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She's the Man

She's the Man

Comedy · Romance · 2006

Viola Hastings is in a real jam. Complications threaten her scheme to pose as her twin brother, Sebastian, and take his place at a new boarding school. She falls in love with her handsome roommate, Duke, who loves beautiful Olivia, who has fallen for Sebastian! As if that were not enough, Viola's twin returns from London ahead of schedule but has no idea that his sister has already replaced him on campus.

Movie details

She's the Man

“Everybody has a secret...”

2006 Comedy · Romance 1h 45m

Critical arithmetic

One number, for now.

TMDB

6.8 / 10

Community rating

Viola Hastings is in a real jam. Complications threaten her scheme to pose as her twin brother, Sebastian, and take his place at a new boarding school. She falls in love with her handsome roommate, Duke, who loves beautiful Olivia, who has fallen for Sebastian! As if that were not enough, Viola's twin returns from London ahead of schedule but has no idea that his sister has already replaced him on campus.

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 She's the Man?

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

Andy Fickman

Written by

Ewan Leslie · Karen McCullah · Kirsten Smith

Amanda Bynes

Amanda Bynes

Viola

Channing Tatum

Channing Tatum

Duke

Laura Ramsey

Laura Ramsey

Olivia

Vinnie Jones

Vinnie Jones

Dinklage

David Cross

David Cross

Gold

Julie Hagerty

Julie Hagerty

Daphne

Robert Hoffman

Robert Hoffman

Justin

Court is in session

Put She's the Man 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.