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The Sun Is Setting, but Don’t Let Them Hear You Say That

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By Nicolas Rapold

• Jan. 23, 2014

Opens on Friday in Manhattan.

Directed by Taylor Guterson

1 hour 34 minutes; not rated

Unlike many age-denying stars, the nonprofessional leads in “Old Goats” look like ordinary older Americans, the kind you might see throwing their arms up at a cellphone in a commercial. Made for less than the cost of a hip replacement, Taylor Guterson’s debut feature is fashioned like building blocks into a failure-to-launch comedy of retirement. It’s a homemade counterpart to Hollywood’s periodic aging lions roundups, and not always less gimmicky.

The film is nothing fancy: A sitcom-like introduction and matter-of-fact voice-over present two coffee buddies and a floundering third. Bob (Bob Burkholder, who died in September at 90) is the oldest, once an adventurer and a feisty fireplug in his 80s. He and the domesticated white-collar retiree Dave (David VanderWal) try to goad Britt (Britton Crosley) into getting out of his shell and off the boat where he has lived for decades, his childlike hair a mussed Gingrichian helmet.

Yet the root of the movie’s appeal is less the scripted story than watching three game oldsters. Britt is a befuddled sweetie, and Dave has a salt-and-pepper-mustachioed affability. But all three actors have limited range, as does Gail Shackel, who plays Dave’s dulcet-toned wife.

Mr. Guterson, who resourcefully shot the movie around Seattle , whiffs whenever he foists one-liner situations or dramatic developments on them. But as these buddies banter about the irritations of getting on and getting along, it does not feel as if the movie were making jokes at their expense.

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Old goats: film review.

Three Seattle senior citizens play lightly fictionalized versions of themselves in Taylor Guterson's microbudget debut.

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Three older non-pro actors portray versions of themselves in Taylor Guterson ‘s Old Goats . But where such casting often results in uncommonly authentic-feeling screen characters, Guterson’s film paints in overly broad strokes, seeking to boost its entertainment quotient by (one presumes, and hopes) exaggerating the cast’s flaws and foibles, stopping just short of mocking some of them outright. Specialty bookings might find a few oldsters who appreciate the film’s embrace of unglamorous material, but most viewers will find the movie’s promise unfulfilled.

Three disparate Seattle retirees — Britt, Bob and Dave, all characters named for the men who play them — become friends after meeting at a senior fitness class and a loose-knit “Men’s Oatmeal Club.” Dave is the society-conscious former finance professional, Bob the lady-killer and globe-trotting veteran, Britt the schlub who lives on a boat but has never been out of state.

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We meet them as Britt gives a presentation on a sailing trip he has planned to Hawaii and onward to Japan or the Philippines — a pipe dream that is scuttled the next morning, when Britt had planned to set sail. Sitting in his trash-filled craft wearing a repulsive undershirt, the man is clearly the film’s ordained object of pity, and actor Britton Crosley struggles throughout the film to lend a credible sense of longing and soulfulness to interactions few viewers will buy: After his new buddies have set up the technophobic bachelor with a computer and cell phone, he meets a well-to-do widow ( Benita Staadecker ) online who takes an inexplicable shine to him, but Britt can hardly even register this good fortune, much less embrace it.

Meanwhile, Bob is vanity-publishing a memoir, the dark content of which is alluded to but never explained; Dave is hiding his new friends from his unconvincingly uptight wife ( Crystal VanderWal ) while she badgers him to move to Palm Springs. There’s more than enough plot here for a film, but Guterson isn’t enough of a screenwriter to put the pieces together.

Amiable amateurishness prevails here, especially in the sound and music departments, but never makes the film a chore to watch.

Production Company: Gutay Films Cast: Britton Crosley, Bob Burkholder, David VanderWal, Gail Shackel, Benita Staadecker Director-Screenwriter-Director of photography-Editor: Taylor Guterson Producers: Taylor Guterson, Johnathan Boyer Executive producers: David Skinner, Tom Gorai No rating, 94 minutes

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Old Goats Reviews

Old Goats has moments of subtle wisdom and is refreshingly straightforward in its depiction of the lives of older men.

