In Cinemas

The Prom review – Ryan Murphy’s relentlessly energetic musical is hard to resist

An uncomfortable performance from James Corden withstanding, this glittering Broadway adaptation hits most of the right notes

After a decade of dominating TV screens with everything from American Horror Story to Glee to this year’s Hollywood (part of a huge nine-figure deal with Netflix), Ryan Murphy returns to feature filmmaking with his first directorial effort since 2010’s Eat Pray Love. Thankfully, The Prom – adapted by Bob Martin and Chad Beguelin from their own Broadway play – is a hell of a lot more fun (and, crucially, more self-aware) than that dreary Julia Roberts vehicle, making for a flawed but irresistibly jolly ode to musicals themselves.

Loosely based on a real-life incident from 2010, The Prom follows four washed-up Broadway stars as they head to a small Indiana town to help a lesbian school kid fight for her right to take a girl to her senior prom, defeating hick bigotry and winning themselves some good publicity all in one fell swoop. It’s a premise ripe for skewering the self-indulgence of liberal New York celebrities, and The Prom generally works best when it has Broadway in its crosshairs, with its examinations of modern American homophobia feeling a little too thin to earn the big emotional beats it’s going for.

Meryl Streep is clearly having a blast as Dee Dee Allen, the wildly narcissistic Tony-winning leader of the troupe who, alongside Andrew Rannells as failed actor Trent Oliver, earns the lion’s share of the film’s laughs. James Corden is less successful, playing actor and writer Barry Glickman in what can only be described as “gay-face,” queening it up a storm in a way that feels profoundly outdated. It’s an issue that falls away a little during the musical numbers, of which there are very many, but Corden has to carry a lot of The Prom’s more sincere moments, which end up getting lost in his very broad performance.

These musical numbers are a mixed bag, too. Some are fantastic – Rannells absolutely runs away with the film with “Love Thy Neighbour,” a spectacular singalong in a mall in which Trent eviscerates the hypocrisy of Bible-based homophobia – but a few miss the mark with either a muddy sound mix or hard-to-follow choreography. This might sound like an odd complaint for a knowingly camp musical, but The Prom is sometimes simply too colourful, the constantly changing palette proving a distraction during songs that should be getting us into the hearts of the characters.

Outside of Corden and a woeful underuse of Nicole Kidman as the group’s fourth member, though, you likely won’t notice a lot of The Prom’s flaws until the credits roll. This is one of the most relentlessly energetic films of the year, barely ever slowing down for the entire 130 minute runtime, carrying you from one scene to the next with no time to reflect before you’re in another song or brightly lit slice of teen drama. Even with his starry adult cast, Murphy carves out a decent chunk of time for the kids around whom the heart of the story revolves. Jo Ellen Pellman makes an impressive film debut as Emma, the girl denied her prom date, but the real breakout here is Ariana DeBose as her secret girlfriend Alyssa.

The Prom is an incredibly busy film – I haven’t even mentioned the conflict between the conservative PTA and the liberal school principle – but Murphy manages to turn this into a major advantage, constantly switching things up and throwing in a song whenever the pace threatens to slacken. It’s hardly going to trouble any best-of-the-year lists, but for two hours of pure restless escapism, you’re in safe hands.

The Prom is now showing in cinemas and will be available to stream on Netflix from 11 December.

Where to watch

More Reviews...

The Innocent review – 60s-inspired heist movie with an existential twist

In his fourth feature film, writer-director Louis Garrel explores with wit and tenderness the risk and worth of second chances

Baato review – Nepal’s past and future collide in an immersive, fraught documentary

A mountain trek intertwines with a road-building project, granting incisive, if underpowered, insight into a much underseen world

The Beanie Bubble review – a grim new low for the “corporate biopic” genre

With none of the saving graces of Tetris, Air, or Barbie, this ambition-free look at the Beanie Baby craze is pure mediocrity

Everybody Loves Jeanne review – thoroughly modern fable of grief, romantic confusion, and climate anxiety

Celine Deveaux's French-Portuguese debut can be too quirky for its own good, but a fantastically written lead character keeps it afloat

Features

Repertory Rundown: What to Watch in London This Week, From Little Women to Sergio Leone

From classics to cult favourites, our team highlight some of the best one-off screenings and re-releases showing this week in the capital

Repertory Rundown: What to Watch in London This Week, From Coppola to Cross of Iron

From classics to cult favourites, our team highlight some of the best one-off screenings and re-releases showing this week in the capital

20 Best Films of 2023 (So Far)

With the year at the halfway point, our writers choose their favourite films, from daring documentaries to box office bombs

Repertory Rundown: What to Watch in London This Week, From Mistress America to The Man Who Wasn’t There

From classics to cult favourites, our team highlight some of the best one-off screenings and re-releases showing this week in the capital