The Prom

None of this is to say that The Prom didn't have me, a sap, crying by the end. But it also proves that, no matter how hard notable celebs try bathed in neon light, sometimes a glitzy film can't match the thrill of live theater.

There's too much of Corden to ignore in The Prom, but there isn't much to like.

There were moments when I simply lost my courage and had to look away, as some people do during the tooth-drilling scene in "Marathon Man."

The Prom takes giant leaps (literally and metaphorically) in its story progression without earning it.

"The Prom" works hard to be a good time, and I hope it is for many who could use one.

The jokes land, the cast is superb, the score is still charming, and fans of the show will have little to complain about.

In the middle of a pandemic, this plot feels extremely tone-deaf and once again celebrities mocking themselves but never realizing they are the actual problem in society.

The Prom is a campy film that brings all the zazz, even with its major issues.

Taking the vainglorious Broadway actors out of the equation, Pellman and DeBose have a sweet, intoxicating relationship bolstered by an amazingly supportive, hardly recognizable Tracey Ullman and an only slightly out of his depth Keegan-Michael Key.

While Murphy’s trademark glossy, high-octane conceit is a feast for the eyes, the heart often goes hungry.