Full Review | Feb 26, 2019

You can see hints of the stories and local color that these men and other Bainbridge Island residents naturally convey. Too bad it's shoehorned into a contrived, meandering elderly bromance.

Full Review | Original Score: 2/5 | Aug 31, 2018

Even post-retirement, the film seems to say, guys will be guys, and women should go sit somewhere else.

Full Review | Original Score: 2.5/5 | Feb 6, 2014

An appealing film reveals the bright side of retirement for three men.

Full Review | Original Score: 4/5 | Jan 30, 2014

As these buddies banter about the irritations of getting on and getting along, it does not feel as if the movie were making jokes at their expense.

Full Review | Jan 23, 2014

Intriguing non-pro actors are badly served by a half-baked film.

Full Review | Jan 21, 2014

[An] eager-to-please but creaky and shambling movie.

Taylor Guterson's film offers thoughtful, if familiar, comments on friendship, self-doubt, and romantic angst.

Full Review | Original Score: 2.5/4 | Jan 20, 2014

It doesn't view old age with the cute 'n' twinkly lens of Hollywood comedies, nor is it Nebraska, let's say. It's a little gem of modest lives and, in its own way, bros before hos.

Full Review | Jan 16, 2014

A palpable sense that these so-called golden years could end at any moment is the film's ultimate punch line.

Full Review | Original Score: 3/5 | Jan 14, 2014

"Old Goats" is a different kind of film, enjoyable in its uniqueness, though its charms have a limited shelf life.

Full Review | Original Score: 3.5/5 | Mar 14, 2013

A near-masterpiece of understated humor and empathy ...

Full Review | Original Score: A- | Nov 29, 2012

A low-key, homemade pleasure; a quiet, appealing film about a late chapter in life.

Full Review | Original Score: 3/4 | Aug 16, 2012

Suggestions

Review: old goats.

Taylor Guterson’s film offers thoughtful, if familiar, comments on friendship, self-doubt, and romantic angst.

Idle unemployment, carnal gallivanting, existential malaise; this is subject matter normally reserved for films about wayward twentysomethings, but in Taylor Guterson’s directorial debut, Old Goats , three geriatric chums (Britt Crossley, Bob Burkholder, and David Vanderwal, each playing fictionalized versions of themselves) exhibit all the unchecked egoism of their millennial counterparts. The silly setup—old timers exhibiting the behavior of men young enough to be their grandchildren—seems predestined for corniness, a la Last Vegas , but between Guterson’s tender approach and the three leads’ candid performances, the film remains likeable throughout, offering thoughtful, if familiar, comments on friendship, self-doubt, and romantic angst.

Shot in a pseudo-documentary fashion, the film is very loosely assembled, the story unfolding amid a series of vignettes driven by various farcical scenarios. Forays into online dating, the inner politics of dinner clubs, and stagnant marriages are just a few of the topics mined for humor, often in the same absurd tone as a Christopher Guest film, though Guterson never subjects his characters to ridicule. Even when they’re seemingly at their most pathetic, like when Britt fumbles with leaving a voicemail for a potential date, the comedy doesn’t derive from age-induced inefficiencies and dimwittedness, but the bewilderment that arises when life’s most trivial neuroses follow us from adolescence to senior citizenry. Finding little to enjoy about the supposed fruits of retirement, the men occupy themselves with golf, cocktail parties, and duck hunting as a means of distraction—much in the way people not even close to half their age distract themselves with sex, drugs, and the Internet to similarly diminished returns. In Old Goats , life is presented as an endless loop, an ironic Homeric quest to fill the tedium of life with girls and hobbies.

