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The First Wives Club

The First Wives Club

Comedy · 1996

After years of helping their hubbies climb the ladder of success, three mid-life Manhattanites have been dumped for a newer, curvier model. But the trio is determined to turn their pain into gain. They come up with a cleverly devious plan to hit their exes where it really hurts - in the wallet!

Movie details

The First Wives Club

“Don't get mad. Get everything.”

1996 Comedy 1h 42m

Critical arithmetic

One number, for now.

TMDB

6.7 / 10

Community rating

After years of helping their hubbies climb the ladder of success, three mid-life Manhattanites have been dumped for a newer, curvier model. But the trio is determined to turn their pain into gain. They come up with a cleverly devious plan to hit their exes where it really hurts - in the wallet!

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 The First Wives Club?

The 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.

The Trouble with Angels

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St. Vincent

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Names above the title

The people responsible.

Directed by

Hugh Wilson

Written by

Robert Harling

Goldie Hawn

Goldie Hawn

Elise Elliot Atchison

Bette Midler

Bette Midler

Brenda Morelli Cushman

Diane Keaton

Diane Keaton

Annie MacDuggan Paradis

Maggie Smith

Maggie Smith

Gunilla Garson Goldberg

Sarah Jessica Parker

Sarah Jessica Parker

Shelly Stewart

Dan Hedaya

Dan Hedaya

Morton Cushman

Stockard Channing

Stockard Channing

Cynthia Swann Griffin

Court is in session

Put The First Wives Club on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Popcorn Loyalist

“It owes the canon nothing.”

The movie pursues immediacy and audience pleasure without begging institutions to certify its worth.

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.