Gags fall flat in Mrs Brown’s movie

Mrs Brown's Boys D'Movie
Mrs Brown's Boys D'Movie

MRS BROWN’S BOYS D’MOVIE (15, 94 mins) Comedy/Action. Brendan O’Carroll, Jennifer Gibney, Eilish O’Carroll, Pat Shields, Rory Cowan, Paddy Houlihan, Danny O’Carroll, Robert Bathurst. Director: Ben Kellett.

First conceived for Irish radio and then as a series of books, the misadventures of feisty Dublin matriarch Agnes Brown transitioned seamlessly from stage to small screen in 2011 with the birth of the BBC sitcom Mrs Brown’s Boys.

Creator Brendan O’Carroll cast relatives and friends in supporting roles, ensuring the programme was a true family affair.

Critics may have been unkind but the series gained an ardent following.

The 2013 festive special topped ratings on Christmas Day, trumping Doctor Who.

Now, Agnes and her dysfunctional kin stampede the big screen under the direction of Ben Kellett.

Lord help anyone who gets in her way!

Agnes proudly runs a fruit and vegetable stall in Moore Street Market, which has been passed down through the family for generations.

The foul-mouthed harridan hopes her daughter Cathy (Jennifer Gibney) will take up the mantle but a dastardly developer, PR Irwin (Dermot Crowley), intervenes with plans to bulldoze the site.

“They won’t take me without a fight, whoever they are,” Agnes tells Fat Annie (June Rodgers). Unfortunately, Agnes has a 3.8 million Euro tax bill to settle stretching back to her grandmother’s time.

Aided by Cathy, her sons Mark (Pat Shields), Rory (Rory Cowan) and Dermot (Paddy Houlihan), and next-door neighbour Winnie (Eilish O’Carroll), Agnes resolves to take on the Irish establishment and give it a good spanking.

Dermot’s best friend Buster Brady (Danny O’Carroll), bumbling lawyer Tom Crews (Simon Delaney) and a well-to-do barrister called Maydo Archer (Robert Bathurst), who is prone to stress-related Tourette syndrome, pledge their support to Agnes’s seemingly hopeless cause.

Punchlines are depressingly predictable in this film and the absence of a laughter track from a live studio audience exposes the script’s dearth of gags and imagination.

5 out of ten