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'The Prom' could have been something special like the show was on Broadway, but instead of listening to the message the show has about negative effect star-power and acceptance, the movie actively dodges those themes. Removing Corden doesn't fix this mess, but it would have been a start. I can't say I don't recommend it; these are great songs and sung well here. I would catch myself smiling at the musical numbers, and I haven't stopped listening to the soundtrack. The film's opening credits are just the actor's names in the logo font, and I got chills with the score and seeing that on the big screen, with Rannells and Kidman reason alone to watch, along with newcomer Pellman. I love musicals - they have an energy no other genre has, but the lesson from 'The Prom' is the same as 'Cats': make something that's not for the masses, but true to the story. Also, the movie gets Streep to rap in the credit's song, and that's honestly amazing. - Chris dos Santos Read Chris' full article... https://www.maketheswitch.com.au/article/review-the-prom-the-good-the-bad-and-the-james-corden
If you enjoy reading my Spoiler-Free reviews, please follow my blog @ https://www.msbreviews.com I really love musicals, but Netflix's attempt at a cheerful, joyful, colorful, and culturally significant film turns out to be one of the most cringe-worthy, awfully stereotypical, ridiculously exaggerated movies of the year. From the astoundingly over-the-top (and honestly, somewhat insulting) performance from James Corden and Jo Ellen Pellman's one-dimensional debut to the contradictory narrative, Ryan Murphy's first feature film since 2010's Eat, Pray, Love is a massive disappointment. The Prom is supposed to celebrate equality by supporting an inclusive prom where everyone can go and feel comfortable being themselves. However, it restrains itself from showing a homosexual kiss or really any sort of intimacy, leaving that to the very last second of the movie, but it doesn't have any problems in fully developing a heterosexual relationship meanwhile. The breaking out into songs (which are a bit too many) mostly feels incredibly forced, making the whole film look more like a collection of sketches than an actual movie. A few excellent performances (Meryl Streep, Nicole Kidman, Andrew Rannells, Keegan-Michael Key), a couple of quite entertaining musical numbers, some nice choreography and camera work (Matthew Libatique), and an admittedly ambitious production design save this film from being a complete trainwreck, but it's still a disaster. Rating: D+
In Rio de Janeiro, the forty and something years old Mercedes (Lília Cabral) goes to the psychoanalyst and tells the story of her life since she was a girl and lost her mother. Along the three years of analysis, her life changes and she divorces from her husband Gustavo (José Mayer) and has love affairs with the younger Theo (Reynaldo Gianecchini)
On the day before Easter in 1911, Don Hewes is crushed when his dancing partner (and object of affection) Nadine Hale refuses to start a new contract with him. To prove Nadine's not important to him, Don acquires innocent new protege Hannah Brown, vowing to make her a star in time for next year's Easter parade.
In the year 2047, sex is forbidden and Big Brother uses robots to keep an eye on everyone. One young girl tries to outwit the government so she can be with the man she loves.
A rich heiress who falls in love with a man who is not as financially stable as herself. When former love interests make an appearance, the new lovers face challenges.
Mei Tachibana is a high school student. Due to a traumatic incident when she was a kid, Mei has been unable to make friends or have boyfriends. By mistake, Mei then injures the most popular male student named Yamato Kurosawa. Somehow, Yamato Kurosawa likes Mei Tachibana and tells everyone unilaterally that Mei is his friend. One day, Yamato Kurosawa saves Mei Tachibana from a stalker by kissing her. From that kiss, their love story begins.
In Ancient Polynesia, when a terrible curse incurred by Maui reaches an impetuous Chieftain's daughter's island, she answers the Ocean's call to seek out the demigod to set things right.
Never Give a Sucker an Even Break is a 1941 film about a man who wants to sell a film story to Esoteric Studios. On the way he gets insulted by little boys, beaten up for ogling a woman, and abused by a waitress. W. C. Fields' last starring role in a feature-length film.
Carny con artist and snake-oil salesman Eustace McGargle tries to stay one step ahead of the sheriff but is completely devoted to his beloved daughter Poppy.
Formed in 1967 by Gerardo Masana, during the height of a period of very intense Choral Music activity in Argentina's state universities, Les Luthiers premiered this show on May the 30th, 1985 at the El Círculo Theater in Rosario, Argentina. PROGRAM: 1. Vea esta Noche; 2. Serenata Tímida; 3 . El Zar y un Puñado de Aristócratas Rusos...; 4. Una Canción Regia; 5. Truthful Lulu Pulls thru Zulus; 6. El Valor de la Unidad; 7. Les Nuits de París; 8. Pasión Bucólica; 9. Las Majas del Bergantín; 10. Bolero de los Celos; 11. Marcha de la Conquista and; 12. Cuarteto Opus 44. The 'Mandocleta' instrument was presented for the first time during this show. Recorded live at the Colón Theater in Bogotá, Colombia, on April 12, 1986. Numbers 11 and 12 were recorded earlier at that same theater on November 8, 1981. This is the last recorded appearance by Ernesto Acher with Les Luthiers.
Les Luthiers is a comedy-musical group from Argentina, very popular also in several other Spanish-speaking countries such as Paraguay, Peru, Chile, Ecuador, Spain, Colombia, Mexico, Uruguay and Venezuela. They were formed in 1967 by Gerardo Masana, during the height of a period of very intense Choral Music activity in Argentina's state universities.
