By Lynn Venhaus

Woof. Thirty years after its landmark opening, Disney’s “The Lion King” has returned as a computer-animated prequel that’s a mere shell of its majestic and inspired coming-of-age drama origins.

Lacking a creative spark, this misfire is a generic, dull and soulless attempt to go back to the familiar Shakespearean theme, with Biblical roots, to rehash family bonds and destiny. Yawn.

Walt Disney Studios has blended live-action filmmaking techniques with photoreal computer-generated imagery, which looks like a nature documentary and has less of an emotional impact.

A nice touch is opening the film with a dedication to James Earl Jones, who voiced the regal Mufasa in Disney projects from the original 1994 to the remake in 2019. He died in September.

To set in motion Mufasa’s journey as a lion cub after his parents (Keith David and Anika Noni Rose) perish in a frightening flood, the wise shaman Rafiki (John Kani) begins telling Kiara (Blue Ivy Carter), daughter of Simba (Donald Glover) and Nala (Beyonce Knowles-Carter), the origin story of her grandfather.

Lost and alone, Mufasa, voiced as a young cub by Braelyn Rankins and Aaron Pierre as he gets older, is aided by Taka (Theo Somolu as a cub, Kelvin Harrison Jr. later), an heir to a royal bloodline.

Taka’s father King Obasi (Lennie James) is suspicious of outsiders, but his mother Queen Eshe (Thandiwe Newton) is more understanding, and the future king proves his mettle.

They team up to thwart their vicious foe, a pride of hateful territorial white lions – looking like they’re rolled in flour, I suppose so we can keep them straight – led by the evil Kiros (Mads Mikkelsen).

Mufasa eventually rises to become king of the Pride Lands, but not without much strife and multiple conflicts. He learns the dangers of tribalism and tyranny.

After all, this is the origin story of Scar as well. We eventually find out the reasons why his ‘brother’ Taka becomes bitter and resentful and will eventually betray him more than once.

The pair pick up a couple other strays on an expansive sojourn to the promised land Milele. The orphaned lioness cub Sarabi (Tiffany Boone) falls in love with Mufasa, spurning Taka. Rut-ro. Her screechy scout Zazu (Preston Nyman) the hornbill is back, both helping and hindering.

Returning from the unfortunate 2019 ‘live action’ remake are a younger but still mystical Rafiki (Kagiso Ledigo) and the now annoying self-absorbed duo of Pumbaa the warthog and Timon the meerkat as voiced, insufferably, by Seth Rogen and Billy Eichner.

Their banter isn’t funny and pulls us away from the journey, not to mention wrecking our “Hakuna Matata” vibe. Every time they start chattering, it halts the trek with forced humor. Their meta references about the 1997 stage musical are odd and seem out of place.

This band of misfits is on what seems to be an endless journey. Directed by the esteemed Barry Jenkins, the shot selection includes wide grand vistas – mimicking drone action above snow-capped mountains and expansive parched savannahs, which alternates with extreme close-ups of lions.

While the vocal work is fine, the remarkably similar visuals make it hard to distinguish the lions. The ensemble is too big to invest in the characters, too.

Emmy, Oscar and Tony winner Lin-Manuel Miranda’s songs usually signal a bright spot in any Disney project but here they seem intrusive. Did we need them? 

They just seem to unnecessarily pad the narrative, telling us what we can see – “Milele” as a beautiful utopia, “I Always Wanted a Brother” as the bonding occurs between Mufasa and Taka, then the love song “Tell Me It’s You” and the friends relying on each other on their trek “We Go Together” (as in “Grease”?).

While his lyrics are always clever, this score pales in comparison to the Elton John – Tim Rice tunes and Hans Zimmer score that each won Oscars, or even his multi-award-winning “Encanto.”

“The Lion King” was the highest grossing film of 1994 and the film became the top home video, holding that record for years. It was adapted for the stage in 1997, earning six Tony Awards and is now the third longest running musical on Broadway and the highest-grossing show of all time.

Its pedigree is undeniable, it’s a favorite with families, and will make a lot of money. But couldn’t they find a fresher, more engaging story than to keep going over the same themes just to appeal to fan service? Nostalgia aside, what are the biggest takeaways? That Disney is going to wring every penny out of the public for its beloved properties until the end of time?

“Mufasa: The Lion King” is an animated adventure family musical directed by Barry Jenkins with the voice-over work of Aaron Pierre, Kelvin Harrison Jr., John Kani, Tiffany Boone, Kagiso Lediga, Mads Mikkelsen, Thandiwe Newton, Lennie James, Anika Noni Rose, Keith David, Blue Ivy Carter, Beyonce Knowles-Carter, Donald Glover, Seth Rogen, Billy Eichner, Preston Nyman. It is rated PG for action/violence, peril and some thematic elements and the run time is 2 hours. It opened in theaters on Dec. 20. Lynn’s Grade: C

Colman Domingo, Mikey Madison, Kieran Culkin and Aunjanue Ellis-Taylor Win Acting Honors Announced Dec. 15

In a year without an overwhelming frontrunner, three films – Denis Villeneuve’s visionary science-fiction epic “Dune: Part Two,” RaMell Ross’s harrowing debut adaptation of “Nickel Boys” and David Eggers’ evocative remake of the gothic horror tale “Nosferatu” – won three awards apiece from the St. Louis Film Critics Association for 2024.

The regional critics’ group announced winners in 26 awards categories on Dec. 15.

“Dune: Part Two” won for film, director, and visual effects. “Nickel Boys” won for supporting actress Aunjanue Ellis-Taylor, first feature film for director RaMell Ross, and editing. “Nosferatu” won for cinematography, production design and horror film.

“Saturday Night” earned two – for ensemble and original screenplay, as did “The Wild Robot” – for animated feature and best vocal performance by Lupita Nyong’o.

Besides Ellis-Taylor, acting honors went to Colman Domingo, Best Actor in “Sing Sing”; Mikey Madison, Best Actress for “Anora” and Kieran Culkin, Best Supporting Actor for “A Real Pain.”

“The Seed of the Sacred Fig” was honored for Best International Feature, “Hundreds of Beavers” for Best Comedy, “Furiosa: A Mad Max Saga” for “Best Action Film, and “No Other Land” for Best Documentary Feature.

“The Brutalist,” “Civil War,” “A Complete Unknown,” “Conclave” and “The Fall Guy” were among the films singled out for one award each.

In addition to the awards, St. Louis critics bestowed three special merits:

Mohammad Rasoulof, director of ‘The Seed of the Sacred Fig.” Photo by Julie Cunnah.

Special Merit: Iranian Director Mohammad Rasoulof and the cast/crew of “The Seed of the Sacred Fig” for their courage and persistence in confronting political oppression in the pursuit of artistic expression and portraying truth through film.

Special Merit: Pete Timmermann, director of Webster University’s Film Series in St. Louis, for his exceptional, expert programming of international, restored, and independent films, including fiction and nonfiction, animation and live action, in addition to special events. His superb offerings for the St. Louis film community enriches and expands our cinematic world.  

Special Merit: Filmmakers who found creative uses for practical effects and were less reliant on digitized computer-generated graphics this year, such as hair and makeup artist Christine Brundell using puppetry and prosthetics, in collaboration with director Tim Burton, on “Beetlejuice Beetlejuice”; makeup effects director Pierre Oliver Pierson on “The Substance” prosthetics; the micro budget DIY home computer effects from director Mike Cheslik for “Hundreds of Beavers”; the no-green-screen creature work on “Alien: Romulus” with animatronics and puppetry, among other collaborations by director Fede Alvarez; and the “Wicked” production design by Nathan Crowley where he merged practical imagery with CGI throughout, and grew 9  million tulips for Munchkinland.

Nominations, announced Dec. 8, included 12 for “Dune: Part Two,” 9 for “The Brutalist,” 8 apiece for “Conclave” and “Wicked,” 6 for “Nickel Boys” and 5 for “Sing Sing.” Besides those films, other Best Film nominations also included “Anora,” “A Complete Unknown,” “September 5,” and “The Seed of the Sacred Fig.”

For a complete list of nominations, visit: www.stlfilmcritics.org/awards

Founded in 2004, the St. Louis Film Critics Association is a nonprofit organization of professional film reviewers who regularly publish current and timely film criticism, support local productions and festivals, and enhance public education, awareness, and appreciation of films. Approved members are affiliated with qualifying media outlets in the St. Louis metropolitan region.

For awards consideration, eligible films are those that opened in the greater St. Louis area or had an online premiere during the 2024 calendar year – – including those films that were given awards-qualifying runs but aren’t slated for release until early 2025.

