Showing posts with label Molly Gordon. Show all posts
Showing posts with label Molly Gordon. Show all posts

Friday, May 8, 2026

The Sheep Detectives: Wooly bully!

The Sheep Detectives (2026) • View trailer
Four stars (out of five); rated PG, and needlessly, for mild dramatic intensity
Available via: Movie theaters
By Derrick Bang • Published in The Davis Enterprise, 5.10.26

Director Kyle Balda’s quaint little charmer is certain to appeal to fans of BabeCharlotte’s Web and other (sorta-kinda) live-action talking animal movies.

 

This one blends that core premise with a bit of Shaun the Sheep and ... Agatha Christie.

 

Whenever George (Hugh Jackman) feels gloomy or lonely, he cheers himself by spending
quality time with his favorite sheep, Lily.

The film derives from an intriguing source, adapted from German author Leonie Swann’s 2005 novel, Three Bags Full, which is set in the Irish village of Glenkill. 

Scripter Craig Mazin moves the action to the fictitious English countryside community of Denbrook. (Filming actually took place in and around Oxfordshire, and cinematographer George Steel makes ample use of the lush setting.) Mazin also takes serious liberties with Swann’s characters and the plot; the beguiling result bears little resemblance to her novel.

 

Eccentric rancher George Hardy (Hugh Jackman) gets along far better with his sheep — all of whom he has named — than with the townsfolk. He writes long narrative letters to somebody named Rebecca, detailing his workaday activities. He’s also an avid fan of mystery books; once chores are done each day, and the sun begins to set, he sits on the steps leading to his tiny trailer home, and reads aloud to his large flock.

 

At first blush, it seems curious to see all the sheep amble toward the trailer, and settle onto the ground, as if paying attention. As we learn, when George retires for the night, the sheep understand every word, and debate who the culprit might be. 

 

The lively arguments fly between the patient Mopple (voiced by Chris O’Dowd), the curious Zora (Bella Ramsey), the fluffy Cloud (Regina Hall), the proud and dignified Sir Ritchfield (Patrick Stewart), the shaggy Wool-Eyes (Rhys Darby) and rowdy twins Reggie and Ronnie (Brett Goldstein). Ah, but the wise and perceptive Lily (Julia Louis-Dreyfus) always knows the right answer, well before each novel concludes.

 

Lily understands the structure of such books, explaining that it’s always a matter of deducing which suspect had means, motive and opportunity.

 

Meanwhile, budding young journalist Elliot Matthews (Nicholas Galitzine) arrives in Denbrook, having been sent to write a feature on the town’s “cultural festival.” This turns out to be only three paltry tables set up by prickly innkeeper Beth Pennock (Hong Chau), who becomes grievously insulted when Elliot bluntly notes that her “fair” isn’t such a much.

 

Other key villagers include Tim Derry (Nicholas Braun), the clumsy and sweetly befuddled local policeman; Rev. Hillcoate (Kobna Holdbrook-Smith), the often bewildered local minister; Ham Gilyard (Conleth Hill), the smugly arrogant town butcher; and Caleb Merrow (Tosin Cole), a fellow sheep rancher who leases half of George’s land for his flock.

 

Beth spits nails every time George’s name is mentioned. George, far from devout, stuns  Rev. Hillcoate and his entire congregation during service one day, by storming into church and dumping a huge wad of bills in the donation plate.

Friday, July 28, 2023

Theater Camp: Concept, 8; laughs, 10

Theater Camp (2023) • View trailer
Four stars (out of five). Rated PG-13, for occasional profanity and drug references
Available via: Movie theaters
By Derrick Bang • Published in The Davis Enterprise, 7.28.23

This is one of the most sarcastic — yet affectionate — films I’ve ever seen.

 

Also one of the funniest.

 

Whilte the young cast members stare in nervous astonishment, Amos (Ben Platt) and
Rebecca-Diane (Molly Gordon) interrupt a rehearsal to indulge in another of their
many artistic arguments.


