Not to mention the fact that the post-holiday blues are weighing heavily on us this week, and there are few things more reliably cheering than a good old fashioned (or contemporary, for that matter) song and dance number.
Check out Digital Spy's rundown of ten classics, and let us know your favourites in the comments below!
The Wizard of Oz (1939)
There's no place like home, and there's no musical like Oz. The classic tale of lonely runaway Dorothy and her journey through the magical land of Oz remains as beguiling as it ever was, thanks in large part to a cast of colourful and loveable characters. Everybody has a single, very human goal - the Scarecrow wants a brain, the Tin Man a heart, the Lion courage and Dorothy to return home - and the elegant simplicity of these arcs grounds the lavish sets and whimsical plotting in an emotion that's completely timeless.
Singin' in the Rain (1952)
What's left to say about Singin' in the Rain? Following the success of The Artist last year, this 1920s-set story of a silent film actor (Gene Kelly) who's grown sick of his airhead on-screen partner (Jean Hagen) enjoyed plenty of re-examination, and has deservedly topped the American Film Institute's list of the greatest movie musicals. It's simply physically impossible to watch without cracking a smile, with a nimble and joyous turn from Kelly and an edge of knowing Hollywood cynicism that only enhances the exuberant spectacle and dazzling choreography at the film's core.
West Side Story (1961)
This energetic and technically dazzling adaptation of the beloved 1950s Broadway musical would be impressive under any circumstances, but given that director Robert Wise had never helmed a musical before it's downright miraculous. Admittedly his co-director, Broadway veteran Jerome Robbins, suffered a near-breakdown and was ultimately fired from the project, but at least his blood, sweat and tears paid off - this Romeo and Juliet inspired story of the romance between a boy and girl from warring families is as timeless and emotionally gripping as its source. Not to mention its iconic tunes, from the swooning soar of Tonight and Maria to the fast-paced stylings of Jet Song and America.
Mary Poppins (1964)
There's a reason the word "supercalifragilisticexpialidocious" has become a thing despite being deeply impractical both to write and to say. It's the same reason Dick Van Dyke's dodgy Cockney accent is a charming foible rather than a real flaw - this Walt Disney production is bursting with such imagination and heart that no matter how old you are on first viewing, you will fall under its spell. Starring Julie Andrews as the title's magical nanny, Van Dyke as cheery busker Burt, and David Tomlinson as the distant father who grows a heart under Mary's influence, this is everything a family musical should be, offsetting colourful storytelling and uplifting songs with real emotional stakes. And with Saving Mr Banks - a chronicle of the Poppins adaptation process - due out later this year, there's never been a better time to revisit the magic.
The Sound of Music (1965)
Pre-World War II Germany may not seem like the natural setting for a musical that's about as saccharine and wholly uncynical as they come, but somehow it works for this adaptation of the 1959 hit Broadway show. Based on the true story of the Trapp family, it features go-to movie nanny Julie Andrews as a young nun sent to act as governess for the children of a widowed navy officer (Christopher Plummer). These kids are altogether more of a handful than the relatively well-behaved Poppins children, and with no magical powers as such Maria can only resort to the power of song to win them over. Music is so relentlessly lightweight that it's become an easy target for movie snobs over the years, but there's a bleak undercurrent - if you want to see it - in the development of Plummer's emotionally remote Georg von Trapp.
Sinister sociopolitical underpinnings seem to be part and parcel of most movie musicals, and we're back on German territory here with a musical that's nevertheless worlds apart from The Sound of Music's sugared tone. As enjoyable as Liza Minnelli's flamboyant entertainer Sally is to watch, it's tough to really enjoy the cabaret's excesses when director Bob Fosse's linking them so plainly to the gradual decline of values in pre-Nazi Germany. But that's not to say Cabaret takes itself too seriously, and what intrigues most is the twisty, daring love triangle between Sally, young writer Brian and wealthy playboy Maximilian (Helmut Griem), whose interactions have an acerbic bite that balances out the broadly-drawn political backdrop.
The definitive high school musical, Randal Kleiser's beloved teen romance remains a lively, free-wheeling and unashamedly brainless treat. Danny (John Travolta) and Aussie transfer student Sandy (Olivia Newton-John) struggle to recreate the magic of their Summer Nights together in the cliquey setting of high school, and deal with their raging hormones mainly by doing a whole lot of singing and dancing. This really is a case of the songs justifying the narrative rather than the other way around - half the dialogue exchanges aren't even pretending to be anything other than stop-gaps between catchy numbers, but when the numbers are performed with this level of energy and enthusiasm it's hard to hold that against anybody.
South Park: Bigger Longer & Uncut (1999)
South Park had been rattling cages for a few years, but it was the release of this spin-off movie musical that really took it to the next level. Art pre-empts life as Kyle, Kenny, Cartman and Stan sneak into a swear-filled movie, pick up a whole new vocabulary, irk the heck out of their parents and set in motion of a chain of events by which Satan seeks his return to Earth. With show tunes. Trey Parker and Matt Stone had shown off their musical chops in past projects, and what makes South Park: Bigger Longer & Uncut such a winner is how good these musical numbers are. Silly, satirical, and most of all stupidly catchy, we bet even the MPAA couldn't help but whistle along to the likes of 'What Would Brian Boitano Do?' and showstopping medley 'La Resistance'.
Moulin Rouge! (2001)
While director Baz Luhrmann's lurid, flamboyant style is about as close to Marmite as film visuals get, his handle on this passionate, unashamedly grand love story is faultless. Ewan McGregor has never, ever been more charming than as sensitive writer Christian - and given that Attack of the Clones came out the following year, he needed all the charm points he could get - who falls for doomed courtesan Satine (Nicole Kidman). While Moulin Rouge was an original script, it remains as close as anybody has ever come to recapturing the scope and majesty of a stage musical on screen, nowhere more so than in the dark power of 'El Tango de Roxanne'. Special mention must go both to Richard Roxburgh's impressive moustache, which actually seems to move independently of his face, and to the singular sequence in which he and Jim Broadbent enact their own version of 'Like A Virgin'. Memorable.
Who would've thought that drag and a frankly bizarre Baltimore accent would be all it took to give John Travolta his groove back? This may not be a comeback on the same level as 1995's Pulp Fiction, but Travolta's just one of many things that somehow work in Adam Shankman's chaotic, often messy but infectiously enthusiastic remake. We follow "pleasantly plump" teenager Tracy (Nikki Blonsky) as she pursues both stardom and equality in 1960s Baltimore. The young cast don't miss a beat, from newcomer Blonsky to Zac Efron to a pre-unfortunate headlines Amanda Bynes, and they're backed by Shankman's assured direction, some catchy pop-inflected tunes and game turns from Travolta and Christopher Walken.
Les Misérables opens in UK cinemas on January 11.