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Noises Off...

Noises Off...

Comedy · 1992

Hired to helm an Americanized take on a British play, director Lloyd Fellowes does his best to control an eccentric group of stage actors. With a star actress quickly passing her prime, a male lead with no confidence, and a bit actor that's rarely sober, chaos ensues in the lead up to a Broadway premiere.

Movie details

Noises Off...

“The comedy where everyone gets caught in the act.”

1992 Comedy 1h 43m

Critical arithmetic

One number, for now.

TMDB

7.2 / 10

Community rating

Hired to helm an Americanized take on a British play, director Lloyd Fellowes does his best to control an eccentric group of stage actors. With a star actress quickly passing her prime, a male lead with no confidence, and a bit actor that's rarely sober, chaos ensues in the lead up to a Broadway premiere.

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 Noises Off...?

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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Where it lives

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Names above the title

The people responsible.

Directed by

Peter Bogdanovich

Written by

Marty Kaplan

Carol Burnett

Carol Burnett

Dotty Otley / Mrs. Clackett

Michael Caine

Michael Caine

Lloyd Fellowes

Denholm Elliott

Denholm Elliott

Selsdon Mowbray / The Burglar

Julie Hagerty

Julie Hagerty

Poppy Taylor

Marilu Henner

Marilu Henner

Belinda Blair / Flavia Brent

Mark Linn-Baker

Mark Linn-Baker

Tim Allgood

Christopher Reeve

Christopher Reeve

Frederick Dallas / Philip Brent

Court is in session

Put Noises Off... on trial.

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

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.