The film surprised the critics when it was first released, earning near universal acclaim. Review aggregate Rotten Tomatoes reports that 95% of critics have given the film a positive review based on 40 reviews, with an average score of 7.6/10,[6] and it went on to be nominated for the Academy Award for Best Picture.

Robert Carlyle might seem like a strange choice to play Gaz, if you remember him only from “Trainspotting,” but one of his first roles was in Ken Loach's “Riff-Raff,” which took place mostly on a construction site where the itinerant workers lived off the land. He has a daring here, as if he's walking on a wire and won't fall if he doesn't look down. He doesn't know himself if his plan has been inspired by courage, or bravado.

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The presence of women in the film seems a little cursory, largely restricted to Lesley Sharp, Emily Woof, a few mouthy passers-by, and the crowds of the club scenes. But that's because the men see women from the outside - through the toilet window, as it were. Excluded from the female world of adulthood, they form their own society, a Just William club of eternal schoolboys with Gaz's young son Nathan (the engagingly sour-faced William Shape) tagging along as disapproving chaperon.

Largely sweet and insubstantial, not so much "funny" as it is charming and grin-making.

A talented young boy becomes torn between his unexpected love of dance and the disintegration of his family.

It's a familiar show-biz routine but one that's spangled with happy surprises and sharp acting.

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The cast allegedly agreed that all six of them would really do the "full monty" strip at the end in front of 400 extras, provided they had to do only one take. Therefore, the choreographer, Suzanne Darley-Grand, was hiding in front of the stage, just beyond the camera view, screaming directions at the cast during the closing scene.[citation needed]

Channel 4 Films paid for the screenplay to be written but then declined to invest any equity in the film.

Leaves the audience smiling and giggling, all the while painting a convincing and touching portrait of the downtrodden in England.

The guys meet Horse at their open audition. When he walks in, they think he might be a tad bit seasoned for their female audience. But they realize he knows his stuff when he starts rattling off dance fads like the Bump, the Stump, and the Buster, even breaking out the Mashed Potato in his tryout. His break dancing days are over, but his audition ends with applaud from the judges’ table.

The album The Full Monty: Music from the Motion Picture Soundtrack includes two original tracks by Dudley plus the pop hits, including a cover by Tom Jones of "You Can Leave Your Hat On" commissioned and produced by Dudley, who had collaborated with Jones on a 1988 cover of "Kiss".[15][19]

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A band of rogue DJs that captivated Britain, playing the music that defined a generation and standing up to a government that wanted classical music, and nothing else, on the airwaves.

Lomper doesn’t know what to do with himself after losing his job. He seems to take it the hardest, securing tubing from his car’s exhaust pipe through the window of the running car to off himself. Dave realizes what’s happening and pulls him out. Lomper yells at him to bugger off, prompting Dave to throw the young guy back in the car. Ahh, then he saves him a second time. The dance troupe gives Lomper a reason to get up in the morning.

The film ends with the group performing on stage in front of a packed house, stripping to Tom Jones' version of "You Can Leave Your Hat On" (their hats being the final item removed) with an astounding success.

The Full Monty is a prime example of another once-thriving national product that you thought had gone the way of steel. It's the best British sitcom in years.

Are you in the mood to watch The Full Monty tonight? 

Unemployed Northern men trying anything to scrape a living and uphold their dignity sure enough, The Full Monty pays its respects to Ken Loach. There's a cameo by Bruce Jones from Loach's Raining Stones, as a hapless auditioner gauchely attempting to peel off his anorak. But this is light Loach and with a more focused comic touch.

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The premise of this British comedy, out-of-work male strippers, is contrived and calculated, but the film exudes charm and optimism.

The film's last shot is not hard to guess, although it's less explicit than some audiences will expect. It was applauded at the screening I attended, but I wish there had been another scene afterward. It's not what you do, it's how you feel about it, and I wanted to see a payoff (triumph, maybe, or more likely relief) on the faces of the men.

Over the course of five social occasions, a committed bachelor must consider the notion that he may have discovered love.

In 2000, readers of Total Film magazine voted The Full Monty the 49th greatest comedy film of all time. By that year it earned an estimated £170 million at the box office worldwide.[7]

The film features frequent use of British slang, and in particular the slang of Sheffield.

The Full Monty was a major critical success upon release and an unexpected international commercial success, grossing over $250 million from a budget of only $3.5 million. It was the highest-grossing film in the UK until it was outsold by Titanic. It was ultimately nominated for Academy Awards for Best Picture, Best Director, Best Original Screenplay and Best Original Music Score, winning the last.

A look at this year's competition for Best Actress.

The Full Monty (1997)

Zookeepers struggle to deal with the policies of changing directors.

The daughter of orthodox Sikh rebels against her parents' traditionalism and joins a football team (soccer in America).

A crowd-pleasing blue-collar comedy, half funny and half sad.

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In London, four very different people team up to commit armed robbery, then try to doublecross each other for the loot.

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In an attempt to win his young son’s respect, Gaz comes up with a plan to make a living by producing a Chippendales-like dance routine, recruiting a ragtag group to help him see this scheme come to fruition.

What makes the story compelling is that there's more at stake than just the few bob and laughs the lads stand to make. It's dignity they hope to regain, and more fundamentally, masculinity. Fatigued and disenfranchised, they all wonder if they're still men. Dave worries about losing his wife (Lesley Sharp), Gaz is already divorced, and their suicidal pal Lomper (Steve Huison) is living a dreary celibate life.

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