Granted, theater people are an easy target, with all their quirks and ostentatiously sincere eccentricities. Co-directors Molly Gordon and Nick Lieberman clearly know their way backstage, and their script — co-written with Noah Galvin — explores territory that’ll instantly be familiar to any parent whose adolescent child has been bitten by the stage bug (along with all the other adults who’ve politely endured community theater productions).

Gordon and Lieberman’s mockumentary was a smash hit at this year’s Sundance Film Festival, and took home the coveted U.S. Dramatic Special Jury Award.

 

So … let the curtain rise!

 

With summer approaching, AdirondACTS founder Joan (Amy Sedaris) and general manager Rita (Caroline Aaron) once again scout local school theater productions, in order to entice kids to attend — and their parents to help fund — their scrappy upstate New York theater camp. Alas, this undertaking proves calamitous; the strobe effects during a production of Bye, Bye Birdie send Joan into a shock coma.

 

(The fact that this crisis is milked for humor, gives a sense of how edgy the script will be.)

 

Responsibility for overseeing the summer’s activities therefore falls to Joan’s oblivious “crypto bro” son, Troy (Jimmy Tatro), a clueless failure-to-launch who probably didn’t graduate junior high school. His arrival coincides with busloads of eager young thespians, which horrifies Rita and the rest of the staff, notably drama instructors Amos (Ben Platt) and Rebecca-Diane (Molly Gordon). Their goal: to keep Troy the hell away from day-to-day activities.

 

Alas, Troy is so dense that he can’t take even sledge-hammer hints. His effort to introduce himself to the assembled children, on the first morning, totally fails to quell the eager chatter of reuniting friends and eager newcomers.

 

Then Amos grabs the microphone and croons “Oh, what a beautiful…”

 

…at which point, all the kids snap to attention and sing, in unison, “morning!”

 

Right then, the film becomes can’t-miss captivating.

Friday, May 11, 2018

Life of the Party: Out of control

Life of the Party (2018) • View trailer 
2.5 stars. Rated PG-13, for sexual candor, drug content and blue humor

By Derrick Bang • Originally published in The Davis Enterprise, 5.11.18

This is a mildly amusing, occasionally endearing 30-minute movie.

Unfortunately, it runs 105 minutes.

Deanna (Melissa McCarthy, with paddle) is delighted when her daughter's sorority sisters
enthusiastically accept her as a member.
At its core, this story has a nifty message of empowerment, seizing the day, and making lemonade when life extends only lemons. (Or the other way around, as one of these characters insists.) It’s a solid premise: Unexpectedly divorced, middle-aged woman returns to college in order to earn the degree she was one short year from obtaining. 

That she happens to choose the university where her daughter is beginning her senior year, clearly adds to the comedic potential. Not a bad start.

Unfortunately, star Melissa McCarthy too frequently clutters up the film with her tediously unfunny shtick. Ergo, school’s out.

Just like the aforementioned young woman who mixes up the lemons/lemonade proverb, McCarthy clearly misunderstood one of filmmaking’s golden rules: that less is more. She seems to believe that more is more, when in fact — as becomes blindingly obvious on numerous occasions, as this flick stumbles its way to end of term — more is much, much less.

McCarthy takes a leaden one-liner — or an embarrassing calamity such as flop sweat, or an ancient, been-there-tired-of-that gag such as marijuana-induced giggles — and repeats it until we scream for mercy. Apparently (perceptively) concerned that the bit isn’t that funny to begin with, she beats it into submission, under the misguided assumption that reiteration confers hilarity.

It does not. It confers eye-rolling exasperation.

That’s the frequent reaction to this film. Every time McCarthy and director Ben Falcone bring us to a reasonably happy place — a point where we think, well, maybe this won’t be so awful — she stages another of her seemingly desperate bids for chuckles, thereby bringing everything to a dead stop.

She’s like a little kid: Looka me! Looka me! Looka me!

She and real-life husband Falcone have collaborated on three films now: He directs; she stars; they share scripting credit. Given that their previous partnerships have yielded 2014’s Tammy and 2016’s The Boss — both blindingly gawdawful flops — you’d think Warner Bros. would have thought long and hard, before granting them a third time at bat.

Because while it’s true Life of the Party is somewhat better than those stinkers, that’s damning with awfully faint praise.