Agnes Browne (1999) - News Poster



Mrs Brown's Boys D'Movie review 'a flatly indifferent cash-in'

Brendan O'Carroll's Mrs Brown's Boys has reached the big screen spin-off, and may well become as successful as The Inbetweeners Movie but on this evidence, it doesn't deserve to

Mrs Brown's Boys D'Movie is first in a trilogy, says Brendan O'Carroll

Perhaps some fourth walls just aren't made to be broken. The blowsy Irish market trader Agnes Brown first appeared on screen, played more or less straight by Anjelica Huston, in 1999's Agnes Browne [sic], the actress's shrug-inducing adaptation of Brendan O'Carroll's novel The Mammy. That movie did no business whatsoever, leading writer-performer O'Connell to reassert control over the character in much the same way Robin Williams did over his family in Mrs Doubtfire: by dragging up. O'Carroll repositioned Agnes as the star of an old-school sitcom that didn't even feign the vaguely progressive leanings of its primetime stablemate Citizen Khan: this really was just a man in a dress,
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Mrs Brown's Boys: how the 'worst comedy ever made' became a smash hit

The critics loathe it, calling it 'crass', and 'lazy trash'. But Brendan O'Carroll's sitcom has attracted an enormous, loyal following. Where did it come from and why is it so loved?

Where do TV comedy hits come from? Nobody knows, of course. If telly's top brass knew the answer to that, we'd have been spared David Jason in The Royal Bodyguard, or Amanda Holden under her Big Top. But, until recently, some things were taken for granted: the networks' next big hit was unlikely to be discovered playing to an audience of elderly women at the Glasgow Pavilion. It was unlikely to feature a 57-year-old man in a frock making jokes about rectal thermometers, and – in the event that it did – the cast surely wouldn't solely comprise that man's extended family and close friends. Oh, and its star wouldn't cite as his main influence the 70s double-act Cannon and Ball.
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Anjelica Huston: 'I find extreme characters irresistible'

Her father was scary. Vincent Gallo got vicious. And Jack Nicholson taught her never to give a brown present. Anjelica Huston tells John Patterson about a life among Hollywood royalty

The last time I met Anjelica Huston was six or seven years ago in a luxury oceanfront hotel in Venice, California. It was windy and cold, Huston was still a smoker – we talked outside in the wind while she lit up like a naughty schoolgirl. Today, it's a blisteringly hot day, she's an enviably youthful 60, an ex-smoker now, sitting in the lounge of the luxury hotel next door, before a gigantic cinemascope window affording guests a million-dollar view of the Pacific, which looks seriously tempting in today's heat.

"I went in the ocean this year, the day after my birthday," she tells me as we watch the breakers gently roll in, "and it was actually really nice. It's like the Eiffel Tower is for Parisians,
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Huston reserves big 'Kiss' for Focus

Daughter of John, sister of Danny, the talented and tall Angelica Huston is climbing back into the director's chair for a 3rd time. After Bastard Out of Carolina and Agnes Browne, this new project will be distrbitued under the Focus Features banner. Huston will next be seen in Seraphim Falls Give Us a Kiss is a comic-drama set in the Ozarks (covers much of the southern half of Missouri and an extensive area of northwest Arkansas. The region extends to the west into extreme southeast Kansas and northeastern Oklahoma) and is based on the novel by Daniel Woodrell, a comic novelist who has penned books about hijinx in poorer regions of the Midwestern mountain range. Woodrell's novel concerns a crime novelist, his underachieving brother and a pot deal gone awry. Penning the script is Angus MacLachlan,
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Agnes Browne

Anjelica Huston's second feature as a director, Agnes Browne - about a feisty widowed mother-of-seven in 60s Dublin - signals its dire fate very early on, when she is shown gazing excitedly at a poster for a Tom Jones concert, but, bafflingly, never otherwise evincing the slightest enthusiasm for Jones's oeuvre. The heart sinks. Can it really be true that, like Wilson Pickett in The Commitments, Tom is going to have to resolve the plot at the end, like a rockin' deus ex machina? The effrontery of this device takes a lot of beating, especially considering that Jones appears in the film without any extra make-up, playing his 60s self. That, as PG Wodehouse once said, pretty well walks off with the Huntley and Palmer.

Huston herself gives an outrageously hammy performance as the indomitable Agnes, marching around the streets with a lot of other women in authentic 60s street-scene get up.
See full article at The Guardian - Film News »

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