Movie Review: An Absurd Trip to Hollywood in 'Gail Daughtry and the Celebrity Sex Pass' A little more than halfway through the extremely silly Gail Daughtry and the Celebrity Sex Pass, the main character questions the very idea behind her journey, and by extension, the movie itself. Zoey Deutch’s character, Gail, embarks on a “Wizard of Oz”-like journey from Kansas to Hollywood to even the score with her fiancé and have sex with her celebrity free-pass: Jon Hamm. Midway through the film, Gail expresses frustration, calling the premise “ridiculous,” “stupid,” and “utterly pointless,” asking, “Why?” Her exasperation reflects the film’s own self-aware absurdity, which director David Wain and co-writer Ken Marino embraced as a deliberate choice. They admitted early on that the concept was inherently stupid, nonsensical, and destined to go nowhere, yet they insisted it was worth making. The film follows Gail, a wide-eyed, never-left-Kansas woman who hasn’t even heard of the term “celebrity free-pass” at the start of the movie. Her daffy high school sweetheart, played by John Slattery, has already used his pass, and Gail’s quest to find and seduce the man who played Don Draper—Jon Hamm—becomes her mission. Slattery’s character, a sadder and more comedic version of himself, serves as Gail’s reluctant guide. His portrayal of a man who hasn’t worked in a decade, taken up self-defense as a hobby, and whose text messages to his former Mad Men co-star go unanswered adds layers of humor to the already chaotic narrative. Wain’s film is a love letter to and send-up of Hollywood’s absurdity, much like his earlier work Wet Hot American Summer, which similarly blended nostalgia and satire. Gail Daughtry takes this approach further, exaggerating the surrealism of the entertainment industry.#john_slattery #zoey_deutch #david_wain #jon_hamm #gail_daughtry
‘Gail Daughtry and the Celebrity Sex Pass’ Review: Hamming It Up A small-town naïf heads to Los Angeles to bed her celebrity crush (Jon Hamm) in this bonkers sex comedy. By Jeannette Catsoulis. When you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission. An unswervingly dumb picture sprouting from a single daffy idea, “Gail Daughtry and the Celebrity Sex Pass” might be an even loonier package than the moviemaking accomplices David Wain and Ken Marino assembled almost 20 years ago with “The Ten” (2007). This is excellent news for fans of Wain’s world in general (he’s probably best known for his 2001 sex comedy, “Wet Hot American Summer”), as he and his collaborators are never entirely without comedy chops. What they too often lack, though, is the crucial ability to distinguish silly from stupid. A few pointers from Mel Brooks or the surviving Pythons would not have gone amiss. Instead, we have “Gail Daughtry,” a puerile blend of middle-school vulgarity, cartoon violence and narrative derangement. Its wide-eyed, wholesome center is Gail (Zoey Deutch), a small-town Kansas hairdresser and bride-to-be who catches her fiancé, Tom (Michael Cassidy), taking advantage of his celebrity sex pass by bonking a comically contrite Jennifer Aniston. (Given Gail’s near-pathological perkiness, my sympathies were firmly with Tom.) Distraught, Gail agrees to accompany her best friend and curl connoisseur, Otto (Miles Gutierrez-Riley), to a hairstyling convention in Los Angeles where, she hopes, she can enjoy a revenge coupling with her own celebrity pass: Jon Hamm.#jennifer_aniston #zoey_deutch #jon_hamm #david_wain #ken_marino
Voicemails for Isabelle: A Director’s Love Letter to San Francisco Leah McKendrick’s new Netflix film Voicemails for Isabelle centers on Jill, a pastry chef portrayed by Zoey Deutch, whose life unravels after her sister and best friend Isabelle dies. Seeking solace, Jill begins leaving voicemails on Isabelle’s old phone number, unaware it has been reassigned to Wes, a man played by Nick Robinson. Their connection forms when Wes, captivated by Jill’s messages, tracks her down, leading to a poignant meeting on a bench overlooking the Golden Gate Bridge. The film’s setting in San Francisco, McKendrick’s hometown, is central to its emotional core. McKendrick, who was born in San Francisco and grew up in the Inner Richmond neighborhood, described the bench scene as deeply personal. “There’s nowhere like San Francisco,” she told SFGATE over Zoom. “My hope with the bench is that she’s looking at this beautiful, iconic sparkling city, but she’s removed because she’s somewhere between heaven, where her sister is, and the real world and life happening.” She emphasized the Golden Gate Bridge as a symbolic crossroads, where moments of life unfold—from engagements to commutes to workouts. Filming in San Francisco was a priority for McKendrick, despite the city’s high costs. Production primarily took place in Vancouver, but the team managed to shoot in several iconic locations, including Fisherman’s Wharf, Union Square, Lombard Street, the Haight, Ghirardelli Square, Chinatown, and the Palace of Fine Arts. McKendrick also filmed near her parents’ home, with her family appearing as extras on a tour bus. “It was all just a dream,” she said. The film’s setting reflects McKendrick’s deep connection to San Francisco’s cultural diversity.#san_francisco #leah_mckendrick #zoey_deutch #nick_robinson #golden_gate_bridge
Voicemails for Isabelle Netflix’s rom-com Voicemails for Isabelle arrives as a heartfelt and surprisingly effective entry in the genre, balancing predictable tropes with genuine emotional resonance. The film, directed by Leah McKendrick, follows Jill (Zoey Deutch) and her sister Isabelle (Ciara Bravo), whose bond is tested by Isabelle’s illness and eventual passing. After Isabelle’s death, Jill clings to their shared voicemails, a digital lifeline that becomes the catalyst for a new romance. The story unfolds as Jill, an aspiring chef, continues to leave voicemails for her late sister, unaware that her messages are being intercepted by Wes (Nick Robinson), a real estate executive who inherits Isabelle’s old phone number. Wes, grappling with his own failed relationships, becomes intrigued by Jill’s voicemails, leading to a series of comedic and tender encounters. The film cleverly mirrors the structure of Nora Ephron’s You’ve Got Mail, using the medium of communication—this time voicemails—to drive the narrative and foster connection. McKendrick’s screenplay blends humor, romance, and pathos, with Jill’s grief and Wes’s vulnerability forming the emotional core. The film’s tone shifts seamlessly between broad comedy and heartfelt moments, particularly in scenes where Jill’s interactions with Chef Bastien (Nick Offerman) and her narcissistic colleague Arthur (Lukas Gage) provide levity. The standout performance comes from Deutch, who masterfully navigates Jill’s emotional journey, balancing her grief with moments of self-discovery. Robinson, meanwhile, brings a quiet charm to Wes, whose internal conflict between honesty and hesitation adds depth to their evolving relationship.#netflix #ciara_bravo #leah_mckendrick #zoey_deutch #nick_robinson