For more information, visit the site: www.stlfilmcritics.org

Full List of Awards and Runners-Up

Best Film: Dune: Part Two

Runner-up: Anora

Best Director: Denis Villeneuve “Dune: Part Two”

Runner-up: Mohammad Rasoulof “The Seed of the Sacred Fig”

Best Actor: Colman Domingo “Sing Sing”

Runner-up: Adrien Brody “The Brutalist”

Best Actress: Mikey Madison “Anora”

Runner-Up: Marianne Jean-Baptiste “Hard Truths”

Best Supporting Actor:
Kieran Culkin “A Real Pain”

Runner-Up: Denzel Washington “Gladiator II”

Best Supporting Actress: Aunjanue Ellis-Taylor “Nickel Boys”

Runner-Up: Ariana Grande “Wicked”

Aunjanue Ellis-Taylor as Hattie in “Nickel Boys.” Photo credit: Courtesy of Orion Pictures

Best Ensemble: “Saturday Night”

Runner-Up: “Conclave”

Best Adapted Screenplay: Peter Straughan, “Conclave”

Runner-Up:  Denis Villeneuve, Jon Spaihts “Dune: Part Two”

Best Original Screenplay: Jason Reitman and Gil Kenan “Saturday Night”

Runner-Up: Mike Leigh “Hard Truths”

Best Cinematography: Jarin Blaschke, “Nosferatu”

Runner-Up: Greig Fraser “Dune: Part Two”

Best Editing: Nicholas Monsour, “Nickel Boys”

Runner-Up: Hansjörg Weißbrich, “September 5”

Best Production Design: Beatrice Brentnerova, Paul Ghirardani, Craig Lathrop, “Nosferatu”

Runner-Up: Nathan Crowley, Lee Sandales, “Wicked”

“Nosferatu” remake. Photo courtesy of A24.


Best Costume Design: Paul Tazewell “Wicked”

Runner-Up: Linda Muir “Nosferatu”

Best Music Score: Daniel Blumberg “The Brutalist”

Runner-Up: Trent Reznor and Atticus Ross, “Challengers”

Best Music Soundtrack: “A Complete Unknown”

Runner-Up: “Wicked”

Best Visual Effects: “Dune: Part Two”
Runner-Up: “Kingdom of the Planet of the Apes”

The sandworms of “Dune: Part Two.” Photo courtesy of Warner Brothers.

Best Stunts: “The Fall Guy”

Runner-Up: “Furiosa: A Mad Max Saga”

Best Action Movie: “Furiosa: A Mad Max Saga”

Runner-Up: “Dune: Part Two”

Best Comedy:
“Hundreds of Beavers”

Runner-Up: “Deadpool & Wolverine”

Maya Hawke voiced “Anxiety” in “Inside Out 2.” Photo courtesy of Pixar Studios.

Best Horror: “Nosferatu”

Runner-Up: “The Substance”

Best Animated Feature: “The Wild Robot”

Runner-Up: “Wallace & Gromit: Vengeance Most Fowl”

Best Vocal Performance: Lupita Nyong’o “The Wild Robot”

Runner-Up: Maya Hawke “Inside Out 2”

Best Documentary Feature: “No Other Land”

Runner-Up: “Super/Man: The Christopher Reeve Story”

Best International Feature: “The Seed of the Sacred Fig”

Runner-Up: “Don’t Expect Too Much from the End of the World”

Best First Feature: RaMell Ross, “Nickel Boys”

Runner-Up: Malcolm Washington “The Piano Lesson”

Best Scene: “Civil War” – “What kind of American are you?”

Runner-Up: “Furiosa: A Mad Max Saga” – The war rig battle

“The Seed of the Sacred Fig.” Photo courtesy of NEON.

By Lynn Venhaus

Charming and delightful, “That Christmas” is an animated comedy that will give you the warm-and -fuzzies without the too-sweet and unrealistic situations that derail many of these holiday-themed movies.

And that’s because of the pedigree involved. Based on a trio of children’s books written by Richard Curtis and illustrated by Rebecca Cobb, his screenplay is not your typical fluff but features relatable characters and believable human interactions – and his trademark wit. (The other books are “Snow Day” and “The Empty Stocking.”)

Rom-com legend Curtis is known for writing “Four Weddings and a Funeral,” “Love Actually,” “Notting Hill” and “Yesterday.” Along with co-screenwriter Peter Souter, they tickle the funny bone through his imperfect adult characters and an endearing cast of quirky children. (And for Curtis fans, several in-jokes about his other films are clever references).

Now streaming on Netflix, the story centers on an unforgettable Christmas for the townsfolk of Wellington-on-Sea when the worst snowstorm in history alters everyone’s plans, including Santa’s.

The film touches on community, friendship and the bonds between families, especially siblings – all rendered in amusing and heartwarming ways throughout the breezy 91-minute film.

The seasonal adventure focuses on three families – and nobody’s having a picture-perfect holiday. In fact, calamities ensue, not to mention a whole flock of turkeys liberated before they become dinner entrees.

Simon Otto makes his feature film directorial debut — he was responsible for the character animation and story art in the superb “How to Train Your Dragon” trilogy. The animation is by Locksmith Animation (“Ron’s Gone Wrong,” and it’s bright, cheery and sufficiently wintry.

There is more to love – music is by the renowned film composer John Powell – recent credit “Wicked” — and Ed Sheeran wrote an original song “Under the Tree” for the film.

Brian Cox lent his distinguished voice as Santa, Bill Nighy has a small but impactful role as the lighthouse keeper Bill, and Fiona Shaw is the stern teacher Ms. Trapper.

The kids reflect modern views, especially Bernadette (India Brown), who rewrote the school’s traditional Christmas pageant (“The Three Wisewomen”!) and went too ‘woke’ to the horror of those in attendance. But to be fair, it had more to do with the messy watermelon splatter.

Sam (Zazie Hayhurst) is the ‘good sister’ who is exasperated by her rowdy, messy twin Charlie (Sienna Sayer), for a naughty-or-nice subplot, and Danny (Jack Wisniewski) is the sweet, sincere kid with a crush on Sam. His parents are going through a divorce. Jodie Whittaker voices his hard-working mom.

The entwined tales don’t shy aways from the realities of loneliness at holiday time, but there is plenty of merriment because of the parents’ more colorful personalities. Rhys Darby and Lolly Adefope’s

Wellington-on-Sea is fictional, but Curtis drew inspiration from the coastal towns of Walberswick and Southwold, which are in the English county of Suffolk.

It’s just a fun ride, with a pesky blizzard, Santa’s woes, and a sassy reindeer, Dasher (Guz Khan), plus the kids go through ‘learning experiences.’

The old-fashioned emotional touches in the story and contemporary cozy look are both appealing, making this Christmas one to remember. Watching “That Christmas” is as comforting as a cup of hot cocoa with a plate of Christmas cookies. In fact, that may be the best way to see it, along with snuggling up with a throw.

“That Christmas” is a 2024 animated comedy directed by Simon Otto and starring (voice-over work) Brian Cox, Bill Nighy, Fiona Shaw, Jodie Whittaker, Jack Wisniewski, Sienna Sayer, India Brown, Zazie Hayhurst, Rhys Darby, Lolly Adefope, Guz Khan, and Bronte Smith. It is rated: PG for thematic elements, some language and rude humor. It began streaming on Netflix Dec. 4. Lynn’s Grade: B+

Emilia Perez, The Brutalist and Anora are among those nominated for Best Film, Best Director and Best Screenplay

(New York, NY, December 12, 2024) – Since 2006, the Alliance of Women Film Journalists (AWFJ) has presented annual EDA Awards, representing professional women critics’ collective perspectives on movies and cinema culture in the movie awards arena, where female critics and critical opinion are still greatly underrepresented. AWFJ honors female creatives in non-gender specific awards categories and in unique Female Focus categories designated for women only.  

This year, Edward Berger’s papal thriller CONCLAVE led all films with 9 nominations, including Best Film, Best Director, Best Screenplay (Adapted), Best Supporting Actress (Isabella Rossellini), Best Actor (Ralph Fiennes), Best Supporting Actor (Stanley Tucci), Best Ensemble Cast and Casting Director, Best Cinematography and Best Editing. Jacques Audiard’s EMILIA PEREZ grabbed 8 nods with Sean Baker’s ANORA and Brady Corbet’s THE BRUTALIST garnering 7; all were nominated for Best Film, Best Director and Best Screenplay (Original or Adapted). In the Female Focus Section, THE SUBSTANCE filmmaker Coralie Fargeat squares off with ALL WE IMAGINE AS LIGHT’S Payal Kapadia for both Best Woman Director and Best Female Screenwriter, with Nykiya Adams (BIRD), Karla Sofia Gascon (EMILIA PEREZ) and Mikey Madison (ANORA) all among those vying for the award for Best Women’s Breakthrough Performance.

