Patti Cake$: Review
Jersey Girl
 At first glance, you could be forgiven for having doubts about the premise of Patti Cakes. Centering on the plight of an overweight girl who dreams of being a rapper called ‘Killer P’, it could easily be dismissed as a female-driven spin on 8-mile, as an unlikely underdog fights for superstardom in spite of huge opposition. Yet, like the protagonists detractors, prepare to be proved wrong. A sure-footed and heart-warming film that features genuinely clever lyricism, Patti Cakes captures the highs and lows of its heroine’s journey with admirable deftness, resulting in a journey that will leave you laughing, crying and nodding along to its infectious raps.
When we first meet our downtrodden heroine, things look relatively hopeless. Living in New Jersey, Patricia Dombrowski (a stunning breakout performance from Danielle Macdonald) spends her nights dreaming of being a rapper (in vivid cloudy fantasy sequences), and being recognized by her idol, rap god O-Z (Sahr Ngaujah assumedly playing the Jay-Z of this universe). Unfortunately, the reality is bleaker, as Patti works her ass off at multiple jobs to make ends meet, and pay the health bills of her dying Nana (a hilarious Cathy Moriarty). The butt of mean weight jokes and harsh names (her town calls her ‘Dumbo’), Patti looks to rap as an escape, writing random bars with her goofy but loveable best friend Jheri (a scene-stealing Siddarth Dhananjay). It takes a while for Patti to actually rap, but when she does (in an impromptu freestyle looking over the city of New Jersey), it’s genuinely impressive, with a skillful wordplay and fierce delivery that actually convince you that the kid has talent.
Of course, Patti’s quest for recognition is far from easy. Written and directed by first-time director Jeremy Jasper, who also impressively wrote Patti’s lyrics, it does an assured job of balancing its comedic highs with uncomfortable lows. There is great joy to be had from watching Patti and Jheri form rap collective ‘PB and J’, which enlists the help of Patti’s nana, and a mysterious, introverted musician known only as ‘Antichrist’ (Mamadou Athie), who makes inventive beats and also forms a close connection with Patti. Yet, the film also manages to grasp with tougher issues, centering on a strained relationship between Patti and her mother (superbly played by Bridgett Everett). Having come painfully close to being a big singer herself, Patti’s mother partly resents her daughter for having aspirations of her own, and their struggle for rapprochement is in many ways the heart of the film.
If it drifts into implausible territory in the final act, it’s striking just how believable and organic a story this is. Creatively blending the banality of real life with Patti’s bigger ambitions, it achieves a level of emotional connection that feels earned rather than manipulative, as Patti overcomes dispiriting rejection to silence those who dismiss her because of her race and weight. Indeed, much of this can be credited to Macdonald, whose likeable, determined performance (and impassioned delivery) lead us to believe and root for her dream, however unlikely it may seem.
A euphoric and crowd-pleasing cinematic debut from Jeremy Jasper, Patti Cakes is a triumphant film that deftly balances comedy and drama, with an emotional resonance that will surprise even the strongest of skeptics.
★★★★