These observations, though not exactly revelatory, are handled with grace and smarts by Guterson, who’s so fine-tuned with the essence of his characters that when the inexorableness of death, old age’s most inevitable dilemma, enters the fray, it isn’t treated as sitcom-catastrophic, but symptomatic of a certain age. That isn’t to say Old Goats suddenly turns dour (witnessing the end of life is surmised with one of the film’s better punchlines), but the film respects old age and its connection to death, so much so that the frivolity of performance anxiety and computer illiteracy are contextualized in a new, bittersweet light. Suddenly, pursuits taken by the characters—Bob and his memoir, Britt and his dating—seem less pathetic and grow to resemble cathartic undertakings, the sort pursued by people of all ages, colors, and creeds.

Drew Hunt used to be an editorial assistant at the Chicago Reader . Now he's a strategy manager at Capitol Records.

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'Old Goats' review: Seattle-made indie about three charmingly grumpy old men

• Updated: Nov. 29, 2012, 6:00 p.m. |
• Published: Nov. 29, 2012, 5:00 p.m.
• Marc Mohan | Special to The Oregonian

The debut feature from director Taylor Guterson is a rascally comedy about three guys trying to figure out what they want from life. Bob is an inveterate womanizer, while Dave strains against his comfortable but conventional married life. The third, Britt, is a socially awkward slob who enlists the aid of the two others in his quest for romance, or at least sex.

So far this could be the plot of some generic Hollywood "bromance," but "Old Goats" is distinguished by the fact that its 'bros' are all gray-haired retirees, as well as by the fact that it's just about the most charming movie to come down the pike in recent memory.

Bob Burkholder, Britton Crosley and David Vander Wal play semi-fictionalized versions of themselves, and they do so brilliantly, with dialogue delivery that's both low-key and lived in. When, after 30 years of living alone in the cramped cabin of his barnacle-encrusted boat, Britt cancels at the last minute a planned solo sailing trip across the Pacific, the nonagenarian Lothario Bob is upset, mostly because he was to borrow Britt's truck during the trip. Meanwhile, wealthy Dave tries to postpone his wife's plan to buy a house in Palm Springs so that he can spend a few more weeks hanging out at the gang's Monday-night bull sessions and reading Bob's 600-page memoir of bad behavior.

Filming entirely on Bainbridge Island, Wash., Guterson (the son of novelist David Guterson) captures the plainspoken quirkiness of that place. More than that, he has crafted a near-masterpiece of understated humor and empathy, demonstrating that, despite Hollywood's usual indifference, it's possible to make authentic, funny, engaging films about characters over the age of 50 who are neither grizzled hit men nor sassy grandmas.

(91 min., not rated, Living Room Theaters) Grade: A-

-- Marc Mohan is a Portland freelance writer

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By Jessica Baxter | August 17, 2012

Getting older is something that tends to sneak up on people. Though the pages of the calendar fall away, they’re still carrying around the same brain they’ve always had. They’ve doubtless grown from their experiences, but their essence, if you will, is ageless. And yet, they are expected to adhere to the paradigm of certain age benchmarks, even if they feel nowhere near ready to be there in their mind.

At 18, they must move out of their childhood home and begin life as an adult. At 30, they should be well on their way to settling down and starting a family. At 40, they are “over the hill” so they may as well start practicing their Viagra jokes and listening to soft rock. At 65, they’d best be ready to quit their job and take up bingo. There’s an often-used phrase associated with stories about people who aren’t adhering to societal standards of what they should be like at their age: “Coming of Age.”

If you think about it, it’s kind of an insulting term because it implies that you need to change your life in order to become what people expect of you. The goats in “Old Goats” are three men who are surprised to find that they have become part of a senior subculture. Taylor Guterson’s debut film is a unique depiction of the how these men come to terms with their elderly identities.

