08-26-2016, 12:57 PM
It looks like Simon is getting good reviews
https://www.facebook.com/FlorenceFosterJ...035976955/
"Meryl Streep nearly has her own movie stolen from her by a cast member from The Big Bang Theory. As McMoon, Helberg is a total delight, calling on his terrific comic timing, some serious musical chops — he does all his own playing, and there’s quite a lot of it — and a surprisingly deep well of softness and empathy. The relationship between Bayfield and Florence may be the film’s most important, but the scene that packs the single biggest emotional wallop rests in Helberg’s hands, as his left hand joins Florence’s right at the keyboard, allowing the former pianist to briefly revisit the instrument with which she first fell so deeply in love. Between that moment and his bizarrely infectious giggle, Helberg damn near walks away with the whole film." (Consequence of Sound)
"Where has this comedic prodigy Simon Helberg been hiding all this time? On TV’s “The Big Bang Theory” for 10 seasons, that’s where. What Alden Ehrenreich was to “Hail, Caesar!” earlier this year—a standout amongst stars—that is what Helberg is as Cosme McMoon, Jenkins’ shy, pigeon-chested accompanist who is often on the verge of full-out hysteria when not stifling giggles over his employer’s warbling deficiencies. He, too, acquires a respectful affection for Jenkins, as revealed in a quiet scene where they perform an intimate Chopin piano duet that is touching enough to draw tears." (RogerEbert.com)
"Helberg has the long sad face of a mime and the body of a boy; instead of Strolling, he seems to Hover along, with his hands held stiffly at his side. (You can imagine him in Silent pictures, as a hopeful Stooge)" (The New Yorker)
https://www.facebook.com/FlorenceFosterJ...035976955/
"Meryl Streep nearly has her own movie stolen from her by a cast member from The Big Bang Theory. As McMoon, Helberg is a total delight, calling on his terrific comic timing, some serious musical chops — he does all his own playing, and there’s quite a lot of it — and a surprisingly deep well of softness and empathy. The relationship between Bayfield and Florence may be the film’s most important, but the scene that packs the single biggest emotional wallop rests in Helberg’s hands, as his left hand joins Florence’s right at the keyboard, allowing the former pianist to briefly revisit the instrument with which she first fell so deeply in love. Between that moment and his bizarrely infectious giggle, Helberg damn near walks away with the whole film." (Consequence of Sound)
"Where has this comedic prodigy Simon Helberg been hiding all this time? On TV’s “The Big Bang Theory” for 10 seasons, that’s where. What Alden Ehrenreich was to “Hail, Caesar!” earlier this year—a standout amongst stars—that is what Helberg is as Cosme McMoon, Jenkins’ shy, pigeon-chested accompanist who is often on the verge of full-out hysteria when not stifling giggles over his employer’s warbling deficiencies. He, too, acquires a respectful affection for Jenkins, as revealed in a quiet scene where they perform an intimate Chopin piano duet that is touching enough to draw tears." (RogerEbert.com)
"Helberg has the long sad face of a mime and the body of a boy; instead of Strolling, he seems to Hover along, with his hands held stiffly at his side. (You can imagine him in Silent pictures, as a hopeful Stooge)" (The New Yorker)
“There are no scenes more fun to do, I feel like, than the ones between Sheldon and Penny. They are such a wonderful odd couple.” - Jim Parsons