“We are proud that this year’s member-determined roster of nominees includes female contenders in non-gender specific categories, including Coralie Fargeat in the Best Film, Best Director and Best Original Screenplay categories, along with Payal Kapadia, who is nominated for Best Director, Best Original Screenplay and Best International Film,” said Jennifer Merin, President of the 90-member AWFJ. “We hope to see similar recognition of women filmmakers at this year’s Oscars and various guild awards, as well as with other critic’s awards groups.” 

In preparation for the awards season, AWFJ tracks femme-helmed and femme-centric films released throughout the year. The 2024 list of EDA Award-eligible femme-helmed and/or femme-centric films includes more than 500 titles. Many of these female-made movies are small budget productions that receive neither wide distribution nor critical consideration. This impressive number of independently produced films indicates the high level of female filmmaker proactivity in contradiction to the grim statistics consistently reported in major studies about female film production. AWFJ advocates for acknowledgment of these films and recognition for their filmmakers, not only during awards season, but throughout the year with the Movie of the Week feature published every Monday on AWFJ.org, and other regular features. 

The EDAs are named in honor of AWFJ founder Merin’s mother, Eda Reiss Merin, a stage, film and television actress whose career spanned more than 60 years. A dedicated foot soldier in the industry, Eda was one of the founders of AFTRA and a long-standing member of AMPAS. EDA is also an acronym for Excellent Dynamic Activism, qualities shared by Eda Reiss Merin, AWFJ members and those honored with EDA Awards.

Here is the list of nominees:

Nickel Boys

OFFICIAL 2024 EDA AWARDS NOMINATIONS 

BEST OF AWARDS
BEST FILM 

  • ANORA
  • CONCLAVE
  • EMILIA PEREZ
  • NICKEL BOYS
  • SING SING
  • THE BRUTALIST
  • THE SUBSTANCE
  • WICKED

BEST DIRECTOR

  • JACQUES AUDIARD – EMILIA PEREZ
  • SEAN BAKER – ANORA
  • EDWARD BERGER – CONCLAVE
  • BRADY CORBET – THE BRUTALIST
  • CORALIE FARGEAT – THE SUBSTANCE
  • PAYAL KAPADIA – ALL WE IMAGINE AS LIGHT
The Substance

BEST SCREENPLAY, ORIGINAL

  • ALL WE IMAGINE AS LIGHT – PAYAL KAPADIA
  • ANORA – SEAN BAKER
  • A REAL PAIN – JESSE EISENBERG
  • HARD TRUTHS – MIKE LEIGH
  • THE SUBSTANCE – CORALIE FARGEAT
  • THE BRUTALIST – BRADY CORBET AND MONA FASTVOLD

BEST SCREENPLAY, ADAPTED

  • CONCLAVE – PETER STRAUGHAN, ROBERT HARRIS
  • EMILIA PEREZ – JACQUES AUDIARD, THOMAS BIDEGAIN, LEA MYSIUS
  • NICKEL BOYS – RaMell ROSS, JOSLYN BARNES, COLSON WHITEHEAD
  • NOSFERATU – ROBERT EGGERS
  • SING SING – JOHN H. RICHARDSON, BRENT BUELL, CLINT BENTLEY
  • THE WILD ROBOT – CHRIS SANDERS, PETER BROWN
Black Box Diaries

BEST DOCUMENTARY

  • BLACK BOX DIARIES – SHIDORI ITO
  • DAHOMEY – MATI DIOP
  • DAUGHTERS – ANGELA PATTON, NATALIE RAE
  • THE LAST OF THE SEA WOMEN – SUE KIM
  • SUGARCANE – EMILY KASSIE, JASON BRAVE NOISECAT
  • WILL & HARPER – JOSH GREENBAUM

BEST ANIMATED FILM

  • FLOW
  • HUNDREDS OF BEAVERS
  • INSIDE OUT 2
  • MEMOIR OF A SNAIL
  • THE WILD ROBOT
  • WALLACE & GROMIT: VENGEANCE MOST FOWL
Wicked

BEST ACTRESS 

  • CYNTHIA ERIVO – WICKED
  • KARLA SOFIA GASCON – EMILIA PEREZ
  • MARIANNE JEAN-BAPTISTE – HARD TRUTHS
  • MIKEY MADISON – ANORA
  • DEMI MOORE – THE SUBSTANCE
  • JUNE SQUIBB – THEMA

BEST ACTRESS, SUPPORTING 

  • JOAN CHEN – DIDI
  • DANIELLE DEADWYLER – THE PIANO LESSON
  • AUNJANUE ELLIS-TAYLOR – NICKEL BOYS
  • MARGARET QUALLEY – THE SUBSTANCE
  • ISABELLA ROSSELLINI – CONCLAVE
  • ZOE SALDANA – EMILIA PEREZ

BEST ACTOR 

  • ADRIEN BRODY – THE BRUTALIST
  • DANIEL CRAIG – QUEER
  • COLMAN DOMINGO – SING SING
  • RALPH FIENNES – CONCLAVE
  • HUGH GRANT – HERETIC
  • SEBASTIAN STAN – THE APPRENTICE

BEST ACTOR, SUPPORTING 

  • YURA BORISOV – ANORA
  • KIERAN CULKIN – A REAL PAIN
  • CLARENCE MACLIN – SING SING
  • GUY PEARCE – THE BRUTALIST
  • STANLEY TUCCI – CONCLAVE
  • DENZEL WASHNGTON – GLADIATOR II
Saturday Night

BEST ENSEMBLE CAST AND CASTING DIRECTOR

  • ANORA
  • CHALLENGERS
  • CONCLAVE
  • EMILIA PEREZ
  • SATURDAY NIGHT
  • WICKED

BEST CINEMATOGRAPHY 

  • CONCLAVE
  • DUNE II
  • NICKEL BOYS
  • NOSFERATU
  • THE BRUTALIST
  • WICKED

BEST EDITING

  • ANORA
  • CONCLAVE
  • EMILIA PEREZ
  • FURIOSA: A MAD MAX SAGA
  • THE BRUTALIST
  • THE SUBSTANCE
All We Imagine As Light

BEST INTERNATIONAL FILM

  • ALL WE IMAGINE AS LIGHT
  • DAHOMEY
  • EMILIA PEREZ
  • FLOW
  • LA CHIMERA
  • THE SEED OF THE SACRED FIG

EDA FEMALE FOCUS AWARDS

EDA FEMALE FOCUS: BEST WOMAN DIRECTOR 

  • ANDREA ARNOLD – BIRD
  • GIA COPPOLA – THE LAST SHOWGIRL
  • CORALIE FARGEAT – THE SUBSTANCE
  • PAYAL KAPADIA – ALL WE IMAGINE AS LIGHT
  • MEGAN PARK – MY OLD ASS
  • ALICE ROHRWACHER – LA CHIMERA
My Old Ass

EDA FEMALE FOCUS: BEST FEMALE SCREENWRITER 

  • ANDREA ARNOLD – BIRD
  • CORALIE FARGEAT – THE SUBSTANCE
  • PAYAL KAPADIA – ALL WE IMAGINE AS LIGHT
  • MEGAN PARK – MY OLD ASS
  • ALICE ROHRWACHER – LA CHIMERA
  • ERICA TREMBLAY, MICIANA ALISE – FANCY DANCE

EDA FEMALE FOCUS: BEST ANIMATED/VOICED PERFORMANCE

  • AYO EDEBIRI – INSIDE OUT 2
  • MAYA HAWKE – INSIDE OUT 2
  • LUPITA NYONG’O – THE WILD ROBOT
  • AMY POEHLER – INSIDE OUT 2
  • SARAH SNOOK – MEMOIR OF A SNAIL
  • JACKI WEAVER – MEMOIR OF A SNAIL
Emilia Perez

EDA FEMALE FOCUS: BEST WOMEN’S BREAKTHROUGH PERFORMANCE

  • NYKIYA ADAMS – BIRD
  • KARLA SOFIA GASCON – EMILIA PEREZ
  • MIKEY MADISON – ANORA
  • KATY O’BRIAN – LOVE LIES BLEEDING
  • JUNE SQUIBB – THELMA
  • MAISY STELLA – MY OLD ASS

EDA FEMALE FOCUS: BEST STUNT PERFORMANCE 

  • NIKKI BERWICK – STUNT COORDINATOR, GLADIATOR II
  • ALEX JAY (for ZENDAYA) – DUNE II
  • HAYLEY WRIGHT (for ANYA TAYLOR-JOY) – FURIOSA
  • KATY O’BRIAN – LOVE LIES BLEEDING
  • CAILEE SPAENY – ALIEN ROMULUS
  • JUNE SQUIBB – THELMA
June Squibb as “Thelma.”

