To undertake a cinematic reimagining of Les Miserables is to approach the proverbial poisoned chalice with gusto, with added virulent infections and - yes the cliched metaphors are done now - a rounded panning from the public and press, who have enjoyed the stage show and don't look upon change kindly.
But that hasn't been the case for Tom Hooper, who bravely took the helm to take this iconic stage show onto the big screen. Featuring Hugh Jackman, Russell Crowe and Anne Hathaway, and not to mention the brilliance of violinist Henry Salmon, 2012's Les Mis has enjoyed a positive reaction from a difficult circle of critics to please.
"Not only is Les Miserables a great film," write popular film website, HeyuGuys, "but it is now the textbook example of how to adapt a musical for the screen, all the while maintaining an utterly straight face. Glorious," they add, giving the film an impressive 5/5.
"For fans, this is exactly how the story of Jean Valjean's transformation from thief to saint should be delivered: smothered in bombast," say Box Office Magazine; and they should know their stuff.
The Daily Telegraph simply describe it as "The Mamma Mia it's all right to like."
Not every critic has rushed home from their press screening - desperately trying to keep a lid on all their doting thoughts.
"As the enduring success of this property has shown, there are large, emotionally susceptible segments of the population ready to swallow this sort of thing, but that doesn't mean it's good," say The Hollywood Reporter.
"By the end, you feel like a pinata on the dancefloor: empty, in bits, the victim of prolonged assault by killer pipes," say The Guardian, in an otherwise, fairly positive 3-star review.
Given the almighty task of translating such a popular piece into a vibrant and modern medium, we think an overall rating of 73% on Rotten Tomatoes can only be described as a success for Hooper and his cronies. Bravo.