Once I Was a Beehive reviews

The new film Once I Was a Beehive opened in 19 Utah theaters on August 14, and is expected to expand to theaters outside of Utah in September. A comedy set at a Mormon girl’s camp, it was directed by McClain Nelson, and written by Nelson, Lisa Valentine Clark, and Hailey Smith. Clark and Smith also co-star as camp leaders. Nelson, Clark, and Smith produced the film, together with Jake Van Wagoner. All four of the filmmakers have been members of the Thrillionaires Improv group, and Nelson and Van Wagoner had worked on The Saratov Approach.

The film has received strong reviews, including from non-Mormon film critic Sean Means.

Sean Means, Salt Lake Tribune. 3.5 stars. “As a critic, I’m often expected to hold my nose and ignore the faults of a regionally made movie, as if it were an artisanal cheese that is inherently better than the mass-produced stuff just because it’s local and the person who made it is also selling it to you at the farmers market . . . Utah-made movies, though, need not be graded on a curve. Two new movies, both made in Utah — “Once I Was a Beehive” and “Point B” — are good enough to stand alongside what comes out of Hollywood or the independent-film world. “Once I Was a Beehive,” as the title implies, is in the traditional Utah-movie mold — that is to say, it’s a Mormon movie. Directed and written by Maclain Nelson (who played one of the kidnapped missionaries in the thriller “The Saratov Approach”), it’s an affectionate and funny look at a peculiar aspect of LDS culture: church-organized girls summer camp . . . Nelson fills “Once I Was a Beehive” with plenty of humor, poking gentle fun at camp quirks while also admiring the spirit of togetherness camping imparts to the girls. The movie also is blessed with a strong cast of young actors and one outstanding young-at-heart supporting player: Barta Heiner, who plays Sister Nedra, a crusty ex-Marine nurse and Carrie’s second-in-command. The result is a movie that’s warm-hearted and consistently charming.”

Scott Renshaw, City Weekly. 3.5 stars. ” “Faith-based cinema” is such a disaster on such a regular basis that it’s almost startling when someone gets it right. Writer/director Maclain Nelson tells the story of Lane, a 16-year-old girl still mourning the death of her father when her mother plans to re-marry—and a Mormon guy, of all things. And while they’re on their honeymoon, Lane reluctantly agrees to join her new step-cousin Phoebe on a week-long Young Women’s camping trip. Considering how many potential traps Nelson has to navigate, it’s genuinely impressive how few missteps he makes: guiding a charming cast of young actors to appealing performances; addressing grief with sensitivity but no mawkishness; delivering comic relief that rarely degenerates into head-smacking slapstick. But mostly, he introduces his faith-based elements delicately, combining a good-natured skewering of certain Mormon cultural norms with a genuine respect for a girl still not sure if she’s ready to believe. While the pacing may get sluggish as the two-hour story slightly overstays its welcome, it’s hard not to smile at a movie that respects faith for its power to comfort, heal and unite.”

Josh Terry, Deseret News. ““Once I Was a Beehive” achieves a quality few LDS-themed films have managed to reach: accessibility. It does this by telling its story through the eyes of an outsider named Lane (Paris Warner). Lane is a 16-year-old girl whose mother marries a Mormon. Without Lane, “Once I Was a Beehive” might be a simple, two-dimensional parody of yet another quirky aspect of LDS culture. But with her, the film shows the sincere heart beneath some well-trod Mormon stereotypes . . . It would be easy for director Maclain Nelson to parade a series of Mormon clichés across the screen, and there are several obligatory inside references. But Nelson wisely focuses on the common humanity between Lane and the other girls, drawing them together through a series of experiences that touch on deeper, more universal themes. “Once I Was a Beehive” is a film that benefits greatly from its core casting. Both Warner and Smith are strong in their roles, pushing past easy characterizations to bring out some very honest moments. We see the film through their eyes, and it makes it easier to run with some of the more cartoonish things that are happening around them. Their perspective also gives the film a unique route to self-deprecation. Nelson understands the zaniness of LDS culture and is happy to put it on display. But rather than settle for the kinds of glassy-eyed simpleton portrayals that are often used for devout Christians these days, “Once I Was a Beehive” is able to acknowledge its quirkiness while also sharing the sincerity under its surface. It can be a hit-and-miss process. Not all the humor works, and the story drags on a little longer than necessary (checking in just shy of two hours). But overall, “Once I Was a Beehive” is a pleasant surprise that benefits from some strong casting and a smart perspective.”

Jonathan Decker, Meridian Magazine. B+. “Faith-based comedies often fall terribly flat. Wholesome doesn’t always equal funny, and good intentions don’t necessarily lead to polished screenplays (or performances). I therefore had low expectations going into Once I Was a Beehive, only to be very pleasantly surprised. Instead of a lame culture comedy or preachy conversion tale, this is a graceful, well-made examination of loss, healing, and interfaith friendships. This is a “Mormon film” whose central character is not a Mormon, and the film has no agenda of making her one. The story relies more on universal themes than inside jokes, making it accessible the way Fiddler on the Roof is to non-Jews and The Blind Side is to non-Christians. It’s well-acted and moving, with a fair amount of laugh-out-loud humor. The faith aspects are light and uplifting, not heavy-handed. The cast has good chemistry; imagine the camaraderie of Pitch Perfect without the innuendo. Once I Was a Beehive is not an earth-shattering film, nor is it flawless (it’s overlong, for one thing) but it is far better than I had anticipated. The film is a worthwhile option for families, particularly, but it’s enjoyable for anyone who likes a good story, believer or not.”

