Release date: April 8, 2016
Studio: Universal Pictures
Director: Ben Falcone
MPAA Rating: R (for sexual content, language and brief drug use)
Screenwriters: Melissa McCarthy, Ben Falcone, Steve Mallory
Starring: Melissa McCarthy, Kristen Bell, Peter Dinklage, Kathy Bates
Genre: Comedy
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After countless rejection as an orphan, Michelle Darnell, molds herself into a financial mogul with the telling mantra “The Power of One”. Convinced that any semblance of family only weakens a person, Darnell surrounds herself with “Yes men”. That is, until Darnell is imprisoned for insider trading- ala Martha Stewart. Upon her release from prison and without the funds to recruit “yes men”, Darnell imposes herself upon her ex-assistant, Claire– a single mom, played by Kristen Bell, and her daughter Rachel. In the cramped apartment, the roles are reversed, as Claire- no longer on Darnell’s pay roll, does her best to pair goodwill with tough love. Before long, Michelle Darnell, discovers her golden ticket back to the top while also bonding with her new roommates and developing into “a weird family”. Unable to cope with this new found sense of family, Darnell burns all bridges – personal & business alike within 24 hours. Recognizing her mistake, we see Darnell’s growth when she returns to her weird family asking for forgiveness.
With a string of comedies centered on actress Melissa McCarthy, one might wonder when the joke will run out. Is the Melissa McCarthy feature film comedy more of a one hit wonder with subsequent comedies degrading in quality over time? Or is McCarthy truly the comedic juggernaut that can sustain four McCarthy centric comedies, The Heat, Spy, Tammy, and Identity Thief, in three short years?! Based on The Boss, I’d say McCarthy is here to stay and her place as one of Hollywood’s elite it well earned.
Is The Boss ridiculous, mouthy, borderline offensive, and spattered with the typical bouts of physical comedy? Sure. But The Boss never rests on being any single one. Instead, they all swirl together into an extremely well paced film that keeps you laughing and entertained. The Boss’ success comes down to the cast, magnificently led by McCarthy, and to editor Craig Alpert who cleverly keeps sentimentality at bay and the pace- full speed ahead. Also, noteworthy were the stylings of Wendy Chuck and the makeup department, who created a very new look for McCarthy. Though it may take long time McCarthy fans a moment to warm up to the new look, Chuck brilliantly informs the audience as to whom Michelle Darnell is with her style alone. McCarthy as Michelle Darnell is a catchy mesh of controversial icons running the gamut from Martha Stewart and Paula Dean to Nancy Grace.
Typically not one for humor that capitalizes on cheap, offensive, shock-instigated laughs, I was pleasantly impressed with how The Boss doled out potentially offensive joke after joke with cheeky class. And that’s the blessing of the anti-hero led film. Darnell can get away with branding “Darnell’s Darlings”- her attempt to capitalize on the Girl Scout Cookie Sale model- with a look rivaling that of such militaristic icons as the Japanese Rising Sun Flag with some Nazi-esque overtones. And these little darlings don’t only look menacing, Darnell sees to it that behave in kind – intimidating and manipulating their prey, the customer. Under the not so mindful supervision of Darnell an all out brawl erupts in the streets between competing adolescent sweet treat sales teams. The ridiculous sequence utilizes all the quintessential fight scene stunts, slow motion capture, and ninja moves but with adolescent girls as the combatants. Don’t be misled by the copious children cast in The Boss. Much of the humor comes from seemingly innocuous adolescent settings, being overrun by foulmouthed disturbingly jaded adults.
The arc of a comedy like, The Boss can be reasonably surmised by its trailer. So there aren’t any big twists, turns, or surprises in the personal arc from lonely anti-hero to loveable anti-hero who learns to embrace the idea of family. But the combination of physical humor combined with the unrelenting, grounded, invested, wit of McCarthy and friends makes the predictable journey a laugh out loud, knee slapping good time. Leave the kids with the sitter and buy your tickets. A comedy like The Boss is best enjoyed in theatres, where the roller coaster of laughs is a shared in a community experience.
