Pure genius. You don't get time to recover from the first joke when the next one rolls around. The music is so well written and the cast is phenomenal. Of course Megan Mullally and Nathan Lane were simply brilliant. They are so easy to love and enjoy on the screen doing what they were made for. When the jokes settle, Nathan and Megan's duet: "Lonely" is all you need to see to remember that they are some of the best in the business. The choices that were made are honestly Oscar nominee (at the very least) worthy. Kudos to the boys, Aaron Jackson and Josh Sharp for keeping up with them and creating such a wonderful piece of art. Bowen Yang is so funny and adorable, I wish he had more screen time. And of course Megan Thee Stallion's song was so powerful, she killed it. "Dicks: The Musical" is the cure for all of the world's problems.

This is a reboot of The Parent Trap as a musical. Identical twins separated at birth, each brought up by a single parent, both become top salesman at the same company. When they are brought together, they realize their relationship. Hankering for a "normal" 2-parent family, they hatch a plot to get their parents together and re-marry.

Switching identities, they each visit the other parent's apartments, and work on getting their reclusive parents to go out to dinner, where they would then meet. However, rather than detail the parents' eccentricities to each other in advance, they both jump in uninformed, and are shocked at what they find.

Originating as a 2-person play, most scenes are 2-person scenes, except for the extravagant musical numbers. Bowen Yang does an amusing turn as God, leading the ensemble in the song "Love is Love". Megan Thee Stallion plays the business founder, and her song is about a power woman dominating men. Nathan Lane is the father who has come out as gay, and is reasonably (but not overly) flamboyant. Having worked together for years, the main characters are very comfortable with each other.

I saw this at the world premiere weekend at the Toronto International Film Festival, where the directors were present, even though as the main actors they would be on strike. This was presented as part of the Midnight Madness program, and they were awed at seeing their "little" project on really big screens (my presentation was on an IMAX screen, and that was not the biggest screen the film played on). In response to a question, they said that they had no trouble getting their "dream team" to work on the film, as the various big-name actors had a positive reaction to the script.

I did find some parts overwhelming - the mother's apartment decor, and the father's pets. Also, the twins did not make any attempt to look alike, despite everyone around them keeping confusing them for each other. This suspension of disbelief is common in live theater, but seems iffy on film.

This film won the TIFF People's Choice Award in the Midnight Madness category.

I had such high hopes for this movie walking into the theater; I was really rooting for this to be a success. I couldn't have been more predisposed to seeing all its best qualities. An hour and 26 minutes later, I regretted every one of my decisions to see this pure piece of garbage. What adds to the heartbreak is the inclusion of such exceptional performers like Megan Mullaly and Nathan Lane. Not even their talented genius could flog this DOA dumpster fire back to life. The writing lacked originality and wit, and saw fit to instead substitute tortured jokes that begged for a pity laugh. Each song became more and more forgettable. You could feel all six people in the auditorium begging for a swift ending to put us out of our misery. When the writing and the music aren't competing for the Gold Medal in the Film Failure Olympics, the bizarre, shoe-horned gags are hard at work making you cringe. A disjointed plot line about sewer monsters and a detached vagina pile onto this crime against cinema, which should be tried in The Hague. It would be less painful to watch the movie musical Cats.