ABOUT THE ALLIANCE OF WOMEN FILM JOURNALISTS

The Alliance of Women Film Journalists, Inc. (AWFJ) is a not-for-profit professional association of highly qualified female movie critics, reporters and feature writers working in print, broadcast and online media, dedicated to supporting work by and about women – both in front of and behind the cameras – through intra-group promotional activities, outreach programs and by presenting awards in recognition of outstanding accomplishments (the best and worst) by and about women in the movies. AWFJ was founded in 2006 by Jennifer Merin, Maitland McDonagh, Joanna Langfield and Jenny Halper. In addition to the year end awards, AWFJ presents EDA Awards at partner festivals, keeps an active and interactive record of fiction feature and documentary films by and/or about women, and/or are of particular interest to women because they focus on women’s issues. We welcome information that will allow us to keep our lists updated. Lists are made available to members and the general public on our Web site at AWFJ.org. For further information, contact AWFJ President Jennifer Merin at awfjinc@gmail.com.

By Lynn Venhaus

Without skipping a beat, four iconic music legends continue a sentimental reunion in the cheery holiday show “Million Dollar Quartet Christmas,” which has been gift-wrapped with star power and delightful musicality.

On Dec. 4, 1956, Johnny Cash, Carl Perkins, Elvis Presley, and newcomer Jerry Lee Lewis gathered at the Sun Records studio in Memphis, all at different stages of their careers, and jammed the night away – for the first and only time.

That twist of fate was captured in an enchanting jukebox musical “Million Dollar Quartet” that highlighted the enduring rhythm of roots rock. It was first produced in Florida in 2006, then Chicago in 2008, and eventually on Broadway in 2010, and the nostalgic charmer was nominated for three Tony Awards

This 2021 sequel version is a festive and fun presentation that builds on the original premise, which were both smash hits at The Repertory Theatre of St. Louis in 2017 and at Stages St. Louis in 2023.

In a savvy move, the two companies have collaborated to bring this crowd-pleasing show to life with many of the same artists involved in the Stages production but presented on The Rep’s mainstage. This is the first partnership, but hopefully not the last.

Brady Wease and Jeff Cummings as Jerry Lee Lewis and Sam Phillips. Photo by Jon Gitchoff.

The memorable trio of Scott Moreau duplicating Johnny Cash’s deep bass-baritone, Jeremy Sevelovitz as fast-playing honky-tonk specialist Carl Perkins and Brady Wease as sparkplug Jerry Lee Lewis easily blend with suave newcomer Sean Buckley, whose graceful moves capture Elvis Presley’s vitality.

What a jolly time it is to see this cast perform together. Crackling with electricity, these other fabulous, fantastic four guys create a warmth onstage, even if they needle each other.

Their energy is limitless, and their showmanship stellar. While it is a blissful blast from the past, it’s not just the Christmas songbook’s greatest hits. They dip into their rockabilly classics – those fusions of country and rhythm and blues they became known for – but present fresh takes on  holiday classics like “Jingle Bell Rock,” “I’ll Be Home for Christmas,” and “God Rest Ye Merry Gentlemen.”

Everyone expects “Blue Christmas,” of course, and Buckley delivers a dandy one. Upbeat highlights include Chuck Berry’s “Run Rudolph Run,” the Bing Crosby cover “Mele Kalikimaka” and “Boogie Woogie Santa Claus.”

The statuesque Shelby Ringdahl is back as Elvis’ girlfriend Dyanne, and so is Jeff Cummings as impresario Sam Phillips. The dynamic duo of music director Dave Sonneborn as W.S. “Fluke” Holland on drums and Chuck Zayas as Jay Perkins on bass, one of the original cast members, have returned.

Scott Moreau as Johnny Cash. Photo by Jon Gitchoff.

It’s obvious this entire group of seasoned professionals are a tight team that enjoys spending time together – and wow, can they rock around the Christmas tree. With their slick musicianship, there is a whole lotta shakin’ going on.

Colin Escott’s script, while formulaic, focuses on the heart and the humor, and because the group feels so familiar with each other, they smooth over the rough edges.

As the guys reminisce about their humble beginnings, they tell Christmas tales tied to their Southern roots. They admit struggling to fit into a cutthroat show business when people don’t understand their blue-collar cultural upbringing.

The men are at a crossroads, some having tasted more success than the others. They got their start through Phillips, aka “The Father of Rock ‘n Roll,” whose personal feelings are hurt because of the professional transactions. He’s too much of a country boy to be considered a main player by the big-city record companies.

After putting Sun Records on the map, Elvis received a huge record contract with RCA Records, while Johnny and Carl recently moved on to Columbia. The brash Jerry Lee is pegged as Phillips’ next big thing.

As played by the high-spirited Wease, swaggering Lewis is full of braggadocio, easily getting on everyone’s nerves. Yet, his pounding of the piano keys is always a high point.

Jeremy Sevelovitz as Carl Perkins. Photo by Jon Gitchoff.

There is a wistfulness that you sense among the three older ones. Elvis expresses a homesick blues, though, while Cash and Perkins are making wishful new plans. That adds a relatable poignancy as people tend to reflect on the year past at holiday time and look ahead to a more promising future.

Dyanne’s role is stronger this go-round, and Ringdahl dances merrily while joining the guys. At the real session, Elvis brought Marilyn Evans, now Riehl, who was a dancer. Ringdahl delivers a playful “Santa Baby.”

Director Keith Andrews focuses on the opportunity for magical moments – because it is the most wonderful time of the year. He has previously directed the original six times, so he is quite familiar with this material.

The precise craftsmanship of scenic designer Adam Koch is noteworthy for decking the halls with bright lights, mistletoe, tinsel and a tree, all bathed in a beautiful glow by lighting designer Sean M. Savoie. And sound designer Beef Gratz’ work is crisp and clear.

Costume designer Brad Musgrove has outfitted everyone in 1950s winter garb, plus woven in sequins for another killer grand finale. He selected a knockout red cocktail dress for Dyanne, while wig designer Dennis Milam Bensie coiffed her chicly.

Shelby Ringdahl and Chuck Zayas as Jay Perkins. Photo by Jon Gitchoff.

A special shout-out to those who dressed the theater in style, transforming the lobby and outside into a breathtaking winter wonderland.

The stars shined brightly, and the cast’s harmony embossed this celebration of comfort and joy with wonderful verve. “Million Dollar Quartet” is a two-hour sentimental journey that sparks warm memories, reaffirms music’s deep connection in our lives, and allows our hearts to be light.

In partnership with Stages St. Louis, the Repertory Theatre of St. Louis presents the musical “Million Dollar Quartet Christmas” Dec. 4 – 22. Performances take place on the main stage of the Loretto-Hilton Center on the Webster University campus. For more information: www.repstl.org.

“Dune: Part Two” leads with 12 nominations, followed by “The Brutalist” with 9, “Wicked” and “Conclave” each with 8, “Nickel Boys” with 6, and “Sing Sing” with 5.

“Dune: Part Two” may have been released Feb. 25, but the St. Louis Film Critics Association recognized this action-science fiction epic with 12 nominations for Denis Villeneuve’s world-building visual artistry.

The massive spectacle was mentioned in film, director, ensemble, adapted screenplay, cinematography, editing, production design, music score, costume design, visual effects, action film, and best scene categories.

The epic historical drama “The Brutalist” earned nine nominations for film, director Brady Corbet, actor Adrien Brody, supporting actor Guy Pearce, original screenplay, cinematography, editing, production design and music score.

 The religious political thriller “Conclave” received eight nominations for film, director Edward Berger, actor Ralph Fiennes, supporting actor Stanley Tucci, ensemble, adapted screenplay, production design and music score.

Also with eight, the musical adaptation and pop culture phenomenon “Wicked” was nominated for film, actress Cynthia Erivo, supporting actress Ariana Grande, ensemble, adapted screenplay, costume design, production design, and soundtrack.

“Nickel Boys” was cited in six categories for film, director, supporting actress Aunjanue Ellis-Taylor, adapted screenplay, cinematography and editing. “Sing Sing” received five – film, actor Colman Domingo, supporting actor Clarence Maclin, adapted screenplay, and ensemble.

“A Complete Unknown,” “Furiosa: A Mad Max Saga,” “The Seed of the Sacred Fig,” and  “The Wild Robot” each garnered four nominations.

SLFCA announced nominations Dec. 8; awards will be announced Dec. 15.

In addition to determining nominations in 26 categories, the regional critics’ group recognized film industry professionals for three special merits

Mohammad Rasoulof at the Cannes Film Festival. Photo by Getty Images.

Special Merit: Iranian Director Mohammad Rasoulof and the cast/crew of “The Seed of the Sacred Fig” for their courage and persistence in confronting political oppression in the pursuit of artistic expression and portraying truth through film.

