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The Last Five Years

The Last Five Years

There are two sides to every love story.

201494 minPG-13Midcredits score: 48th percentile of all films
Director
Richard LaGravenese
Starring
Anna Kendrick, Jeremy Jordan, Natalie Knepp, Bettina Bresnan

In New York, a struggling actress and a successful writer sing about their failed marriage from two perspectives.

Where to watch

Where can I watch The Last Five Years?

As of October 24, 2026, MovieCove lists The Last Five Years streaming on Lionsgate+ via Prime Video and Tubi (free) and to rent or buy on Apple TV and Prime Video.

Your rating, lists and review

Highlights

What stands out about The Last Five Years?

The Last Five Years earns 7 badges, led by Award Winner and Box Office Flop.

  • Reception
  • Craft and mood
  • Awards and box office

Reception

Is The Last Five Years worth watching?

The Last Five Years' Midcredits score is the 48th percentile of all films, from 50K ratings across 6 sources. 46% liked it (rated it 7 or higher out of 10).

Midcredits score

How well it was received

48th percentile

Better received than 48% of films

55th percentile among Comedy48th percentile among 2010s
Acclaim (how much people like it)50th
Approval (how many liked it)46th

61 /100

50th percentile of all films

57th percentile among Comedy50th percentile among 2010s

Critics 60 · Audience 62

Critics and audiences broadly agree.

Rating distribution

A broad spread centered near 6.2 — solid but not unanimous.

46% liked it

46th percentile of all films

52nd percentile among Comedy46th percentile among 2010s
46% rated it 7–1054% rated it 1–6

Critics 59% · Audience 57%

On Rotten Tomatoes, critics and audiences approve at similar rates.

Awards

0 Oscars won · 0 Oscar noms · 1 wins / 1 noms overall

85th percentile

50K ratings across platforms

83rd percentile among Comedy86th percentile among 2010s
TMDB popularity, last 37 days to Oct 26Down 21% in 30 days

Box office

Budget$3.5M
Opening weekend$42K
Domestic gross$145K
Worldwide gross$292K

Returned 0.1× its budget — 31st percentile earner in its genre.

What reviewers say

Common ground

A deeply sad, all-sung musical about a relationship told through two opposite-direction timelines, anchored by strong lead performances and a sophisticated score.

Fans praised

  • Anna Kendrick's performance as Cathy — vulnerable, layered, emotionally committed
  • Jason Robert Brown's score and lyrics — rich, witty, emotionally complex
  • Chemistry between Kendrick and Jeremy Jordan in the shared numbers

Detractors panned

  • All-sung format prevents emotional connection and feels tiresome
  • Jamie character comes across as selfish, unlikable, and poorly balanced vs. Cathy
  • Unconventional timeline leads to confusion and disjointed storytelling

What stands out

Sound and musicDivisive82

Score widely praised as sophisticated and emotionally evocative; some find melodies forgettable

ActingDivisive80

Kendrick universally praised for emotional depth; Jordan more divisive — fans cite charisma, detractors find him unengaging or strident

OriginalityDivisive70

Opposing timeline structure deemed innovative by fans, contrived by detractors

Emotional impactDivisive55

Devastating for fans; for detractors, confusion and character antipathy block catharsis

CinematographyDivisive55

Vibrant color design in happy scenes, drab in sad ones; some shaky cam and lack of visual unity

CharactersDivisive45

Cathy sympathetic but passive; Jamie widely panned as selfish and unlikable; both camps note lack of dimension

PacingDivisive45

Non-stop singing and episodic structure lead to drag; fans appreciate compact 90-min runtime

Plot and storyDivisive40

Reverse-timeline device disrupts emotional arc and clarity; feels gimmicky to many, compelling to few

Preferred by

Under-30s vs over-30s

Preferred by Under-30s

Under-30s scored it 13 points higher than over-30s.

Critics vs users

Preferred by Users

Users scored it 20 points higher than critics.

US vs non-US

Preferred by US Viewers

US viewers scored it 16 points higher than non-US viewers.

No notable difference between the other groups: each pair ranks it within 10 percentile points.

  • Women vs men 2 points apart

Watch experience

What is The Last Five Years like to watch?

Conclusions only — categories and positions, no plot detail.

Moving and bittersweet: browse every movie of this kind

Watch this when you are ready for heavy feelings, and you want a story that moves you and leaves an ache.

It takes its time and leaves you bittersweet. Skip it when you want an easy night or you want things to move fast.

ToneFeelDemandwhat the answer rests onexact position · filled zone: the category

What it asks of you

Room for heavy feelings and patience.

What it feels like

Moving and bittersweet.