“Old Goats” follows Dave, Bob and Britt, three Seattle-area men in the twilight of their years. Dave, our sometime narrator, is fresh from forced retirement and still feeling the sting. He keeps himself busy with activities and relishes the time he spends with his friends, as it keeps his mind off his somewhat tense marriage and lack of purpose. Bob, an impulsive opportunist, plunges himself into writing his memoirs and, as he reflects on his past, starts to wonder if he was actually a dick in his youth. Britt lives in squalor on a boat that’s not really meant to be a house and isn’t really used as a boat. He’s lived this way for thirty years, and when the time comes for him to act on his long-touted maiden voyage to Hawaii, he chickens out.

All of these men still have something to learn about themselves. They each want to turn their retirement into a new beginning, but, ironically, fears of wasting their time keep them from acting on their grand plans. Dave and his wife had, at one time, planned to split their retirement years between Seattle and Tahoe, but Dave is now dragging his feet, not feeling ready to leave his friends and his familiar environment and relegate himself to bona fide retired life. Britt has been in a state of perpetual bachelorhood for his entire adult life, but it’s not the glamorous, Bruce Wayne sort. Instead, he’s practically a hobo, eating terrible packaged food and reading by lamplight in his moldy old boat, removed from any sort of technology, including a phone. After Britt bails on his trip, Dave and Bob make it their mission to reinvigorate Britt and introduce him to modern life. In the interest of meeting a lady, Britt begrudgingly agrees to get a cell phone and a computer. But he’s terrified of human interaction and is quick to retreat to his floating turtle shell whenever something goes wrong.

Bob is the only one who doesn’t dwell on his failures, continuing to live life to the fullest. He’s constantly throwing things at the wall to see what sticks. He’s not worried about the future as much as he is about his past. He knows it’s too late to do anything about it, but he still hopes that his presence on Earth has been a positive experience for everyone with whom he interacted.

The most refreshing thing about “Old Goats” is that it treats old people like people. They aren’t magical sages, imparting their wisdom on the young. They aren’t delightfully irreverent, busting a rhyme at a wedding reception and matter-of-factly spewing vulgarities to the shock of their juniors. They are real goddamned men with desires both recreational and romantic. They know they’re old because their environment won’t let them forget it. But they are still the same people they always were.

They are what everyone eventually becomes: older versions of themselves. The only difference is that their every move is tainted by the idea that their days are numbered. Being fulfilled has become a lot more important. Now is the time to write that memoir or go on that blind date. Now is the time to get in a round of golf and put off going to Tahoe with your wife to hang out with your dear friends whom you may never see again.

The film does meander a bit, and has trouble settling on a narrative style. But once it hits its stride, it remains compelling to the very end. Guterson’s film pays homage to the gritty verity of Mike Leigh (“Naked”, “Happy Go Lucky”). He also employs Leigh’s dry, morbid and sometimes unnerving sense of humor. It probably doesn’t hurt that Seattle and London have comparable weather. An overcast sky goes a long way toward conveying melancholy.

Credit is also due to the non-actors who are playing scripted versions of themselves. They clearly understand their characters’ motivations and have no trouble at all dispatching them to the audience. Amateur performers can sometimes take you out of a film. But the real Dave, Bob and Britt just make you want to join them for a beer.

Rather than making their age the punch line to the younger audience, Guterson chose to let these old goats serve as a window into the future. When the elderly are hidden from view in their group homes, they are but an abstract idea, removed from the radar of the callow. But Britt, Bob and Dave represent three possible futures. They are a reminder that people don’t become irrelevant just because they’ve left the work force and are (maybe) collecting Social Security. In some ways, life is just as long as it is short.

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Old Goats takes place in the somewhat isolated community of Bainbridge Island, near Seattle, and mainly concerns three of its residents. Bob (Bob Burkholder, who died in September at 90) is an ornery octogenarian veteran who’s always been lucky with the ladies and even in his autumn years has still gotta have it. And he’s also gotta write a book about it. Britt (Britton Crossley), a fisherman, has lived alone on a 70-square foot houseboat for the past thirty years, but hasn’t been with a woman in forty; he’s understandably awkward. David (David Vander Wal) is recently retired but reluctant to move to a Palm Springs condo with his shrewish wife Crystal (Gail Shackel). It’s David who sets what plot there is into motion when he becomes part of an after hours kaffeeklatsch at his local café, where he meets and befriends Bob and Britt.