Special Merit: Pete Timmermann, director of Webster University’s Film Series in St. Louis, for his exceptional, expert programming of international, restored, and independent films, including fiction and nonfiction, animation and live action, in addition to special events. His superb offerings for the St. Louis film community enriches and expands our cinematic world.  

Special Merit: Filmmakers who found creative uses for practical effects and were less reliant on digitized computer-generated graphics this year, such as hair and makeup artist Christine Brundell using puppetry and prosthetics, in collaboration with director Tim Burton, on “Beetlejuice Beetlejuice”; makeup effects director Pierre Oliver Pierson on “The Substance” prosthetics; the micro budget DIY home computer effects from director Mike Cheslik for “Hundreds of Beavers”; the no-green-screen creature work on “Alien: Romulus” with animatronics and puppetry, among other collaborations by director Fede Alvarez; and the “Wicked” production design by Nathan Crowley where he merged practical imagery with CGI throughout, and grew 9  million tulips for Munchkinland.

Founded in 2004, the St. Louis Film Critics Association is a nonprofit organization of professional film reviewers who regularly publish current and timely film criticism, support local productions and festivals, and enhance public education, awareness, and appreciation of films. Vetted members are affiliated with qualifying media outlets in the St. Louis metropolitan region.

For the awards, eligible films are those that opened in the greater St. Louis area or had an online premiere during the 2024 calendar year – including those films that were given awards-qualifying runs but aren’t slated for release until early 2025.

For more information, visit the site: www.stlfilmcritics.org

Adrien Brody as “The Brutalist.” A24 Films.

Full List of Nominations:

BEST FILM

Anora
The Brutalist
A Complete Unknown
Conclave
Dune: Part Two
Nickel Boys
The Seed of the Sacred Fig
September 5
Sing Sing
Wicked

BEST DIRECTOR

Edward Berger “Conclave”
Brady Corbet “The Brutalist”
Mohammad Rasoulof “The Seed of the Sacred Fig”
RaMell Ross “Nickel Boys”
Denis Villeneuve “Dune: Part Two”

Colman Domingo in “Sing Sing.” A24 Films.


BEST ACTOR

Adrien Brody “The Brutalist”
Timothee Chalamet “A Complete Unknown”
Daniel Craig “Queer”
Colman Domingo “Sing Sing”
Ralph Fiennes “Conclave”
Hugh Grant “Heretic”


BEST ACTRESS

Pamela Anderson “The Last Showgirl”
Cynthia Erivo “Wicked”
Marianne Jean-Baptiste “Hard Truths”
Mikey Madison “Anora”
Demi Moore “The Substance”
Saoirse Ronan “The Outrun”

Kieran Culkin and Jesse Eisenberg “A Real Pain.” Searchlight.

BEST SUPPORTING ACTOR

Kieran Culkin “A Real Pain”
Clarence Maclin “Sing Sing”
Guy Pearce “The Brutalist”
Stanley Tucci “Conclave”
Denzel Washington “Gladiator II”

BEST SUPPORTING ACTRESS

Monica Barbaro “A Complete Unknown”
Danielle Deadwyler “The Piano Lesson”
Aunjanue Ellis-Taylor “Nickel Boys”
Ariana Grande “Wicked”
Zoe Saldana “Emilia Perez”

BEST ENSEMBLE

Conclave
Dune: Part Two
Saturday Night
Sing Sing
Wicked

BEST ADAPTED SCREENPLAY

Peter Straughan, “Conclave”
Denis Villeneuve, Jon Spaihts, “Dune: Part Two”
RaMell Ross, Joslyn Barnes, “Nickel Boys”
Clint Bentley, Greg Kwedar, Clarence Maclin, John “Divine G” Whitfield, “Sing Sing”
Winnie Holzman, Dana Fox “Wicked”

Saturday Night. Columbia Pictures.

BEST ORIGINAL SCREENPLAY

Sean Baker, “Anora”
Brady Corbet, Mona Fastvold, “The Brutalist”
Mike Leigh, “Hard Truths”
Jesse Eisenberg, “A Real Pain”
Jason Reitman, Gil Kenan, “Saturday Night”
Mohammad Rasoulo, “The Seed of the Sacred Fig”


BEST CINEMATOGRAPHY

Lol Crawley, “The Brutalist”
Greig Fraser, “Dune: Part Two”
Edward Lachman, “Maria”
Jarin Blaschke, “Nosferatu”
Jomo Fray, “Nickel Boys”

BEST EDITING

Dávid Jancsó, “The Brutalist”
Joe Walker, “Dune: Part Two”
Nicholas Monsour, “Nickel Boys”
Nathan Orloff, Shane Reid, “Saturday Night”
Hansjörg Weißbrich, “September 5”

BEST PRODUCTION DESIGN

Judy Becker, “The Brutalist”
Suzie Davies, Roberta Federico, “Conclave”
Zsuzsanna Sipos, Shane Vieau, Patrice Vermette, “Dune: Part Two”
Beatrice Brentnerova, Paul Ghirardani, Craig Lathrop, “Nosferatu”
Nathan Crowley, Lee Sandales, “Wicked”

“Wicked.” Universal Pictures.

BEST COSTUME DESIGN

Jacqueline West, “Dune: Part Two”
Casey Harris, “Hundreds of Beavers”
Massimo Cantini Parrini, “Maria”
Linda Muir, “Nosferatu”
Paul Tazewell, “Wicked”

BEST MUSIC SCORE

Daniel Blumberg, “The Brutalist”
Trent Reznor, Atticus Ross, “Challengers”
Volker Bertelmann, “Conclave”
Hans Zimmer, “Dune: Part 2”
Kris Bowers, “The Wild Robot”

“A Complete Unknown.” Searchlight.

BEST SOUNDTRACK

A Complete Unknown
Deadpool & Wolverine
I Saw the TV Glow
Maria
Wicked


BEST VOCAL PERFORMANCE

Maya Hawke “Inside Our 2”
Lupita Nyong’o “The Wild Robot”
Pedro Pascal “The Wild Robot”
Amy Poehler “Inside Out 2”
Sarah Snook “Memoir of a Snail”


BEST VISUAL EFFECTS

“Alien: Romulus” – Eric Barba, Shane Mahan, Nelson Sepulveda
“Dune: Part Two” – Paul Lambert, Stephen James, Rhys Salcombe, Gerd Nefzer
“Furiosa: A Mad Max Saga” – Andrew Jackson, Dan Bethell, Eric Whipp, Andy Williams
“Kingdom of the Planet of the Apes” – Erik Winquist, Danielle Immerman, Paul Story
“Nosferatu” – Angela Barso, Lisa Wakeley

BEST STUNTS

Deadpool & Wolverine
The Fall Guy
Furiosa: A Mad Max Saga
Gladiator II
Monkey Man

“The Fall Guy.”

BEST ACTION FILM

Deadpool & Wolverine
Dune: Part Two
The Fall Guy
Furiosa: A Mad Max Saga
Monkey Man

The Wild Robot. Dreamworks.


BEST ANIMATED FEATURE

Flow
Inside Out 2
Memoir of a Snail
Wallace & Gromit: Vengeance Most Fowl
The Wild Robot

BEST COMEDY

Deadpool & Wolverine
The Fall Guy
Hundreds of Beavers
A Real Pain
Saturday Night

BEST HORROR

Heretic. A24 Films.

Heretic
I Saw the TV Glow
Late Night with the Devil
Longlegs
Nosferatu
The Substance

BEST DOCUMENTARY FEATURE

Daughters
Will & Harper
Music by John Williams
No Other Land
Sugarcane
Super/Man: The Christopher Reeve Story

“Emilia Perez.” Netflix

BEST INTERNATIONAL

All We Imagine as Light
Dahomey
Do Not Expect Too Much from the End of the World
Emilia Perez
The Seed of The Sacred Fig


BEST FIRST FEATURE

Annie Baker “Janet Planet”
Anna Kendrick “Woman of the Hour”
Josh Margolin “Thelma”
Dev Patel “Monkey Man”
RaMell Ross “Nickel Boys”
Malcolm Washington “The Piano Lesson”


BEST SCENE

Civil War – “What kind of American are you?”
Dune: Part Two – Riding the Sandworm
The Substance – New Year’s Eve performance
Furiosa – War Rig battle
His Three Daughters – Dad’s Chair

“Civil War” – A24 Films.

By Lynn Venhaus

Will Bonfiglio, long a fixture in both ensemble pieces and one-man shows in the regional professional theater community, is back on stage in familiar territory: Making people laugh.

Post-pandemic, he hasn’t been on St. Louis stages as frequently as he was before COVID, so when he is, it’s a pleasant reminder of what a local treasure he is.