The answer rests on this: Moods
BittersweetMelancholicRomantic
Heaviest: late
Wry humor: Amused and slightly dry about it.
Register
Sentimental · 8% of filmsRomantic · 8% of films
Told as
Nonlinear · 6% of films: Events shown out of chronological order.
ToneThe film treats its material with earnest emotional weight: the songs are confessional and the performances are sincere, with no ironic distance from the romance or the heartbreak.
The rideThe film's emotional register is sustained at a bittersweet, melancholic level, with the heaviest emotional moment reserved for the ending.
StructureThe story is told through two intercutting timelines: Cathy's moves backward from the end of the relationship, Jamie's moves forward from the beginning.

How it leaves you

what you carry away

Bittersweet.

The answer rests on this: BittersweetUnsettling
Why it leaves you this wayThe film leaves you with the ache of a love that couldn't last, mixing the warmth of the early romance with the pain of its unraveling.
How it ends · evidence
Tragic ending

Story archetype

where it sits among all films
Monster — 21% of films. A threat menaces the hero's world and must be defeated.Rags — 3% of films. A rise from lowliness to fortune, status, or recognition.Quest — 10% of films. A journey toward a defined objective, with companions and obstacles.Voyage — 4% of films. Into a strange world and back again, changed.Comedy — 11% of films. Confusion and cross-purposes resolved into harmony.Tragedy — 9% of films. A flaw or fixation drives the protagonist to ruin.Rebirth — 13% of films. A stalled or darkened life reopened and renewed.Mystery — 7% of films. A question drives the story — who did it, what happened, what is real — until it is answered.No archetype — 22% of filmsPredator — 6% of films. A creature or killer hunts the protagonists (Jaws, Alien).Tyrant — 6% of films. A human villain holds power over the hero's world (Die Hard).Invasion — 2% of films. An external force attacks the home or world (Independence Day).Oppressive state — 2% of films. A government, its agencies or a secret faction inside them is the monster (V for Vendetta).Corporate villainy — 1% of films. A company or its bosses are the monster (Erin Brockovich).Institutional injustice — 1% of films. A court, prison, police force, school or church is itself the enemy (Spotlight).Class system — under 1% of films. The gap between rich and poor, or a rigid hierarchy, is the monster (Parasite).Technology turns — under 1% of films. Technology people rely on becomes the threat (The Terminator).Inner demon — 1% of films. The monster is within — addiction, illness, a dark double.Underdog triumph — 2% of films. Rise through competition or contest (Rocky).Social ascent — under 1% of films. A climb in class or status (Pretty Woman).Fame and fortune — under 1% of films. An artistic or showbiz rise (A Star Is Born).Rise and fall — under 1% of films. Wealth or power gained, self lost (Scarface).Hidden worth revealed — under 1% of films. The protagonist's true value finally recognized.Treasure hunt — 1% of films. Retrieve an object of value (Raiders of the Lost Ark).Rescue — 4% of films. Retrieve or save a person (Saving Private Ryan).Mission — 5% of films. Accomplish or destroy a defined objective (Mission: Impossible).Journey home — under 1% of films. The goal is getting back (Finding Nemo).Pilgrimage — 1% of films. The journey itself transforms; the destination is symbolic.Portal fantasy — under 1% of films. Transported into another world (The Wizard of Oz).Fish out of water — 2% of films. Displaced into an unfamiliar social world (Elf).Survival ordeal — 1% of films. Trapped in a hostile environment, fighting back (Cast Away).Time displacement — under 1% of films. Unstuck in time (Back to the Future).Descent — 1% of films. A night-journey into an underworld or subculture (After Hours).Romantic comedy — 4% of films. Lovers kept apart by confusion, united at last.Comedy of errors — 3% of films. Mistaken identity or misunderstanding drives the plot.Farce — 2% of films. Escalating absurd chaos and coincidence (The Hangover).Buddy comedy — 1% of films. A mismatched pair forced together (Rush Hour).Comedy of manners — 1% of films. Social codes and class satirized (Clueless).Hubris — 1% of films. Pride or ambition invites the fall (There Will Be Blood).Obsession — 2% of films. A fixation consumes the protagonist (Black Swan).Corruption arc — 2% of films. Step-by-step moral decay (The Godfather).Doomed love — 2% of films. Love destroyed by circumstance (Brokeback Mountain).Crushed by fate — 3% of films. Destroyed by forces beyond the protagonist's control.Redemption — 3% of films. Moral reawakening of a hardened soul (A Christmas Carol).Healing — 5% of films. Recovery from grief or trauma (Good Will Hunting).Liberation — 2% of films. Breaking free of a confining life (Room).Second chance — 2% of films. A stagnant life re-opened to love or purpose (Groundhog Day).Puzzle — 1% of films. A clue-by-clue puzzle you can try to solve before the reveal (Knives Out, Clue).Investigation — 5% of films. A long pursuit of the truth that may never be fully solved (Zodiac, Memories of Murder).Enigma — 2% of films. The mystery is what is real, or what is actually happening (Mulholland Drive).Tragedy
Every story archetype, clockwise from the top
  • Monster 21%: Predator 6% · Tyrant 6% · Invasion 2% · Oppressive state 2% · Corporate villainy 1% · Institutional injustice 1% · Class system under 1% · Technology turns under 1% · Inner demon 1%
  • Rags 3%: Underdog triumph 2% · Social ascent under 1% · Fame and fortune under 1% · Rise and fall under 1% · Hidden worth revealed under 1%
  • Quest 10%: Treasure hunt 1% · Rescue 4% · Mission 5% · Journey home under 1% · Pilgrimage 1%
  • Voyage 4%: Portal fantasy under 1% · Fish out of water 2% · Survival ordeal 1% · Time displacement under 1% · Descent 1%
  • Comedy 11%: Romantic comedy 4% · Comedy of errors 3% · Farce 2% · Buddy comedy 1% · Comedy of manners 1%
  • Tragedy 9% (this title): Hubris 1% · Obsession 2% · Corruption arc 2% · Doomed love 2% (this title) · Crushed by fate 3%
  • Rebirth 13%: Redemption 3% · Healing 5% · Liberation 2% · Second chance 2%
  • Mystery 7%: Puzzle 1% · Investigation 5% · Enigma 2%
  • No archetype 22%

