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The Producers

The Producers

Comedy · 2005

A conniving Broadway producer and his meek accountant plan to profit from charming wealthy old biddies to invest in an overbudget production, and then put on a sure-fire disaster, so nobody will ask for their money back — and what's more disastrous than a tasteless musical celebrating Adolf Hitler.

Movie details

The Producers

“They had everything to gain by not being a success!”

2005 Comedy 2h 14m

Critical arithmetic

The consensus, allegedly.

IMDb

6.3 / 10

45.4K votes

Rotten Tomatoes

51 %

Tomatometer

Metacritic

52 / 100

Metascore

TMDB

6.2 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

A conniving Broadway producer and his meek accountant plan to profit from charming wealthy old biddies to invest in an overbudget production, and then put on a sure-fire disaster, so nobody will ask for their money back — and what's more disastrous than a tasteless musical celebrating Adolf Hitler.

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 The Producers?

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

Susan Stroman

Written by

Thomas Meehan · Mel Brooks

Nathan Lane

Nathan Lane

Max Bialystock

Matthew Broderick

Matthew Broderick

Leo Bloom

Uma Thurman

Uma Thurman

Ulla

Will Ferrell

Will Ferrell

Franz Liebkind

Gary Beach

Gary Beach

Roger DeBris

Roger Bart

Roger Bart

Carmen Ghia

Eileen Essell

Eileen Essell

Hold Me-Touch Me

Court is in session

Put The Producers 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.