He’s currently appearing as a zany waiter in “First Date” (Nov. 21-Dec. 8) at New Jewish Theatre, singing, dancing and wisecracking. It’s a perfect part for his skillset.

Winner of three St. Louis Theater Circle Awards for Best Performance in a Comedy in a Male or Nonbinary Role, the Wool Studio Theatre is where he has performed some of his best work – the solo shows “Fully Committed” and “Every Brilliant Thing,” plus a two-hander with Jerry Vogel in “Old Wicked Songs,” and ensemble work in “I Now Pronounce,” “Never the Sinner” and “Yentl.”

This production is a homecoming of sorts for him, and he’s thrilled to work with this cast and creative crew.

“It’s a rare and wonderful experience to work on a show where the cast and crew are all such kind and lovely people,” he said.

Mitch Henry-Eagles, Will Bonfiglio and Molly Wennstrom in “First Date.” Photo by Jon Gitchoff

Bonfiglio’s versatility is key to his appeal, for he can blend in when performing with his respected pals in the more experimental groups ERA (“Make Hamlet”) and SATE, and in other small companies — “Mr. Burns, A Post-Electric Play” by R-S Theatrics, “Photograph 51” and “Oedipus Aparatus” at West End Players Guild, and in the former Insight Theater Company’s “Moon Over Buffalo” and “The Importance of Being Earnest.”

But then he’ll venture into musicals. In “Grey Gardens,” which Max & Louie Productions mounted in 2016, he played both young Joseph Kennedy Jr. in the first act and Jerry a delivery boy in the second act.

He was an integral part of the Variety Club Theatre’s productions “The Little Mermaid,” “The Beauty and the Beast,” and “Mary Poppins.”

Two shows in the Wool Studio Theatre were among the four roles in 2016 that earned him four nominations for St. Louis Theater Circle Awards in 2017. Four! To date, he holds the record for performers most-nominated in a single season.

Will Bonfiglio and Madeline Purches in Max & Louie’s “:Grey Gardens.’

He was nominated for outstanding actor in a comedy for “Buyer & Cellar” at Stray Dog Theatre, which he won; for outstanding supporting actor in a comedy for “As You Like It” at Slightly Askew Theatre Ensemble, for outstanding supporting actor in a drama for “Old Wicked Songs” at New Jewish Theatre, and for outstanding supporting actor in a musical for “Grey Gardens” at Max & Louie Productions.

He received his second Circle Award for “Red Scare on Sunset” in 2018 at Stray Dog Theatre, for which he played Mary Dale, and had to dress in drag and do slapstick wearing high heels.

Not only does he have a background in acting, but also in directing, playwrighting, and producing. At COCA (Center of Creative Arts), he serves on the theater faculty, and recently directed “SIX: Teen Edition.”

In his professional career in the arts, he previously served as COCA’s Director of COCAbiz, where he developed and facilitated professional development workshops using the arts to a variety of corporate and nonprofit partners, including Bayer, BJC HealthCare, Comcast, Commerce Bank, Delta Dental, Edward Jones, and TEDxStLouis.

Will Bonfiglio and Shanara Gabrielle in “Red Scare on Sunset.”

Under his leadership, the program saw an expansion of partnerships to increase access for nonprofit and community organizations as well as the launch of a new equity-centered curriculum around social justice and belonging for all communities.

In 2020, he became one of the youngest people selected for FOCUS Leadership St. Louis.
He is currently the artistic director of theatre at COCA.

Will earned a master’s degree in theatre and performance studies and a master’s in nonprofit management from Washington University in St Louis. His undergraduate degree is from Vanderbilt University in Nashville, Tenn.

An alumnus of the Fulbright Program, he often teaches courses on theatre and performance studies at several area universities.

“The Importance of Being Earnest” at Insight Theatre with Will, Julia Crump, Gwen Wotowa and Pete Winfrey.

In the meantime, he and the cast of “First Date” are entertaining audiences

The story unfolds in real time as two young adults meet for a blind date at a local restaurant. Aaron, a nervous newbie to blind dates, has been set up with Casey, a more experienced dater by her brother-in-law, who works with Aaron.

Casey and Aaron’s inner critics take on a life of their own when they become supportive best friends, manipulative exes and protective parents, who sing and dance through icebreakers, appetizers and potential conversational land mines. His musical solo “I’d Order Love” is done with a wink and a smile. He also doubles as Casey’s therapist

 First Date at the J’s Wool Studio Theatre (2 Millstone Campus Drive, St. Louis, MO 63146), running November 21 to December 8. Performances are on Thursdays at 7:30pm, Saturdays at 4pm and 8pm, and Sundays at 2pm, except for Thanksgiving weekend where there will be no Thursday show, but a special “Black Friday Getaway Matinee” at 2pm on November 29. Individual tickets are $27- $58. Tickets are available by phone at 314.442.3283 or online at newjewishtheatre.org.

ERA’s “Moscow,” a Zoom play aka “Zheatre,” from 2020 during pandemic shutdown. Screenshot by Lynn Venhaus.

Take Ten Q&A with Will Bonfiglio

1. What is special about your latest project?

The team. It really feels like a community I want to be a part of, and I feel lucky we get to spend so much time together throughout the process.

2. Why did you choose your profession/pursue the arts?

I’ve always loved theatre, and St. Louis has so much of it! For a city of our size, we are truly blessed with an abundance of opportunities to perform and produce work.

3. How would your friends describe you?

Oh, this is so tricky! I honestly don’t know — overscheduled?

4. How do you like to spend your spare time?

As my friends and family know– and are regularly annoyed about (see answer to question 3) — I am often in school, taking or teaching classes in my spare time. But when it’s not the school year, I love to travel when my schedule allows.

5. What is your current obsession?

Not necessarily current, but my always-obsession is Dolly Parton. I’m currently teaching a class on her at WashU this semester. “It’s hard to be a diamond in a rhinestone world!”

6. What would people be surprised to find out about you?

Perhaps that, although I do love performing and being onstage, I’m actually quite introverted.

7. Can you share one of your most defining moments in life?

Probably living abroad after college for a year. It taught me resilience and provided me with many rich friendships that still remain today.

8. Who do you admire most?

My family.

9. What is at the top of your bucket list?

Walk the Camino de Santiago.

10. How were you affected by the pandemic years, and anything you would like to share about what got you through and any lesson learned during the isolation periods? Any reflections on how the arts were affected? And what it means to move forward?

Community. While I applaud and appreciate how everyone tried to continue making work virtually during that time, I am so happy that Zheatre (Zoom theatre) didn’t stick. There’s nothing like a live performance.

11. What is your favorite thing to do in St. Louis?

I enjoy visiting our many wonderful arts and cultural institutions and also trying new restaurants and coffee shops. Love exploring all our great city has to offer!

12. What’s next?

A break!!

“Buyer & Cellar” at Stray Dog Theatre.

More About Will

Name: Will Bonfiglio

Current location: St. Louis, MO

Education: MA, WashU, Theatre & Performance Studies

Day job: Artistic Director of Theatre, COCA-Center of Creative Arts

First job: St. Louis Bread Company.

First play or movie you were involved in or made: I did a few plays here and there growing up, but my first big thing was “Guys and Dolls” in high school

Awards/Honors/Achievements: 3 St. Louis Theatre Circle Awards for Outstanding Actor in a Comedy

Will Bonfiglio in “Every Brilliant Thing” at New Jewish Theatre in 2023. Photo by Jon Gitchoff.

Remembering the beautiful soul that was Tim Venhaus, and the joy he brought into our lives as a bright star lighting the darkness. Today, we are remembering his laugh, and how he made us laugh. And how much we loved him, and he loved us. But then again, not a day goes by where we don’t think of him and smile — and also miss him, achingly so. Thanks for the memories. We will never forget the unforgettable you.

By Lynn Venhaus
When Tim was 13, he was excited to show me his latest movie poster that he hung on his bedroom wall, along with his favorites “Pulp Fiction,” “A Clockwork Orange” and “South Park.”  Mind you, he was going into the eighth grade.

(I know, I know, but you tell that movie fanatic that he couldn’t watch something because it wasn’t age-appropriate, and he’d find a way to do so, little rebel with a cause that he was.)

It was sometime in the summer of 1998, and he had been shopping at a local mall with his brother and grandmother. He came home with a giant poster of “Reservoir Dogs,” a film by Quentin Tarantino. It took up a lot of space on the wall.

I walked in the door, was working at University of Missouri-St. Louis then, and he shouts: “Mom, mom! Come here!” He pointed to his latest acquisition. He grinned, laughing: “See, it really ties the room together!”