After the daughter of county magistrate is betrayed by those she trusted the most, she takes on a new identity and returns to the capital to mete out her own brand of justice!
Quite a bit is said about Jiang Li, the daughter of the Minister of the Central Secretariat, and how she suffered at the Temple her father sent her to after a blowout at home, with not a single person coming to visit her, or send any kind of letter, in more than ten years. But I think the banked rage of Xue Fang Fei, our heroine who takes Jiang Li’s place, is also entirely worth exploring. And so, prepare your best drugged tea for the Spoilers about to follow!
We begin more or less, on a stormy night with a hole dug in the ground, a garbled confession that mentions a woman in power who could crush them both like ants apparently and a knockout shot via shovel, all at the hands of her own beloved husband Shen Yurong, that culminates in the death of Xue Fang Fei (Jinyan Wu). Except, she didn’t die. Betrayed by the one person she gave up like everything for, Xue Fang Fei escapes and washes up on the shore, to be found by Jiang Li and her faithful friend and servant Tong’er (Ai Mi).
Jiang Li (also Jinyan Wu), despite being the neglected daughter of the Minister of the Central Secretariat Chancellor Jiang (Su Ke), or perhaps because her stepmother is one jealous horrific hag but we’ll get to that later, is not well treated at all at the Temple. And when that mistreatment finally manages to culminate in her actual death, it provides an opportunity for the newly-resurrected Xue Fang Fei. The new Jiang Li wins the loyalty of her lifelong friend Tong’er, the silence of the Abbess of the Temple, and the attention of a very powerful man, Duke Su, all in the space of like a few days. She even gets the silent approval of the ghost of the real Jiang Li, and willingly takes on the mission of her spirit – to avenge the real Jiang Li, to set right the things in her life that were wrong, that lead to her accidental death far from home, alone with none of her blood family to save her. Since this is a Chinese show, we know that is a mountainous burden to take on.
First, we have to get out of the Temple. And the arrival of Duke Su (Wang Xing Yue) and his men, investigating a salt smuggling scandal along with other sordid things the Temple is accused of, is the perfect vehicle to do it, even if Jiang Li has to get arrested for it. Then we have to get back to the household of her father, the Minister of the Central Secretariat or Chancellor Jiang, and the hell of stepmother Ji Shu Ran and stepsister Jiang Ruo Yao’s bickering, backbiting both hidden and blatant, with only the impotent Grandma as a friend. Oh, and also, to get embroiled in palace drama, royal guard investigations, a pretty forbidden romance with a certain very stoic-seeming commander, and mete out plans, and justice, of her very own.
The show does an excellent job at showcasing strong women in various forms of power, exercising it in very different ways, and more often than not, the pain and suffering they deliberately cause to those around them. That’s not to say that they each don’t have their reasons, justifiable or not, but the power they wield is often only tolerated if not outright ignored by the men around them. The new Jiang Li defies these conventions, with a mind like a steel trap and the sheer fortitude to power through whatever the current test is – a qin performance that leaves her fingers bleeding and her audience weeping; whether or not she allergy-poisoned her stepsister, come on; allegations from the Emperor himself – Jiang Li makes careful, detailed plans, and carries them out with the patience and cunning of a spider, calm and deadly.
The shows villains are mostly women, come to think of it, with Elder Princess Wanning being at the foremost of the pack, she likes torturing her playtoys, and some time ago she decided Shen Yurong was going to be one of them. Which actually kicked off this whole mess, of conspiracies and deaths and cover-ups, all because Xue Fang Fei’s ex husband has no balls whatsoever. Or perhaps he’s the Empires biggest hidden masochist, who knows. Even Shen Yurong’s actual attempts at true villainy towards the end were poorly planned, badly executed, and almost lackluster, despite his purported desperation to win for once.
Whereas, the smiling tyranny of Ji Shu Ran back at the Prime Ministers household, using her children as weapons against Jiang Li, the love and hey guilt of her father to gently nudge him the “right” way towards getting Jiang Li out of the house by means fair or foul, is all to be expected. Her stepmother had been doing very bad things since Jiang Li was a very little girl, and the hidden knowledge of one of those atrocities in particular, is what led to tiny Jiang Li being maligned, punished, and sent away to the Temple. So of course taking care of the wicked stepmother, or rather, allowing her to fall into the self-same trap of her own making from so long ago, is high on the list of stuff in Jiang Li’s life that needs addressing.