The movie makes you think about fascinating questions. How will we spend the autumn years of our life? What kind of people will we be when we’re old? Will we be proud of the life we’ve lived? Or bitter and ornery at how we’ve wasted it? These are the things we think of when we see the elderly, from Alexander Payne’s drama Nebraska to ensemble comedies like The Best Exotic Marigold Hotel . A recent human interest newspaper story highlighted senior gumption perhaps better than any of these films. A group of elderly Koreans in Queens ran afoul of their local McDonald’s when they’d arrive early in the morning, pay a dollar for a cup of coffee and then stay all day. The restaurant’s response was to call 911.

There’s a great movie in that real life senior drama, as I’m sure there’s an entertaining and moving true story behind the fiction of Old Goats . The director met his cast while making short films around Bainbridge Island, and he thought the men could carry a movie. Old Goats doesn’t disprove him. You can see hints of the stories and local color that these men and other Bainbridge Island residents naturally convey. Too bad it’s shoehorned into a contrived, meandering elderly bromance. The amateur acting is distracting, the conversations and mild raunch comedy come off like senior mumblecore. Crossley is the most affecting actor – his awkwardness is endearing and his distant gaze is a quiet expression of loss and regret at a life not fully lived. Naturally it’s Britt who, in a bit of slapstick uncharacteristic of the rest of the movie, falls into the hot tub. It’s a condescending fiction that doesn’t show these unvarnished actors the respect they deserve.

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Currently you are able to watch "Old Goats" streaming on Amazon Prime Video, Amazon Prime Video with Ads or for free with ads on Tubi TV, Freevee, Amazon Prime Video with Ads. It is also possible to rent "Old Goats" on Amazon Video, Google Play Movies, YouTube, Vudu, Apple TV online and to download it on Amazon Video, Vudu, Apple TV, Google Play Movies, YouTube.

Old Goats is a gentle comedy about the indignities of aging. Meeting at a weekly coffee klatch for the local over-70 set (no girls allowed!), three "old goats" from different social strata develop an unlikely friendship. One's a married, golf-playing, sports-car-driving businessman recently forced into retirement. Another is a salty octogenarian World War II vet and (still) devoted womanizer. The third is a shy bachelor car mechanic, just fired, who lives on a squalid sailboat . Theirs is the common tragedy of losing one's vocation, one's purpose in life. There's talk of sailing adventures, online dating, and a condo in Palm Springs, but these three live in common terror of the question, "What's next for you?" They know damn well what's next! And they're determined to avoid it for as long as possible.

Where does Old Goats rank today? The JustWatch Daily Streaming Charts are calculated by user activity within the last 24 hours. This includes clicking on a streaming offer, adding a title to a watchlist, and marking a title as 'seen'. This includes data from ~1.3 million movie & TV show fans per day.

Old Goats is 6549 on the JustWatch Daily Streaming Charts today. The movie has moved up the charts by 2332 places since yesterday. In the United States, it is currently more popular than Marley but less popular than Chimes at Midnight.

Streaming charts last updated: 9:12:53 AM, 07/07/2024

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Time Out says

Awkward online dating, paltry dinners of buttered toast, a directionless approach to life: This tends to be the territory of twentysomethings. But leave it to the fascism-conquering Greatest Generation to beat the young’uns at their own slack. Plus, they can do bromantic indie comedies, too. First-time writer-director Taylor Guterson ably marshals real-life retirees—energetic lady-killer Bob, unhappily married Dave and isolated sad sack Britt—as they hit the coffee klatches and golf courses of the Pacific Northwest with all the navel-gazing, malaise and frustration of men a quarter their age.