Tragedy: A flaw or fixation drives the protagonist to ruin. · Doomed love: Love destroyed by circumstance (Brokeback Mountain).

9% of films fit this archetype

A loose fit — the map only half-holds this one.

Why this archetypeThe film follows a relationship from beginning to end, structured as a reverse chronology between the two characters. The central event is the dissolution of the marriage, fitting the doomed love tragedy archetype.

What it's about

7 groups · 53 themes
Bonds — 27% of filmsSelf — 22% of filmsPower — 7% of filmsMorality — 16% of filmsSurvival — 15% of filmsSociety — 9% of filmsIdeas — 5% of filmsRomantic love — 15% of filmsMarriage — 2% of filmsFamily bonds — 21% of filmsParenthood — 2% of filmsFriendship — 9% of filmsLoyalty — 4% of filmsIdentity — 14% of filmsComing of age — 5% of filmsAging — under 1% of filmsSelf-worth — 7% of filmsAmbition — 7% of filmsPurpose — 9% of filmsMemory — 3% of filmsObsession — 3% of films. A fixation consumes the protagonist (Black Swan).Power — 2% of filmsCorruption — 3% of filmsGreed — 3% of filmsClass — 3% of filmsOppression — 4% of filmsFreedom — 5% of filmsJustice — 13% of filmsDuty — 2% of filmsRevenge — 4% of filmsGuilt — 3% of filmsRedemption — 6% of films. Moral reawakening of a hardened soul (A Christmas Carol).Forgiveness — 1% of filmsSacrifice — 4% of filmsBetrayal — 5% of filmsDeception — 9% of filmsSurvival — 17% of filmsWar — 1% of filmsViolence — 4% of filmsMortality — 2% of filmsGrief — 6% of filmsTrauma — 7% of filmsMental illness — 1% of filmsAddiction — 1% of filmsIllness and disability — under 1% of filmsCommunity — 14% of films. Consequences reach a town, institution or group.Isolation — 5% of filmsPrejudice — 3% of filmsDisplacement — 1% of filmsFaith — 3% of filmsTradition vs change — 2% of filmsFame — 3% of filmsLegacy — 4% of filmsFate — 1% of filmsFree will — under 1% of filmsTruth — 4% of filmsHope — 5% of filmsNature — 2% of filmsArt — 4% of filmsTechnology — 1% of filmsSelfRomanticlove
Every theme, clockwise from the top
  • Bonds 27% (this title): Romantic love 15% (this title) · Marriage 2% · Family bonds 21% · Parenthood 2% · Friendship 9% · Loyalty 4%
  • Self 22%: Identity 14% · Coming of age 5% · Aging under 1% · Self-worth 7% · Ambition 7% (this title) · Purpose 9% · Memory 3% · Obsession 3%
  • Power 7%: Power 2% · Corruption 3% · Greed 3% · Class 3% · Oppression 4% · Freedom 5%
  • Morality 16%: Justice 13% · Duty 2% · Revenge 4% · Guilt 3% · Redemption 6% · Forgiveness 1% · Sacrifice 4% · Betrayal 5% · Deception 9%
  • Survival 15%: Survival 17% · War 1% · Violence 4% · Mortality 2% · Grief 6% · Trauma 7% · Mental illness 1% · Addiction 1% · Illness and disability under 1%
  • Society 9%: Community 14% · Isolation 5% · Prejudice 3% · Displacement 1% · Faith 3% · Tradition vs change 2% · Fame 3% · Legacy 4%
  • Ideas 5%: Fate 1% · Free will under 1% · Truth 4% · Hope 5% · Nature 2% · Art 4% · Technology 1%

