Patti Cake$

Straight out of Jersey comes Patricia Dombrowski, a.k.a. Killa P, a.k.a. Patti Cake$, an aspiring rapper fighting through a world of strip malls and strip clubs on an unlikely quest for glory.


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  • ★★★½ review by Amy Andrews on Letterboxd

    Trope after trope after trope, but no matter because Patti's freestyle scenes make up for it.

  • ★★★★★ review by Christa Bass on Letterboxd

    Best film of the year and this year gave us Get Out. I loved every minute of Patricia's quest, the characters are all so well-rounded, the soundtrack is brilliant and I need to go again. 

    We need more heroines like this, we need to see more leading ladies as good as this. Gimme more!

  • ★★★★ review by Alice Bishop on Letterboxd

    Intrigued by the American Dream but wary of its fanciful promise, Patti Cake$ develops a soft spot for realistic aspirations, aiming for the top but always truthful about the unexpected ways that opportunity knocks. Often beaten down by judgement but consistently focused on personal fulfilment, the film works towards the beginning of Patti’s story, craving a deep urban energy while making way for her pure scene-stealing flair. This isn’t Million Dollar Baby, Black Swan or Flashdance, this is Killa P and her band of misfits here to give us something we hadn’t even realised we were missing.

    Read the review here.

  • ★★★½ review by Zach a.m. on Letterboxd

    What I've learned about myself - or what I've had to confront and admit after Patti Cake$ is that I'm a happy crier. I love a good feel-good ending, and apparently I am easily swept off of my feet by people overcoming adversity far more than succumbing to tragedy. The movie might be heavy on clichés and geared to effect you in a certain way, however, I feel no shame with having felt something. I was probably a little too moved by the ending, but watching a daughter make somethig of herself with the tattered remains of her mother's failed attempt at stardom just hits me right in the sweetspot.

    I love the movie's cast of misfits too. A Sundance quirk, for sure, but I also cried at the end of Little Miss Sunshine for a lot of the same reasons. It's a recipe that works on me evidently.

    The need to be creative also runs through the heart of this movie. Even the douchebags who deal oregano and call it weed and the racist blues-playing local cops feel the urge to express themselves in their off-time, and while doing so may or may not make them artists, I think it's important people find an outlet for their ambitions no matter how meager. Everyone needs to express themselves somehow, someway.

  • ★★★½ review by StormofCuteness on Letterboxd

    Yes, it is filled with overly familar tropes, and yet, the acting and characters are refreshingly nuaced/real. Which is pretty amazing considering the lead is an Australian who had to learn how to rap and speak with a Jersey accent. I was truly shocked to learn this.

    The casting is phenomenal as all three generations feel believable, and I was really moved by their interactions. I was shocked to discover that Nana was played by the great Cathy Moriarty as I watched the credits. That voice!

    Oh, and the writer/director wrote some pretty great rhymes that left me amused throughout.

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