Playing fictionalized versions of themselves, the trio and their supporting ladies do an admirable job of acting through midparty pratfalls, bedroom scenes and emotional epiphanies, even if their delivery can be a bit stilted. A palpable sense that these so-called golden years could end at any moment is the film’s ultimate punch line.

Follow Andrew Frisicano on Twitter: @apfpower

Cast and crew

• Director: Taylor Guterson
• Screenwriter: Taylor Guterson
• Bob Burkholder
• Britton Crosley
• David VanderWal

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Sunday, May 01, 2011

Atlanta film festival review: "old goats".

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Spirited ‘Funny Girl’ captures excitement of early musical theater

The show that made Barbra Streisand famous is playing at Maine State Music Theatre through July 13.

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Jenna Lea Rosen as Fanny Brice with the cast of “Funny Girl” at Maine State Music Theatre. Photo by MSMT/Jared Morneau Photography

Who are the luckiest people in the world? At least for theater fans, the answer is “people who need people,” a line made famous well over half a century ago by Barbra Streisand in the original production of the musical “Funny Girl.”

THEATER REVIEW

WHAT: “Funny Girl: the Musical” by Maine State Music Theatre

WHERE: Pickard Theater, Bowdoin College Campus, Brunswick

REVIEWED: June 28 (matinee); continues through July 13

TICKETS: Starting at $93

CONTACT: 207-725-8769, msmt.org

On the heels of the show’s recent Broadway revival, the Maine State Music Theatre has opened a spirited production of the classic musical on its home stage at the Pickard Theater on the campus of Bowdoin College in Brunswick.

The show primarily captures the rousing excitement of early musical theater while unavoidably making us think about how it launched the career of Streisand. At a lengthy but enjoyable two-and-one-half hours, plus intermission, it’s a show that still charms with its memorable songs, old-style comedy and bittersweet love story.

The impressive production, directed and choreographed by Kenny Ingram and with the time-honored music of Jule Styne, lyrics by Bob Merrill and book by Isobel Lennart, tells the semi-fictionalized story of Fanny Brice, a real-life figure who rose from humble origins to showbiz stardom as a give-it-everything-you’ve-got performer in the early 20th century.

At first socially awkward and vulnerable, but with a unique talent and an admirable determination to succeed, Fanny gained the attention of famed impresario Florenz Ziegfeld, Jr. and went on to star in many of his glitzy stage shows. At the same time, Fanny’s personal life was a bit of a rollercoaster ride.

Jenna Lea Rosen takes the lead role and scores comedically with her initially wide-eyed approach to Fanny’s personal and professional challenges. Armed with a feisty “New Yawk” accent, the actress easily takes charge of backstage, front stage and offstage scenes. Her vocals are compelling on both comic numbers (“Sadie, Sadie” and “Rat-Tat-Tat-Tat”) and in more intimate moments (“People” and “Don’t Rain On My Parade”). Advertisement

Douglas Raymond Williams plays Fanny’s handsome rogue of a love interest who brings her to a fuller life but fails her in the end. His opera-trained vocals alongside Rosen (“I Want to be Seen With You” and “You are Woman, I am Man”) establish both the heat and uncertainties within their relationship.

Among the many standout secondary actors and choristers, Tyler Johnson-Campion is a tap-dancing whiz. His work with Sue Cella, who plays Fanny’s mom, is a treat on “Who Taught Her Everything.” Cella also has some fun moments squabbling with a competitive friend played by Maine State favorite Charis Leos.

Tommy Betz shines as a Tenor and David Girolmo returns to the Pickard stage as the stern but supportive Mr. Ziegfeld. Jeremiah Valentino Porter gets to toot a hot horn on “Cornet Man.”

The Maine State Music Theatre Orchestra, led by Jason Wetzel, mixes up the period flavors with a newer Broadway expansiveness. The costumes designed by J. Theresa Bush and scenic design by Jeffrey D. Kmiec take the audience back to a distant era when musical theater and its early stars were on the rise.

Steve Feeney is a freelance writer who lives in Portland.

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