Bonds

Romantic love · 15% of filmsAmbition · 7% of films
Mourns its theme: Grieves its theme, or what has been lost of it.Intimate stakes: Consequences reach a person or a household.Dual lead
How it treats its themeThe film explores how romantic love can be undone by mismatched ambitions and the pressures of career success.
StanceThe film mourns a romantic love that couldn't survive the unequal pull of ambition, without blaming either partner.

The world

ContemporaryUrbanSuburbanDomesticRealistic
Orchestral modernPopJazzForeground music · original score · Jason Robert Brown
SettingNew York City artist circles and Ohio community theater, with domestic interiors
MusicThe score is entirely sung-through, with no spoken dialogue; each song is a direct window into a character's inner life.

Content guide

Is The Last Five Years okay for kids?

PG-13

The Last Five Years is rated PG-13: “Rated PG-13 for sexual material, brief strong language and a drug image” (MPAA). As of August 31, 2026, Midcredits content scores put its violence at minimal (0/100), sexual content at mild (35/100), language at moderate (43/100), drug and alcohol content at mild (30/100) and frightening material at minimal (8/100). Overall it is heavier than 11% of PG-13-rated films.

Ratings in 6 other countries
  • UK12A
  • Canada14A
  • Ireland12A
  • JapanG
  • Hong Kong12+
  • Spain16
Overall
Mild · all five categories
Heavier than 12% of all filmsHeavier than 11% of PG-13-rated films
Violence & Gore
None / Minimal
light for a PG-13-rated film
heavier than 1%
Sex & Nudity
Mild · audience split: No severity level holds a majority of voters
typical for a PG-13-rated film
heavier than 62%
Profanity
Moderate
typical for a PG-13-rated film
heavier than 53%
Alcohol & Drugs
Mild
typical for a PG-13-rated film
heavier than 44%
Frightening / Intense
None / Minimal
light for a PG-13-rated film
heavier than 7%

Point along a line to see a well-known title at that level.

Nothing here is extreme. The strongest element is language, heavier than 53% of PG-13-rated films.

Source: Midcredits content scores, 0 (none) to 100 (severe) per category, with each standing ranked against other films that have them.

What content warnings does The Last Five Years have?

Not screened for content warnings yet.

Cast and crew

Who is in The Last Five Years?

Cast

At least 2 of the 10 billed cast had never appeared on screen.

Anna Kendrick
as Cathy Hiatt
Top draw: One of the 3 biggest draws in this cast: billing here weighted by career star power.
Jeremy Jordan
as Jamie Wellerstein
Newcomer: A standing when this film came out that sits in the bottom quarter of working actors today.Top draw: One of the 3 biggest draws in this cast: billing here weighted by career star power.
Natalie Knepp
as Alise Michaels
Newcomer: A standing when this film came out that sits in the bottom quarter of working actors today.
Bettina Bresnan
as Heather Greenblatt
Newcomer: A standing when this film came out that sits in the bottom quarter of working actors today.
Marceline Hugot
as Mrs. Whitfield
Top draw: One of the 3 biggest draws in this cast: billing here weighted by career star power.
Rafael Sardina
as Richard
Newcomer: A standing when this film came out that sits in the bottom quarter of working actors today.
Allison Macri
as Carole Ann
Alan Simpson
as Ryan James
Screen debut: No prior film or television role.
Nic Novicki
as Karl
Newcomer: A standing when this film came out that sits in the bottom quarter of working actors today.
Tamara Mintz
as Danica Schwartz
Screen debut: No prior film or television role.

Crew

More like this

What are movies like The Last Five Years?

Movies like The Last Five Years include Funny Girl (1968), New York, New York (1977) and Beyond the Sea (2004). Of the 12 closest matches, several are musicals, and half are films set in New York.

Balanced: every group counts the same, and production only breaks ties.

All 12 share its subject: romantic love. Those cards say what else they share.

Explore by

What else shares a premise, people or place with The Last Five Years?

2.3K other films share the rarest tag below, kind of film: musical. Each tag opens Browse with the films that share it.