Review: Kristen Wiig and Annie Mumolo Go on a Beach Romp

This image released by Lionsgate shows Phyllis Smith, left, and Vanessa Bayer in "Barb and Star Go to Vista Del Mar." (Lionsgate via AP)
This image released by Lionsgate shows Phyllis Smith, left, and Vanessa Bayer in "Barb and Star Go to Vista Del Mar." (Lionsgate via AP)
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Review: Kristen Wiig and Annie Mumolo Go on a Beach Romp

This image released by Lionsgate shows Phyllis Smith, left, and Vanessa Bayer in "Barb and Star Go to Vista Del Mar." (Lionsgate via AP)
This image released by Lionsgate shows Phyllis Smith, left, and Vanessa Bayer in "Barb and Star Go to Vista Del Mar." (Lionsgate via AP)

There's a tiny oasis on the west coast of Florida where the men wear Tommy Bahama from head to toe and women of a certain age stroll around poolside in tube tops and full jewelry.

It's a “middle-age Nirvana” where crabs talk and you can eat veal-stuffed manatee while wearing your evening culottes and sip tropical drinks served in a mini-aquarium.

This oasis is called Vista Del Mar and it's the whacky invention of Kristen Wiig and Annie Mumolo, who co-wrote and co-star in “Barb and Star Go to Vista Del Mar,” a gentle salute to women in their 40s getting their groove back.

Wiig and Mumolo, whose “Bridesmaids” was nominated for a screenwriting Oscar, are irresistible this time as two best friends who accidentally get wrapped up in a huge plot to destroy the Florida resort town.

“Barb and Star Go to Vista Del Mar” has some pleasant messages — like don't abandon a friendship over a boy, fight to keep your inner shimmer and you're never too old to grow. It's not gross or sharp, unless you find jokes about how tourists like gifts made of shells a little too close to home.

Wiig (Star) and Mumolo (Barb) play a particular caricature of a Midwestern woman — the hair is fluffy, they adore character socks and eat hot dog soup. Just a pair of very forgiving and kindly single gals from Soft Rock, Nebraska.

They are members of a Talking Club (run ruthlessly by Vanessa Bayer) and say things like, “It’s so funny to think all the racoons in the world are sleeping right now.” Somehow, the relentlessly optimistic pair don't get grating for viewers over its 100-minute run time. Director Josh Greenbaum's work is straightforward, wisely just letting these gals do their thing.

When their careers at a furniture store take a nosedive, Barb and Star decide on a Florida vacation. “Maybe something is telling us to do something different,” says Star to Barb. To which Barb replies: “Should we try those socks with individual toes?”

In Florida, they wander into a revenge plot laid by a James Bond-like villain (also Wiig) who wants to destroy her hometown of Vista Del Mar with killer mosquitos because residents were mean to her as a kid. The tip-off that's she's evil comes quickly; her lair has an elevator with a button labeled “Lair.”

There are roles for Jamie Dornan as a love interest, Damon Wayans Jr. as a bumbling spy, Reba McEntire as a water sprite and a hysterical turn by Andy García as Tommy Bahama, who delivers this line without cracking up: “It is time to mount the wind and ride it with the fierceness of a hippopotamus.”

Wiig and Mumolo are also behind many of the movie's songs, including the hotel lounge piano tune “Edgar's Prayer,” which is delivered to seagulls. Of course, there are classic beach bum songs, too, like “Cheeseburger in Paradise” and “Key Largo.”

The film nicely sends up spy capers, Broadway and buddy movies and is a lot like its two leading characters: Kindly, a little silly and as sweet as a candy-colored drink at the pool bar.



