The Prom
NETFLIXNetflix seem hellbent on causing as much turmoil as they can with their waning release schedule. The toxic commotion of Hillbilly Elegy and the controversy surrounding Mank would be at the forefront of audience’s minds if it weren’t for The Prom. Tearing through the thick fog of moderate dissension and planting their flag in the living rooms of millions, this latest release will do so little for so many. A, by the numbers, musical comedy adapting the stage play of the same name hitting all the expected dud notes along the way, The Prom is horridly dense and oddly offensive in parts.
Bane of human existence and British outcast James Corden appears alongside Nicole Kidman, Meryl Streep and Andrew Rannells in this latest piece from director Ryan Murphy. You should expect nothing short of intense quality with those recognisable names, but this flashy musical is – unfortunately – shallow and weightless; fluff for the mighty Netflix catalogue. Its message is mismanaged, and what little light shines through the glitz and glam of this high production value is of futile use. Early scenes showcase how much power celebrities have and how they hijack social issues for brand exposure. There’s a smacking of irony there, one that Murphy and his cast don’t quite understand: our quartet of characters setting out to aid Emma (Jo Ellen Pellman) as she battles for her right to attend prom.
The actual music is fine. It’s nothing incredible, but not ear-achingly dreadful either, walking a tightrope of mediocrity. Characters are singing about their feelings, when, to be honest, a written note or brief conversation would be preferable. Songs that are meant to shoehorn upbeat justice and happiness into every facet possible barely work. Alongside these rather bland songs comes a series of lines produced and composed by a suited team looking to capture a feeling of social justice. They fail tremendously and their artificial nature rings through with pangs of disingenuous box-ticking. There’s no passion from Murphy or the cast here, and it’s a sad shame to see such a bloated experience fade out, when at its core it does have an idea worth adapting.
Eventually, producers will awaken from this comatose state of believing Corden can sing. Looking at the production value and promise found in brief pockets throughout The Prom, it’ll not be anytime soon. Light, lengthy, and not at all enthralling, The Prom is as facile and predictable as its self-interested leading characters. Petering out into a crescendo of faux justice and mishandling of adage, this Corden and Streep collaboration is a visual mess. It is also an ugly reminder that we still have a long way to go before representation is used as more than a stepping stone for A-Listers hoping to elbow their way into awards season.