That line is from “The Big Lebowski,” about a rug the Dude had. We had seen the movie that spring and were early champions of how goofy it was. That phrase has been often repeated since then, after the film became a Coen Brothers’ cult classic. Tim became a fan of theirs when he was 11. (Again, no stopping him. And if you knew him, you’d understand).

Charlie Venhaus, Tim Venhaus, Tommy Davis. Summer of 1998.

That phrase is really a great way to describe my late son, Timothy Robert Venhaus, who came into the world around 11 p.m. on a snowy Sunday, Dec. 2, 1984. He would be 40 today. The year he turned 34, he died a week later.

Tim tied every room together that he walked into, because he was the sort of guy who took over that room. He had that affect on people – made people feel better by being in his orbit.

In a way, Jon Bernthal’s character Mikey on “The Bear” reminds me of Tim. He wasn’t as angry, or as tortured, but when Tim was in his element, he had everyone’s attention, and most of the time it was to make people laugh.

Tim loved to make people laugh. He liked to win people over. Truth be told, he projected hip and cool, but he was a big softie. He cried watching “Forrest Gump.” He felt losses deeply — relatives, friends, relationships. I could share many examples of his compassion, really cared for the unseen and the unheard.

That’s why I think he was so good with the young people he taught, at Nature’s Classroom, at Summer Fenn in Concord, Mass., and all those budding filmmakers he came in contact with – and who knows how much effect he could have had at the performing arts school where he was hired to teach an after-school filmmaking class in Chicago (he titled it “Friday Night Lights, Camera, Action!”) once he got back to grad school after the holidays. Well…

They say the best way to remember loved ones you’ve lost is to remember them laughing. So today, and whenever you want to think about Tim, remember his hearty belly laughs, his silly Letterman-type laugh “he-he-he,” his spontaneous giggles, or his exaggerated sarcastic laughs for effect – he had a bunch of different ones.

First ‘cousin brothers’ Tommy and Patrick Davis, Tim and Charlie Venhaus. Circa 2004.

I miss that laugh ever since his light was extinguished on Dec. 9, 2018. It’s an unfathomable sorrow, the unimaginable. It never gets better, in fact, the hole in the heart just grows wider because we know what we are missing. But in a way, I believe he is watching over his loved ones. Strange sixth sense…it’s a feeling.

How I’d love to hear his laugh again.

Those texts, those calls, those visits home, those random thoughts he’d express, those anecdotes he’d share about his colorful travels, his plans, hopes, dreams and ideas. That holiday break home from DePaul University, where he was making a name for himself in his classes working towards an MFA in Screenwriting, would be his final days, and that’s what we have to cling to — how do you ever know that’s the last hug?

He would come home from his busy seasonal holiday work as a restaurant server – which he picked up at Thanksgiving, so he could make ‘bank’ for the next semester, and he was working many events – and we’d watch awards-season screeners I had for my film organizations voting.

Since 2008, that had been a holiday tradition, the first year I was in St. Louis Film Critics Association (and so was he, for a short time, doing movie reviews weekly on a local radio station). I miss talking about movies every awards season with him. And now that I am in Alliance of Women Film Journalists, Critics Choice Association, and in the tomato-meter on Rotten Tomatoes, we could be having some dandy ‘inside baseball’ discussions.

While unwinding, he’d tell me all about his professors, feedback about his latest screenplay, and so forth. It was such a delight to see him so happy. He felt at home at DePaul, it was a good fit. They had a long break between Thanksgiving and New Year’s because they were on a trimester schedule.

During that time home, he was waiting to learn his grades (A’s, I would find out), and on fire, talking about what classes he was taking the next semester, which started Jan. 5, 2019, and recalling everything he had learned that fall semester, the people he met who made an impact.

The last time he’d walk in the door was Saturday night, Dec. 8, after working a double-shift, announcing he was exhausted, and going to his room because he had to wake up early for the brunch shift. Only he never woke up.

Thanksgiving 2018 at Uncle Matt’s living place.

He was finally living his dream. After he passed away, I read his recent journal posts: “Having a good time watching movies with Mom.”

I miss seeing the world through his eyes. He had a view askew, and wasn’t afraid to express it. I found out from his close circle of friends that he was their ‘thought leader’ — he recommended music, movies and TV shows for them. They miss his texts advising them on what to go, see, do.

I miss him calling or texting after he saw a movie, no matter where he was – whether working at Nature’s Classroom in Maine, Massachusetts, Rhode Island, Connecticut or upstate New York teaching filmmaking, the year he lived in New York City with Charlie while doing his college internship at “Sesame Street,” or working here at home in ’17-’18 before grad school – and talking about it “Tim-style.”

I miss many things about his visits home. And knowing that he’ll never make plans to be here at Christmas is hard. Even if he was working elsewhere or at school, he’d be home for the holidays. It was always comforting. Fresh memories were made. Now we don’t have new ones, we have what was. And while they are still fun to remember, it’s farther in the rearview mirror.

Getting ready for a gathering, mid-80s.

The Grief Train

The only thing that we have is precious memories, some of his personal effects, and wonderful people who help us through the void in our lives, that ever-present darkness.

Last year, I wrote a chapter, “You Are Not Alone: Dealing with Grief and Loss,” in a women’s anthology book published by my media colleague and friend Marqueeta Curtis-Haynes, “Ageless Glamour Girls: Reflections on Aging.” All of us 14 contributors – fierce, funny women – shared segments of our lives post-50. (It’s currently available on Amazon — a bestseller! — and soon, we’re working on an audio version).

I’m trying to turn pain into purpose, and if I can help another person through this awful grief journey together, I will be grateful. I’ve had so many family members, friends, colleagues and acquaintances help, that I truly could not have gotten through this without these people raising me up. We can’t do the ‘woulda, coulda, shoulda,” and thinking “What Might Have Been” is fruitless.

I used to kid him because the goal was to be a paid working screenwriter, so if he had to write “Air Bud 6,” then so be it.

Life goes on. His friends are marrying, having children, moving to other cities, trying out new careers and new dreams. I am thrilled to hear from them, and glad they have fond memories of their times spent with Tim. He made an impression on so many people, it makes my heart happy about the lives he touched.

Ocean Park, Maine. Nature’s Classroom, 2017.

But enough about death. Today, we celebrate his life, one that burned bright for 34 years.

An Unforgettable Person

Forty years ago, he made me a mom. I was three weeks before turning 30, and working at the St. Louis Globe-Democrat as a news reporter. It was a special time. While I dearly love my work, motherhood has been the greatest journey of my life. To see both my sons grow and blossom has been a joy. That can’t ever be extinguished.

When you become a mom, your life changes in such a way that you are never not a mom first. I cherished being the mother of these two boys — I wanted to make sure they had roots and wings. Motherhood has defined more than half of my life. Now I’m in a club no one wants to join. Love to all the moms –there is not a harder, more challenging, more rewarding job in life.

I want to remember how much these two boys put into living. Charlie, now 36, and I move forward, learning a new normal. Tim dearly loved his little brother, they were quite a dynamic duo. Tim was incredibly supportive during Charlie’s cancer battle with a rare aggressive lymphoma in 2013, had been an integral part of his care and recovery.

A few months ago, I finally opened a box of his junior high/ high school stuff – papers, daffy keepsakes, and more ‘Beavis and Butthead’ collectable cards than you ever knew existed. Half-finished scripts involving his friends, funny notes, lists of his favorite songs, movies, TV shows, and more, plus magazines and comic books of that time. Old “Mad” ones, remember “Movieline”?

I found a notebook of essays written in pencil for a senior year English class at Belleville East High School (2002-2003). Apparently, his teacher would give them prompts, such as “character profile of a family member,” “worst Christmas gift,” and “a personal national holiday.”

His teacher wrote on the final page: “Excellent Thought Process! You’re one of a kind, Tim. Keep journaling, your writing is great.”

Here’s a few snippets of his work:

“When I’m 50 years old, it will be the year 2035. I’m pretty sure I’ll have four kids. I’m gonna have all boys because I don’t want to deal with raising girls at all. Their names will be Leroy, Quentin, Spike and Shoe. I’m gonna start having kids at the age of 40. So, the kids will be relatively young so that will keep me young…By this time, I’ll be a producer of movies after getting so much money writing and directing movies. I will have revolutionized Hollywood and made something completely different from the movies of today.”

Tim Venhaus and Lynn Venhaus, Sundance Film Festival 2011, Park City, Utah.

“My Mom” by Tim Venhaus

Here’s the essay he wrote about me, verbatim.

“My mom is by far the nicest person I have ever known. She’s so nice it makes me mad. But she’s the reason I’m here, obviously. But she is also a contributor to the biggest part of my life. She is the one that got me hooked on movies. From day one, we have been watching movies together.