‘Venom 3’ Tops Box Office Again, While Tom Hanks Film Struggles

‘Venom 3’ Tops Box Office Again, While Tom Hanks Film Struggles
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‘Venom 3’ Tops Box Office Again, While Tom Hanks Film Struggles

‘Venom 3’ Tops Box Office Again, While Tom Hanks Film Struggles

“Venom: The Last Dance” enjoyed another weekend at the top of the box office. The Sony release starring Tom Hardy added $26.1 million in ticket sales, according to studio estimates Sunday.
It was a relatively quiet weekend for North American movie theaters leading up to the presidential election. Charts were dominated by big studio holdovers, like “Venom 3,” “The Wild Robot” and “Smile 2,” while audiences roundly rejected the Tom Hanks, Robin Wright and Robert Zemeckis reunion “Here.” Thirty years after “Forrest Gump,” “Here” opened to only $5 million from 2,647 locations.
“Venom 3” only fell 49% in its second weekend, which is a notably small drop for a superhero film, though it didn’t exactly open like one either. In two weeks, the movie has made over $90 million domestically; The first two opened to over $80 million. Globally, the picture is brighter given that it has already crossed the $300 million threshold.
Meanwhile, Universal and Illumination’s “The Wild Robot” continues to attract moviegoers even six weeks in (and when it’s available by video on demand), placing second with $7.6 million. That's up 11% from last weekend. The animated charmer has made over $121 million in North America and $269 million worldwide, The Associated Press reported.
"'The Wild Robot' has quietly been this absolute juggernaut for the fall season," said Paul Dergarabedian, the senior media analyst for Comscore. “For that film to see an increase after six weeks is astounding.”
“Smile 2” landed in third place with $6.8 million, helping to push its worldwide total to $109.7 million.
The time-hopping “Here,” a graphic novel that was adapted by “Forrest Gump” screenwriter Eric Roth, was financed by Miramax and distributed by Sony’s TriStar. With a fixed position camera, it takes audiences through the years in one living room. Critics were not on board: In aggregate it has a lousy 36% on Rotten Tomatoes.
“It was a slow weekend anyway, but it didn’t resonate in a way that many thought it might," Dergarabedian said. "There are a lot of films out there for the audience that ‘Here’ was chasing."
Despite playing in almost 1,000 more locations, “Here” came in behind Focus Features' papal thriller “Conclave,” which earned $5.3 million. Playing in 1,796 theaters, “Conclave” dropped only 20% from its debut last weekend and has made $15.2 million so far. Two Indian films also cracked the top 10 in their debuts, “Bhool Bhulaiyaa 3” and “Singham Again.”
Overall box office continues to lag behind 2023 by almost 12%. But holiday moviegoing will likely give the industry an end-of-year boost with titles like “Gladiator II” and “Wicked” on the way.
“In a couple of weeks, it’ll get a lot more competitive,” Dergarabedian said.
Jesse Eisenberg’s film “A Real Pain,” a comedic drama about cousins on a Holocaust tour in Poland, launched in four theaters this weekend in New York and Los Angeles. It made an estimated $240,000, or $60,000 per screen, which is among the top three highest per theater averages of the year. Searchlight Pictures will be expanding the well-reviewed film nationwide in the coming weeks, going wide on Nov. 15 to over 800 theaters.
Box office charts don’t always paint a full picture of the moviegoing landscape, however. This weekend several relatively high-profile films playing in theaters did not report full grosses for various reasons, including the Clint Eastwood film “Juror #2,” Steve McQueen’s WWII film “Blitz” and the Cannes darling “Emilia Pérez.” Netflix, which is handling “Emilia Pérez,” never reports box office. Apple Original Films is following suit with “Blitz,” a likely awards contender, which is in theaters before hitting Apple TV+ on Nov. 22.
“Juror No. 2” is a Warner Bros. release, and a well-reviewed one at that. The film directed by Eastwood stars Nicholas Hoult as a juror on a murder case who faces a big moral dilemma. Domestic ticket sales were withheld. The studio did say that it earned $5 million from international showings, where it played on 1,348 screens.
Even major studios withhold box office numbers occasionally. Earlier this year, Disney did not report on the Daisy Ridley movie “Young Woman and the Sea.” Results were most notably withheld during the COVID-19 pandemic.
"It’s really up to the distributors," Dergarabedian said. “Often times the reason that certain movies may not be reported is that there’s a chance that the quality of the movie will be conflated with the box office number.”