Maurine Proctor, Meridian Magazine. “The title made me think it would be cheesy, perhaps only appropriate for a seventh grader. I thought if there were humor, it would hardly rise to sophomoric. (Beehives, after all, are much younger than that.) I was so wrong. In fact, I am writing this so that if you have a chance to attend the film, which opens August 14, you will go this first weekend, helping this film to have a chance for a little reach. You can see the locations it is playing here, which are currently only in Utah. This is a film that hits just the right notes, beginning with a script that really works. The script is deft and funny, poignant and searching, with characters who are clearly drawn and memorable. The pacing really works. It is written by the director MacLain Nelson, best known for his role as Elder Propst in The Saratov Approach and Lisa Valentine Clark and Haily Smith, who star as unforgettable camp leaders in the film. Admittedly this is a film about going to camp and the petty and funny things that happen there, but somehow it is also very charming.”

Theric Jepson, A Motley Vision. “I’m relieved to report that notwithstanding its flaws (which I will not ignore), this movie is good stuff and worth seeking out . . . The film’s largest flaw is its interminable voice over. Every time the movie fully won me over, the VO would show up and start stabbing me. Leave me alone, VO! I’m trying to watch a movie! . . . The use of prayer in the film deserves more attention. We see prayer that is scheduled, prayer that is offered in desperation, prayer that succeeds, prayer that fails—for a movie that is not about prayer, Beehive found room to showcase the variety of slots into which prayer fits in the religious life. (Of course, it should be able to slip a lot in with it’s 119-minute running time. Geez.) The film is at its most successful when it shoots into absurdly heightened comedic voice. For instance, the rain scene captures the absurdly heightened comedy that is Mormon youth when you stick too many of them together for too long. That’s not an easy thing to pull off successfully, but Beehive does . . . One character never guilty of this is the youngest character, Phoebe. When she is the focus, her dialogue is a cross between Woody Allen and Matilda—a challenge to be sure, but she nearly always rises to it. When the film relies on her emotions to move forward, she is ever better. Phoebe’s emotional journey requires Lane to proceed on her own emotional journey. This is a smart move on the screenwriters’ part as a relentless focus on Lane likely would have tossed the film into sentimental drudgery. Beehive‘s way to smart for this. It manages to give emotional arcs to most of the characters (some much smaller than others, of course) without ever pushing our noses in it. The films lets characters feel things naturally. And, sure, it relies on a couple cliches (that song!) but even its cliches it plays with. For instance, the testimony meeting isn’t about the nonMormon character become a bit more Mormon—it’s about all the characters learning and drawing from each other and to each other. We can all stand to be more Christian. Perhaps the best demonstration of Beehive‘s unwillingness to be cheap and easy emotionally is the character Bree: daughter of the Young Women president, and cast and played to remind us of Regina George. But Beehive doesn’t suddenly turn her into a good person at the end. She’s been a good person all along—she largely changes in our perspective as we see a few of her rougher edges knocked off. If any character could have served the film by being a caricature, it was Bree. And the film didn’t let that happen. Good job, film. Which is a hint at why this film is ultimately successful: it’s honest. Good people are flawed and bad people aren’t really all that bad. Everyone’s doing their best and no one’s best looks the same. Plus, you know, good gags like the rock giants and good acting like everything Allie Jennings‘s face does and heartfelt/humorous moments like the spirit animals’ midnight revue. Even the deus ex machina is earned by virtue of not happening for so long that we are allowed to settle into an understanding that the world is as cruel as it genuinely is. Once I Was a Beehive is a super-safe movie that makes room for dangerous moments. So while the film is flawed, something this genuine and honest is allowed to be this sweet and to become this rewatchable.”

Kevin Burtt, LDS Cinema Online (B). Once I Was A Beehive is an oddity.  In an age where female characters in mainstream movies are absent from their own DVD covers (or just literally absent), here we have a new LDS film where the cast is 90% female.  And the story doesn’t center around whether the main character can find a boyfriend! . . . Once I Was A Beehive does a lot of things right– it’s a sweet story about girls with different backgrounds bonding together that viewers won’t need double-X chromosomes to appreciate . . . Once I Was A Beehive contains some clever dialogue and off-the-wall jokes about modern pop-culture which adds to the movie’s flair . . . The heart of the movie isn’t pop culture jokes though, but how a diverse set of girls (by background, social class, and body-type) learn to grow together as sisters  . . . Once I Was A Beehive has a spiritual layer, but Nelson and company are careful not to make it overbearing.  Faith and prayer are discussed but no one gets baptized at the end.  Lane makes a spiritual connection with the other girls that presents new ideas for her to ponder, although I liked that the other Mormon girls specifically thank *her* for accepting them and being their sister, rather than just the reverse. On the downside, the film contains too many characters to provide meaningful characterizations (One girl has “boy-crazy” as her only character trait, for instance.  Another is noted to only be at girls camp because her parents forced her, and the movie seems to forget about her entirely by the end.)  The movie also suffers from “unnecessary narration syndrome” — where too much voice-over is used to tell us about the characters and narrative instead of showing us through dialogue and action. Those are minor issues in the end — Once I Was A Beehive is a good, heart-warming film that will specifically appeal to young women and their leaders but isn’t limited to them.”

