Metacritic reviews

There's no attempt to address the show's endemic weak spots--a slow start and a contrived end. Mostly Stroman just lets it rip. But in some respects the movie is an improvement on the show.

Broderick is a genuine trouper, hoofing his way through his big numbers, while Lane's antics are difficult to resist.

The result is largely a giddy, goofy delight.

So determinedly old-fashioned it makes a strong claim to being the best film musical of 1959.

The theatricality is off the charts. Lane aims for the balconies; Broderick tones it down for the camera a bit.

The best two performances belong to Uma Thurman and Will Ferrell. For the film to work, though, the two best roles should belong to Tony-winning Nathan Lane and Matthew Broderick in the title roles.

It's the curse of overacting and overdone shtick that does them in.

The accountant in Bloom would probably approve of the new Producers: It's an efficient extension of a popular brand. In theory, what's not to like? In reality, the whole schmear.

The musical film version of The Producers is, for better or worse, a faithful record of the stage production, adhering to the same if-it-ain't-broke-don't-fix-it philosophy that informed the recent "Rent."

The Producers is a movie based on a play based on a movie about a play. And that's probably the funniest thing about it.