The defence The Popcorn Loyalist
“It owes the canon nothing.”
The movie pursues immediacy and audience pleasure without begging institutions to certify its worth.
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Die, Mommie, Die!
Comedy · 2003
Angela Arden is a washed up, has-been singing star who is trapped in a hateful marriage to film producer Sol Sussman. In an attempt to escape her marriage so that she can be with a hunky layabout, she poisons her husband. However, Angela's manipulative daughter, gay son and alcoholic maid are not going to make it easy for her.
Movie details
Die, Mommie, Die!
“Hollywood... It's a dirty town but someone has to do it!”
2003 Comedy 1h 30m
Critical arithmetic
One number, for now.
Scores change. Arguments endure.
TMDB
6.6 / 10
Community rating
Angela Arden is a washed up, has-been singing star who is trapped in a hateful marriage to film producer Sol Sussman. In an attempt to escape her marriage so that she can be with a hunky layabout, she poisons her husband. However, Angela's manipulative daughter, gay son and alcoholic maid are not going to make it easy for her.
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 Die, Mommie, Die!?
For the defence
The Popcorn Loyalist
“Big screen, big feelings, no apologies.”
Read their case For the prosecution
The Cool Ironist
“Feeling things is a little embarrassing.”
Read their objectionThe 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.
Cast & crew
Directed by
Mark Rucker
Written by
Charles Busch
Charles Busch
Angela / Barbara Arden
Natasha Lyonne
Edith Sussman
Stark Sands
Lance Sussman
Frances Conroy
Bootsie Carp
Philip Baker Hall
Sol Sussman
Jason Priestley
Tony Parker
Nora Dunn
Shatzi Van Allen
Court is in session
Put Die, Mommie, Die! on trial.
Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.
The prosecution The Cool Ironist
“Easy pleasure, short half-life.”
It moves efficiently through the moment but offers little reason to keep arguing once the credits end.