Metacritic reviews

“Camp” is a word that’s falling into disuse in these more tolerant times. But back then, that was the whole point, and full ownership of it was reflected in the name of the pageant. This was “camp” back when camp meant something.

Whether pushing the camera close to the performers or zooming in from afar to survey them intimately, Simon captures the lavish life of theatrical imagination that inspires them and makes gender itself seem like an urgent performance.

In between rehearsals, they discuss their lives, from facing the draft board, to their small hometowns, with a fascinating frankness.

A quaint portrait it’s not, and aside from the conditions of the rat-trap midtown hotel where the competing queens are put up in, it’s hardly fly-on-the-wall either. While it presents its subjects at arm’s length, The Queen consistently recognizes the constraints they face.