The best male performance inevitably come from the lead love interest, Duke Su Xiao Heng, though his two main men, Lu Ji and Wen Ji, come as a close and often comedic second, and the emotions invoked from Jiang Li’s fathers acceptance of her return run the whole gamut of spectrum – especially when her father finally reveals that yes, he knew that the Jiang Li that returned wasn’t the one he originally left, that Xue Fang Fei managed to take vengeance for his beloved daughter and in doing so, finally actually become her, once and for all.
It’s long and complicated and fraught with excitement and danger, featuring an absolutely ruthless female lead who lets nothing not even family ghosts stand in her way, and a perfect story to enjoy the 2024 spooky season to! Cheer on The Double on Netflix now!
A struggling couple with their young daughter are invited to spend an idyllic weekend at a newly made friend’s country house, that hides a whole bunch of nasty secrets!
Normally, a review consists of a few paragraphs of expounding on the movie and then the ranted opinion itself, closing with a recommendation as to whether or not Moxie recommends going to see said film. Speak No Evil is a very weird exception, for there is very little in the way of plot to follow, and the would-be horror devolves into cheap scares and dumbassery for us to laugh at. When the theater audience has cat-callers hooting and calling out the protagonist dad figure of the film and there is no censure from anyone else, you’re doing something wrong. But, let’s attempt a dive anyway!
So Ben (Scoot McNairy) and Louise (Mackenzie Davis) Dalton are struggling, with life, with career and money trouble of course, and perhaps most importantly but less often spoken of, with each-other. Whilst trying to hide it all from their sensitive bunny-stricken daughter Agnes (Alix West Lefler) too, of course. They somehow took a vacation runaway of sorts to Tuscany of all places, where they stay in a villa with a few other vacationers, bonding over the one annoying couple no-one else likes with new friends Paddy (James McAvoy) and Ciara (Aisling Fraciosi) and their apparently nonverbal kid Anthony or Ant (Dan Hough). Later, after a reminder postcard with the extended offer of a weekend stay at their country home is again extended to the Daltons, the two parental units decide it would be a good idea to run away some more and off they go, with Agnes and Hoppy in tow!
It’s amazing that the Dalton parents know so little about Paddy and Ciara and still decide to spend a weekend with them at their run-down country house. And just as soon as they do finally find the place, Paddy goes from the amiable fellow-dad to sympathize and bro-mance with, to an opinionated antagonistic competitor, who has to have his way about absolutely everything. It begins with the named goose he cooked for their first dinner there, despite being well aware Louise is vegan, and escalates to trying to instigate Ben into being more manly and take-charge, to serious disagreements in the way Paddy tries to raise his not-quite-mute kid, and finally the Dalton parents begin to realize perhaps this wasn’t such a good idea.
It’s often the children in these stories who provide the horrific reveal of what the villain, or villains, have been up to, and Speak No Evil is no different in this regard. Little Dan Hough gives a striking and ghastly performance as Ant, chop-chop-chopping his way through a silent explanation of what actually happened to his poor tongue. The brilliant way Agnes gets her parents alone to inform them of Ant’s new information is one of the few bright, smart spots of the entire movie. And after the Daltons have finally understood the true nightmare of their situation and their very real need to escape, the film basically degenerates into a kind of reverse home invasion horror flick, as the Daltons try to hide amidst the country house of our baddies trying to hunt them down!
None of it is enough. No reason was ever given as to why Paddy the purported former doctor is like this, why he needs to OCD his trophies to the point of an incriminating evidence locker, why Ant was the one to finally find the courage to fight back, why the hell Ben is such a freaking milquetoast of a human one can’t even consider him the head of the Dalton family, why Louise is still putting up with all this nonsense over the safety of her beloved daughter, and why hasn’t the authorities or the families of other victims kicked up any kind of ruckus by now? Why is the neighboring handyman type Mike (Kris Hitchen) in league with our villainous couple to the point where he takes to hunting the Daltons with shotgun in tow, too? The film is apparently a remake of a 2022 Danish film of the same name, and we have to ask, why did anyone think the film market needed such a thing? Well, whatever.
