Synopsis
An overlooked pencil-pusher catches her husband in bed with another woman, the shock of which causes him to die of a heart attack. So she buries his body and takes advantage of the growing celebrity status that comes from having a missing husband. But she quickly finds herself in over her head, dodging cops and criminals, all while trying to keep the truth from her sister, a local news anchor who’s desperate for a story.
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Cast
- Allison JanneySue Buttons
- Mila KunisNancy
- Regina HallDetective Cam Harris
- AwkwafinaMina
- Wanda SykesRita
- Ellen BarkinDebbie
- Matthew ModineKarl Buttons
- Jimmi SimpsonPetey Buttons
- Keong SimMr. Kim
- Juliette LewisGloria Michaels
Recommendations
- 40
The Hollywood Reporter
Breaking News in Yuba County features a pitch-perfect Janney at the center of a game cast of well-knowns. Yet as it fumbles through its unwieldy mix of crime-caper farce, social commentary and black comedy, the genre it most solidly nails is the one that poses the burning question "Why did so many accomplished actors sign on to this?" - 40
Screen Daily
Taylor can’t juggle the different tones, and as Sue tries to stay a step ahead of the crooks and the cops as her lies threaten to unravel, the film’s attempts at societal critique feel facile. - 33
The A.V. Club
None of the curious friction of its story, nor in its cast, results in any sort of frisson of excitement, dread, or even shock. The best Yuba can inspire is indignation. You get all these folks together, Tate Taylor, and the end result is this? - 33
IndieWire
It’s the kind of movie that seems to suck your soul out while you’re watching it, variably crass and slapstick humor landing with a bloody thud. - 30
Los Angeles Times
Breaking News in Yuba County lacks both the form and substance to cash in on its acting assets. - 25
Original-Cin
A farce that fizzles, a satire that sags, and a dead-end for its gifted cast, Breaking News In Yuba County at least starts well. - 10
The New York Times
One may wonder how Tate Taylor, who has overseen high-profile, conventional, ostensibly respectable Hollywood product like “The Girl on the Train” and “The Help,” came to direct this amoral, repellent bag of sick, a movie whose biggest ambition in life is to start a bidding war at a late 1990s Sundance Film Festival and then bomb at the box office. Call it water finding its own level, maybe.
