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Switch

Switch

Fantasy · Comedy · 1991

Steve Brooks, a sexist womanizer, is killed by a group of his angry former lovers. In heaven, he makes a bargain with God for redemption and agrees to return to Earth. Once there, he must have a sincere relationship with a female and make her fall in love with him. If not, Steve's soul will become the property of the devil. But the devil hedges his bet, and Steve is reincarnated as a woman named Amanda Brooks.

Movie details

Switch

“Steve and Walter used to have a preference for blondes. Then Steve was murdered... and came back as one. Will being a woman make him a better man?”

1991 Fantasy · Comedy 1h 44m

Critical arithmetic

One number, for now.

TMDB

5.9 / 10

Community rating

Steve Brooks, a sexist womanizer, is killed by a group of his angry former lovers. In heaven, he makes a bargain with God for redemption and agrees to return to Earth. Once there, he must have a sincere relationship with a female and make her fall in love with him. If not, Steve's soul will become the property of the devil. But the devil hedges his bet, and Steve is reincarnated as a woman named Amanda Brooks.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Switch?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Blake Edwards

Written by

Blake Edwards

Ellen Barkin

Ellen Barkin

Amanda Brooks

Jimmy Smits

Jimmy Smits

Walter Stone

JoBeth Williams

JoBeth Williams

Margo Brofman

Lorraine Bracco

Lorraine Bracco

Sheila Faxton

Tony Roberts

Tony Roberts

Arnold Freidkin

Perry King

Perry King

Steve Brooks

Bruce Payne

Bruce Payne

The Devil

Court is in session

Put Switch on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Popcorn Loyalist

“It owes the canon nothing.”

The movie pursues immediacy and audience pleasure without begging institutions to certify its worth.

The prosecution The Big-Idea Head

“Easy pleasure, short half-life.”

It moves efficiently through the moment but offers little reason to keep arguing once the credits end.