conversations between the prisoners feel unnatural and forced, making their developing relationship seem like a series of plot requirements rather than a genuine connection. Despite its complicated story, Condon’s Spider Woman ultimately feels unconvincing and lacks impact.

Authors

Amber Wilkinson

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2026-04-14 19:07