Name: The Prom
Genre: Romance, Comedy
Released: 2020-12-02T00:00:00+00:00
Cast: Meryl Streep, James Corden, Nicole Kidman, Kerry Washington, Keegan-Michael Key

The opening number of The Prom (2020) is a spectacle of sequins and misguided energy, setting the tone for Ryan Murphy‘s Netflix musical. Meryl Streep‘s Dee Dee Allen and James Corden’s Barry Glickman burst into “It Takes Two” like a hurricane of desperation, their Broadway stars searching for relevancy—until they stumble upon a cause: two lesbian teens in Indiana denied the right to attend prom together.

What The Prom is, at its core, is a well-intentioned but uneven musical comedy. Directed by Ryan Murphy and adapted from the 2016 Broadway musical of the same name, it follows a group of washed-up Broadway actors who descend upon a conservative town to champion LGBTQ+ rights, armed with glitter, show tunes, and questionable motives. The film’s heart is in the right place, tackling themes of inclusion and acceptance, particularly for queer youth. However, it stumbles in its execution.

The performances are the film’s strongest suit. Streep and Corden are a riot, playing against type with unbridled enthusiasm. Streep’s Dee Dee Allen is a masterclass in over-the-top theatrics, her character a mix of desperation and delusion that only someone of Streep’s caliber could pull off without veering into caricature. Corden, meanwhile, brings a infectious energy to Barry Glickman, his performance oscillating between heartfelt and hilarious. Nicole Kidman’s turn as Angie Dickinson is campy perfection, her character’s journey from self-absorbed diva to reluctant ally delivered with a wink and a smile. Kerry Washington’s grounded portrayal of Mrs. Greene provides much-needed emotional depth, her quiet strength anchoring the film’s more outlandish moments. The young leads, Ariana DeBose and Jo Ellen Pellman, shine as the teen couple at the center of the storm, their chemistry palpable even when the script falters.

The music, composed by Matthew Sklar with lyrics by Chad Beguelin, is catchy but often feels derivative, borrowing heavily from classic Broadway tropes. The standout number, “Unlimited,” is a glittering anthem of self-acceptance, delivered with soaring energy by DeBose and Pellman. Yet, too many songs feel like filler, stretching the runtime beyond its welcome. Numbers like “The Lady’s Improving” and “Zazz” are fun but forgettable, their purpose seemingly more to advance the plot than to resonate emotionally.

Where The Prom falters is in its pacing and structural choices. At nearly two hours, it overstays its welcome, relying on broad humor and repetitive musical numbers to carry the plot. The film’s attempt to blend satire with heartfelt messaging often results in tonal whiplash, leaving some moments feeling insincere. For instance, the transition from the Broadway stars’ initial self-serving motivations to their eventual genuine investment in the teens’ plight is rushed, making their emotional payoff feel earned.

Visually, Murphy’s direction is competent but lacks distinction. The film’s aesthetic leans heavily into neon-lit prom fantasies, which, while colorful, sometimes feel more like a Glee episode stretched to feature length than a fresh take on the genre. The cinematography is serviceable, with few standout moments that elevate the material beyond its stage origins. The editing, too, feels uneven, with some scenes lingering too long and others cut short.

The film’s themes of acceptance and inclusion are timely and important, but The Prom struggles to find a consistent tone in which to explore them. It wants to be both a satire of Broadway egos and a heartfelt story about young love triumphing over prejudice. While it occasionally succeeds in balancing these dual narratives, more often than not, it feels torn between them.

The Prom is a film that wears its heart on its sleeve, even if that heart occasionally beats out of rhythm. It’s undeniably fun in places, with standout performances and catchy tunes that will stick in your head long after the credits roll. However, its missteps—uneven pacing, derivative music, and a lack of visual distinction—prevent it from reaching the heights of similar films like Mamma Mia! or La La Land.

Ultimately, The Prom is a film for fans of Broadway musicals and those who enjoy seeing A-list actors ham it up in over-the-top roles. It’s a celebration of love and acceptance, even if its execution is flawed. For viewers looking for a tightly plotted, visually stunning musical, The Prom may fall short.