Cover your mouth to keep from yelling common-sense advice to the deplorably naïve characters on the screen and catch Speak No Evil in theaters now!
Here’s a full list of last night’s Primetime Emmy Awards winners.
Outstanding comedy series
WINNER: “Hacks”
“Abbott Elementary”
“The Bear”
“Curb Your Enthusiasm”
“Only Murders in the Building”
“Palm Royale”
“Reservation Dogs”
“What We Do in the Shadows”
Outstanding drama series
WINNER: “Shōgun”
“The Crown”
“Fallout”
“The Gilded Age”
“The Morning Show”
“Mr. & Mrs. Smith”
“Slow Horses”
“3 Body Problem”
Outstanding lead actress in a drama series
WINNER: Anna Sawai, “Shōgun”
Jennifer Aniston, “The Morning Show”
Carrie Coon, “The Gilded Age”
Maya Erskine, “Mr. & Mrs. Smith”
Imelda Staunton, “The Crown”
Reese Witherspoon, “The Morning Show”
Outstanding lead actor in a drama series
WINNER: Hiroyuki Sanada, “Shōgun”
Idris Elba, “Hijack”
Donald Glover, “Mr. & Mrs. Smith”
Walton Goggins, “Fallout”
Gary Oldman, “Slow Horses”
Dominic West, “The Crown”
Outstanding limited or anthology series
WINNER: “Baby Reindeer”
“Fargo”
“Lessons in Chemistry”
“Ripley”
“True Detective: Night Country”
Outstanding lead actress in a limited anthology series or movie
WINNER: Jodie Foster, “True Detective: Night Country”
Brie Larson, “Lessons in Chemistry”
Juno Temple, “Fargo”
Sofia Vergara, “Griselda”
Naomi Watts, “Feud: Capote vs. the Swans”
Outstanding lead actor in a limited anthology series or movie
WINNER: Richard Gadd, “Baby Reindeer”
Matt Bomer, “Fellow Travelers”
Jon Hamm, “Fargo”
Tom Hollander, “Feud: Capote vs. the Swans”
Andrew Scott, “Ripley”
Best directing for a drama
WINNER: Frederick E.O. Toye, “Shо̄gun”
Stephen Daldry, “The Crown”
Mimi Leder, “The Morning Show”
Hiro Murai, “Mr. & Mrs. Smith” “First Date”
Saul Metzstein, “Slow Horses”
Salli Richardson-Whitfield, “Winning Time: The Rise of the Lakers Dynasty”
Governors award
WINNER: Greg Berlanti
Best directing for a comedy series
WINNER: Christopher Storer, “The Bear”
Randall Einhorn, “Abbott Elementary”
Ramy Youssef, “The Bear”
Guy Ritchie, “The Gentlemen”
Lucia Aniello, “Hacks”
Mary Lou Belli, “The Ms. Pat Show”
Best writing for a limited series or TV movies
WINNER: Richard Gadd, “Baby Reindeer”
Charlie Brooker, “Black Mirror”
Noah Hawley, “Fargo”
Ron Nyswaner, “Fellow Travelers”
Steven Zaillian, “Ripley”
Issa López, “True Detective: Night Country”
Best writing for a drama series
WINNER: Will Smith, “Slow Horses”
Peter Morgan and Meriel Sheibani-Clare, “The Crown”
Graham Wagner and Geneva Robertson-Dworet, “Fallout”
Francesca Sloane and Donald Glover, “Mr. and Mrs. Smith”
Rachel Kondo, Justin Marks, “Shōgun”
Rachel Kondo, Caillin Puente, “Shōgun”
Supporting actor in a limited or anthology series
WINNER: Lamorne Morris, “Fargo”
Jonathan Bailey, “Fellow Travelers”
Robert Downey Jr., “The Sympathizer”
Tom Goodman-Hill, “Baby Reindeer”
John Hawkes, “True Detective: Night Country”
Lewis Pullman, “Lessons In Chemistry”
Treat Williams, “Feud: Capote vs. The Swans”
Best talk series
WINNER: “The Daily Show”
“Jimmy Kimmel Live!”
