Netflix’s “Prom” Is A Fun And Earnest Misfire
Netflix’s Prom is an ambitious feature that’s both fun and timely. The all-star cast, which includes heavyweights like Meryl Streep and Nicole Kidman, shine in the film as aging stage actors looking to revamp their image in the wake of an embarrassing misfire. James Corden is especially good, stealing the spotlight anytime he’s on the screen. The late-night host is equal parts charming and ostentatious and has such an excellent chemistry with Streep that their relationship becomes central anytime they are together. It’s clear that everyone involved is having fun and wants this film to be a success, but those desires don’t necessarily materialize. The film wants to be a nuanced reflection of society’s prejudices, sprinkled over with poppy songs that help the message land, but the end result is more like a petulant coffee shop lecture series where everyone is screaming and trying to sound important, but they end up not really saying anything of import.
The real issue with this production is the lackluster script. It’s a by-the-numbers dramedy that would be more at home as a Lifetime original movie rather than a blockbuster musical offering from the world’s premier streaming service. The overall story, one of a young lesbian, Emma, being discriminated against by the local PTA for wanting to take her girlfriend to prom, is actually quite apt for the cultural moment. While many would like to think the world is beyond this kind of bigotry in the year 2020, that’s not true everywhere and this movie is a sobering reflection of a predisposition that is still quite pervasive in many communities around the country.
Simply put, the script fails to live up to the potential of this premise. Things just fall into place far too easily. There is no real struggle for the characters, though the creatives seem desperate to make it seem like there was. Everything, from Meryl Streep’s fun, if out of left field, romance with Keegan-Michael Key’s harried high school administrator, to Corden’s miraculous reconciliation with his wayward mother, who turned her back on him when he came out as a teen, feels forced. The actions come about, not because of logical story beats based on character interaction and natural progression, but because it’s what the script said was coming next.
Even the ultimate moment where Emma thought she was going to get her wish and go to the prom with her date, only to have her hopes dashed through some bait-and-switch tactics from Kerry Washington’s scene chewing villain, have no real, lasting consequences. The misguided teens that helped facilitate the ruse get their minds easily changed by a rollicking mall-set song and dance routine, while Washington’s character comes around by the end, but not because her views on homosexuality had changed, but because her daughter finally came out as Emma’s paramour and the situation was affecting her personally. It’s a limp finale that falls flat because there was no real emotional connection was crafted and the choices don’t come across as logical.
The film is also far too long, clocking in at over two hours. The musical numbers are exciting and well-choreographed. Meryl Streep is effortlessly charismatic and carries several of bigger the performances with ease. Andrew Rannelis (Girls, Black Monday) in particular stands out anytime he gets to flaunt his musical talents. The aforementioned mall-set song and dance routine is led by Rannelis and is, perhaps, the most peppy and catchy tune of all. But when the music fades, the film begins to drag amidst endless exposition about how to make things right for Emma and you’ll find yourself counting the seconds until someone starts to sing again.
If you’re a fan of musicals, in general, Netflix’s attempt at the genre will likely provide some entertainment, at least once. It is fun, especially when the music gets going, and the actors are all earnest in the efforts to provide a sense of gravitas to the proceedings, while still keeping an air whimsy apparent. Even so, a bloated runtime combined with a mediocre script keep this project from truly singing. All things considered; this movie feels more like an overly long episode of director Ryan Murphy’s Glee than a standalone film. Prom is a big swing from everyone involved, but they were only able to tip the ball, grounding out at first instead of knocking it out of the park.