Eric Samuelsen. “Let me start with the easy stuff: Once I was a Beehive is terrific fun. Within the sub-genre of ‘Mormon films,’ we’ve seen plenty of excellent serious films . . . But the comedies haven’t been much good, ranging from the mediocre The Singles Ward to the execrable The Home Teachers. What we haven’t had up to now is a comedy made with intelligence, insight, humanity and good-hearted affection for the quirks and oddities of Mormon culture. I know that comedy’s hard. Still, I can’t begin to describe how good it feels to see Once I was a Beehive, a genuinely funny movie that avoids every potential misstep and creates believable human characters and derives its humor from carefully observed and beautifully realized actual people; a comedy, in short, that just plain works . . . Enter Sister Carrington (Lisa Clark), an obnoxiously enthusiastic Young Women’s President, who pressures both Phoebe and resolutely non-LDS Lane to come to Girls’ Camp. Clark is initially very funny in the role, but in her characterization, I thought I identified the film’s first major pitfall; that kind of cartoonish caricature wears pretty thin pretty quickly. I needn’t have worried. As Carrington’s exquisitely planned (and scrapbooked) schedule falls apart, so does the character, and Clark’s performance shifts, turns Carrington into a real person, vulnerable and snappish. Hailey Smith gives a quieter, still funny, but equally nuanced performance as Holly. And then they arrive at their campsite, and Barta Heiner rides up in a motorcycle. In a rational universe, Barta Heiner would be recognized as the national treasure she really is; both the best acting teacher in the country, and an actress at the level of Meryl Streep and Judi Dench. That’s not hyperbole, though I also admit to a certain prejudice; she has been my revered friend and colleague for nigh on thirty years . . . And it’s all pretty funny. There’s a scene where the girls, challenged to pair up and create, with a partner, a ‘spirit animal’ that defines something about themselves, give us a pretty hilarious menage of lions and dogs and (in the case of Lane and Phoebe) Galapagos tortoises. A little later, Sister Carrington reveals her ‘spirit animal.’ When Lisa Clark said ‘cougar,’ I laughed out loud. It was just a little throwaway joke, without the set-up-payoff-reaction shot structure of most movie jokes, but it nailed me. You know that obnoxious faux-profound line ‘I never told you it would be easy. I said it would be worth it?’ In this movie, it’s a punch-line, and a funny one. But also not in a mean-spirited sort of way . . . That’s a fine edge. Does this movie make fun of Young Women’s programs, and especially, of Girls’ Camp? Yes. Does it recognize how relentlessly didactic Girls’ Camp can get, with every hike an object lesson and every task a sermon? Yes. Those are all fine subjects for satirical comedy, and the movie realizes the comedic potential inherent in each. But does the movie ultimately suggest that Girls’ Camp can provide a genuinely empowering experience for young women? That it’s about friendship and fellowship and kindness as much as it’s about ‘Trial of Faith’ scavenger hunts? Yes. That’s a thin line for a movie to tread, and I applaud Nelson and his whole team for treading it so dexterously . . . There’s one final issue I’d like to raise. Is this a feminist movie? Is this a movie likely to be applauded by Mormon feminists, or should it be? . . . It’s a movie about one official LDS program that really does try to empower young women. I’d say, sure, it’s a feminist film, maybe not with a capital F, but in its own quietly effective way.”

Eric D. Snider. B+. “DISCLAIMER: You should not even listen to me about this movie because my friends made it and I am a biased liar . . . Standing on the shoulders of the well-meaning but mostly lame Mormon comedies that have come before it, “Once I Was a Beehive” manages to be funny, sweet, AND sincere (a rare combination), with a lovely story about girl power, acceptance, and avoiding bears. It’s set at a week-long summer camp for teenage Mormon girls, and is aimed more at that demographic than at mine. But in truth, its sunny idealism and practical approach to faith make it almost universally appealing, unless you’re some kind of monster . . . Some vaguely spiritual lessons are learned as the girls and their leaders face trials of faith, but the movie isn’t interested in proselytizing, and what religious elements are included aren’t unique to Mormonism. (You’ll hear a couple of prayers that could have come out of any Christian mouth.) The real point is to show young people forming friendships and learning to be decent, and maybe to squeeze a few tears out of us along the way. The movie has an infectious optimism that, for a viewer, translates into pure joy.”