“Late Night with Seth Meyers”
“The Late Show with Stephen Colbert”
Writing in a comedy series
WINNER: Lucia Aniello, Paul W. Downs, Jen Statsky, “Hacks”
Quinta Brunson, Abbott Elementary”
Joanna Calo, Christopher Storer, “The Bear”
Meredith Scardino, Sam Means, “Girls5eva”
Chris Kelly, Sarah Schneider, “The Other Two”
Directing limited series or TV movie
WINNER: Steven Zaillian, “Ripley”
Weronika Tofilska, “Baby Reindeer”
Noah Hawley, “Fargo”
Gus Van Sant, “Feud: Capote vs. the Swans“
Millicent Shelton, “Lessons in Chemistry”
Issa López, “True Detective: Night Country”
Outstanding writing for a variety special
WINNER: Alex Edelman, “Alex Edelman: Just For Us”
Jacqueline Novak, “Jacqueline Novak: Get On Your Knees”
John Early, “John Early: Now More Than Ever”
Mike Birbiglia, “Mike Birbiglia: The Old Man And The Pool”
“The Oscars”
Best scripted variety series
WINNER: “Last Week Tonight with John Oliver”
“Saturday Night Live”
Supporting actress in a limited or anthology series
WINNER: Jessica Gunning, “Baby Reindeer”
Dakota Fanning, “Ripley”
Lily Gladstone, “Under The Bridge”
Aja Naomi King, “Lessons In Chemistry”
Diane Lane, “Feud: Capote vs. The Swans”
Nava Mau, “Baby Reindeer”
Kali Reis, “True Detective: Night Country”
Outstanding reality competition program
WINNER: “The Traitors”
“The Amazing Race”
“RuPaul’s Drag Race”
“Top Chef”
“The Voice”
Outstanding lead actress in a comedy series
WINNER: Jean Smart, “Hacks”
Quinta Brunson, “Abbott Elementary”
Ayo Edebiri, “The Bear”
Selena Gomez, “Only Murders in the Building”
Maya Rudolph, “Loot”
Kristen Wiig, “Palm Royale”
Supporting actress in a drama series
WINNER: Elizabeth Debicki, “The Crown Netflix”
Christine Baranski, “The Gilded Age”
Nicole Beharie, “The Morning Show”
Greta Lee, “The Morning Show”
Lesley Manville, “The Crown”
Karen Pittman, “The Morning Show”
Holland Taylor, “The Morning Show”
Supporting actress in a comedy series
WINNER: Liza Colón-Zayas, “The Bear”
Carol Burnett, “Palm Royale”
Hannah Einbinder, “Hacks”
Janelle James, “Abbott Elementary”
Sheryl Lee Ralph, “Abbott Elementary”
Meryl Streep, “Only Murders In The Building”
Outstanding lead actor in a comedy series
WINNER: Jeremy Allen White, “The Bear”
Matt Berry, “What We Do in the Shadows”
Larry David, “Curb Your Enthusiasm”
Steve Martin, “Only Murders in the Building”
Martin Short, “Only Murders in the Building”
D’Pharaoh Woon-A-Tai, “Reservation Dogs”
Supporting actor in a drama series
WINNER: Billy Crudup, “The Morning Show”
Tadanobu Asano, “Shōgun”
Mark Duplass, “The Morning Show”
Jon Hamm, “The Morning Show”
Takehiro Hira, “Shōgun”
Jack Lowden, “Slow Horses”
Jonathan Pryce, “The Crown”
Supporting actor in a comedy series
WINNER: Ebon Moss-Bachrach, “The Bear”
Lionel Boyce, “The Bear”
Paul W. Downs, “Hacks”
Paul Rudd, “Only Murders In The Building”
Tyler James Williams, “Abbott Elementary”
Bowen Yang, “Saturday Night Live”
The Double: Ghostly vengeance upon you!
‘Speak No Evil’: Chop-chop-CHOP
And The Emmy Goes To
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