Musical Madness

‘Dicks: The Musical’ is a crass, outrageous, bold step for A24

· Updated on October 6, 2023

Dicks: The Musical has been an almost decades-long endeavor in the making. Stars Aaron Jackson and Josh Sharp created waves and plenty of laughs for their stage off-Broadway show F***ing Identical Twins. Now, they’re harnessing the energy from their stage show and putting it on the silver screen in A24’s first musical. 

With comedy icon Larry Charles directing and the acting talents of Nathan Lane, Megan Mullaly, Bowen Yang, and rap superstar Megan Thee Stallion, Jackson and Sharp brought some serious starpower to aid in their efforts. The film is an ambitious, satirical affair, with a mix of theater extravagance and campy shenanigans. While many of the laughs stick, at times, Dicks’ comedy goes off the rails creating a truly shocking and outrageous film. 

A24’s latest project focuses on two self-obsessed business men, named Craig and Trevor (Sharp and Jackson) who reek of toxic masculinity, something the opening numbers dive into immediately. The duo proclaim to have it all, high-paying salaries, a bevy of beautiful women, and big dicks. Well, they don’t have everything.

What Craig and Trevor are missing is having someone who understands them, but it doesn’t take the movie long enough to show that these two are each other’s missing puzzle piece – or f***ing identical twin, if you will. The movie then becomes a bizarre Parent Trap parody, where Craig and Trevor plot to get their parents, a The Birdcage-esque Harris (Nathan Lane) and an Effie Trinket-inspired Evelyn (Megan Mullaly), back together. All of this takes place with Gloria (Megan Thee Stallion), Craig and Trevor’s boss, on the twins’ a** for floundering sales, two terrifying creatures named the Sewer Boys making on-screen appearances, and a very gay God (Bowen Yang) narrating the film. 

Now, imagine this wild story developing through song and dance, then you have Dicks. Kudos have to be given to the creators for putting something as outlandish as Dicks into the world. 

The film’s dialogue is crass, ridiculous, and very queer for two “straight” main characters. Additionally, the character development is equally bizarre, but Lane and Mullaly shine as the eccentric Harris and Evelyn. And speaking of shining, Mullaly’s ability to maintain character while belting out song after song deserves plenty of attention. 

Being that this is a musical, Dicks leans into everything theater, making it feel like you’re watching a stage show, as opposed to a film. However, the cinematography messes with the perception of the film, leaving room for some adjustments to bring this film alive. Additionally, Megan Thee Stallion’s starpower is undeniable and while her big musical number puts her front and center (and the lyrical content is hilarious), the choreography feels wooden – something no one should ever say about Megan. 

While Dicks’ high notes exist in the songs and character portrayals, sometimes the moments designed to be funny just feel off-putting or out of place. However, this film is designed to do and say just about anything to feel outrageous. And then, of course, there’s the shock value seen in Lane spitting out chewed up cold cuts at the Sewer Boys, the intense and incredibly gay sex scene, and the flying vagina (you read that right). 

While Dicks goes there and sometimes doesn’t come back, you can’t say that it’s not enjoyable. 

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