She is also nutty as squirrel turds. She’s so goofy, it’s ridiculous. She has told me some funny stories about her childhood, like how she fell off a cliff at Camp Ondessonk, and a bunch of other fumbles and uncoordinated accidents.

She’s the best person that I can think of. She talks for hours and hours. You can’t end a conversation with her on the phone. It’s too hard. She always has something to say.

She also has good taste in music. I can ask her who sang what song, and she’ll tell me. But my fondest memories are going to the Tivoli with her and seeing movies like “Fargo” and other great indie movies. But everyone can say that.”

Charlie and Tim, Christmas. maybe 1990-91.

His Version of Heaven

“Heaven would be 72 degrees and it would always be. I think Heaven would be individuals separated for certain likes and dislikes. Like if you like baseball, you’ll go into the Mickey Mantle center of heaven and hang out with players like Babe Ruth.

My personal heaven would be like a mall, but instead of stores they would be filled with bands and movies playing. There would be the recliner section …’’

They were a delight to discover, and to read. It’s like he’s here, but he’s not.

Today, and the rest of this tough, tough month, we celebrate the one and only Tim, and mourn what might have been. That empty chair, empty table at the holidays always reminds us.

In Tim’s honor, do something you have been meaning to try or visit, or make plans to do so. Watch something that will make you smile. Or think. Something genuine – with ‘feels.’.

Even though it’s not currently streaming, and only available as a rental on various platforms, I recommend “About Time,” a warm and heartfelt Richard Curtis film that I suggested Tim watch one wintry night about 10 years ago – he was not inclined, and I convinced him he’d be surprised at how much he’d relate to it. Before I knew it, he was asking me for a box of Kleenexes.

Tim filming his comedy short, “Lunchbreak,” with Kyle Eversgerd and Tory Dahlhoff. 2007.

In closing, I want to share an exchange between Bill Murray and Scarlett Johansson in the movie “Lost in Translation.” I re-watched it a few months back, had forgotten how much I liked it (Tim liked it way more). These words really grabbed me – so very true.

Bob: It gets a whole lot more complicated when you have kids.

Charlotte: It’s scary.

Bob: The most terrifying day of your life is the day the first one is born.

Charlotte: Nobody ever tells you that.

Bob: Your life, as you know it… is gone. Never to return. But they learn how to walk, and they learn how to talk… and you want to be with them. And they turn out to be the most delightful people you will ever meet in your life.

Charlotte: That’s nice.

Nephews Patrick and Tommy Davis, far left and far right. Tim and Charlie in the middle. One of my favorite photos. Oscar Night at the Tivoli 2012.

And Tim, because of you, I have been changed for good. And so have many others. (You’ve influenced more people than you realize.) We love you.

Note: Six Degrees of Tim seems to be through music and movies, so we asked everyone in his orbit to contribute songs to a Tim Venhaus 40th Birthday Mixtape that is now curated on Spotify by his brother, Charlie Venhaus. It’s so Tim, perfectly perfect waltz down memory lane.

By Lynn Venhaus

Laugh-out-loud funny, “First Date” is a refreshing tonic that we didn’t know we needed, a balm to sooth our jangled nerves, a palate cleanser for these times.

Nothing can top communal laughter to make our days merry and bright, and this sharp-witted script and finely tuned ensemble delivers a frisky romantic comedy that charms in welcome and unexpected ways.

New Jewish Theatre’s latest polished gem is a St. Louis premiere and runs from Nov. 21 through Dec. 8. Because of Thanksgiving, there isn’t a show Nov. 28, but a special “Black Friday Getaway Matinee” is set for 2 p.m. on Friday, Nov. 29 (before Shabbat starts at sunset).

The relatable contemporary story unfolds in real time as two young adults meet for a blind date at a St. Louis restaurant. Aaron, a nervous newbie to blind dates, has been set up with Casey, a more experienced dater, by her brother-in-law, who works with Aaron. He has an ex-fiancé, she’s unattached, and they both come with apprehensions and hesitations, but also with a desire to get back in the game.

For anyone who has dipped into the dating pool, or after a few disastrous results, has sworn ‘never again’ on dating apps, this musical is aimed at you. If you know, you know – the opening number is called “The One.”

Photo by Jon Gitchoff.

Everyone else’s misery is common ground – and amusing in how it resonates. Ah, human nature – and hope springs eternal.

A spot-on Mitch Henry-Eagles is the hapless, skittish, buttoned-up Aaron and sublime Molly Wennstrom shows new facets as the edgy chic freewheeling Casey. They’re expressive in the delightful “First Impressions.”

The appealing duo are well-suited as opposite-types whose conversations are awkward, revealing, sometimes cringy and often genuine, full of zingers, gasps, and insight. They poignantly deliver their solos – “Things I Never Said” (Aaron) and “Safer” (Casey) with aplomb.

In a daffy high-concept twist, the couple discovers that they are not alone — their inner voices take on a life of their own. Actors who have been sitting at dining tables transform into either supportive or exasperated friends who offer blunt advice and harsh critiques. They turn into parents and ex-lovers too.

Jayson Heil, Drew Mizell, Greta Rosenstock and Grace Seidel slip into various roles with ease.

The dos and don’ts of dating are mentioned with hilarious results, and hijinks ensue – especially in the company musical numbers “The Awkward Pause,” “The Girl for You,” Total Loser” (about what embarrassments you can find out on Google), and “The Check!” (who pays).

Henry-Eagles, Bonfiglio, Wennstrom. Photo by Jon Gitchoff

The ringleader keeping everything spinning is the server/maître ‘d/host/snob/busybody/ Broadway wannabe simply known as “Waiter,” who is played with great zest and Swiss-watch comic timing by the inimitable Will Bonfiglio (three-time St. Louis Theater Circle Award winner for lead performances in comedy). He also doubles as Casey’s therapist.

This high-spirited, intimate production was crafted by a trio of friends – book writer Austin Winsberg, with music and lyrics by Alan Zachary and Michael Weiner, and opened on Broadway in 2013, with Zachary Levi and Krysta Rodriguez as the couple. They employ up-to-date lingo and prefer to walk on the wild side.

Agile quip-meister Winsberg, who has written for “Gossip Girl” among other television series and films, adapted the live “The Sound of Music” event on NBC in 2013, so he knows his way around a musical format.

Clever tunesmiths Zachary and Weiner have cowritten other songs and shows, including the upcoming “Trading Places” musical, and take risks here with brutal honesty – and earn big laughs. An ode to bad boys, “That’s Why You Love Me,” and a cheerful “Something That Will Last” show their versatility.

Director Lee Anne Mathews, who is adept at breezy, light-hearted fare, keeps everything percolating, and choreographed the numbers, too. For NJT, she directed “Raging Skillet” and “Imagining Madoff,” and previously directed “Avenue Q” at Westport Playhouse.

She has skillfully staged this show so that everyone comfortably meshes like a longtime comedy improvisation team, capitalizing on all their strengths.

Henry-Eagles, Seidel. Photo by Jon Gitchoff

The cast not only is in sync for the entire brisk 95-minute show, but also confidently displays different sides of themselves as performers, some of them revelatory.

During the past three years, Heil, Mizell and Wennstrom have been stand-out stars rising in the local theater community. Here, they get to have fun stretching themselves in roles playing against type.

Heil, who has delivered dramatic interpretations in classics like “All My Sons” (New Jewish Theatre), “Dial M for Murder” (the Repertory Theatre of St. Louis), and “The Mousetrap” (Stray Dog Theatre), is stunning as this loud, obnoxious bro Gabe, Aaron’s best friend who fancies himself a ladies’ man and speaks in naughty, not nice, terms. He is intense and unfiltered.

Mizell, a gifted singer and dancer who headlined Stray Dog’s “Saturday Night Fever” as Tony Manero and played the tortured Edgar Allan Poe in the company’s recent “Nevermore,” is campy as the flamboyant bestie Reggie serving as Casey’s bail-out call if needed, and as a sexy deadbeat ex.

They join Greta Rosenstock, who appeared in the musical revue “Jerry’s Girls” two years ago. She has comical turns as the demanding, controlling ex-fiancé Allison and Aaron’s Jewish grandmother Ida.

Heil, Rosenstock. Photo by Jon Gitchoff

Bonfiglio, whose triumphs include the one-man shows “Fully Committed,” “Buyer & Cellar,” and “Every Brilliant Thing,” has dived into quirky ensemble work in “Red Scare on Sunset,” “Grey Gardens,” and “Mr. Burns, A Post-Electric Play.” He has a blast as the snarky waiter who nimbly switches into a showbiz lounge act. “I’d Order Love” is silly fun.

Seidel is an established veteran, playing integral roles in such musicals as “The Last Five Years,” “Be More Chill,” “Head Over Heels,” “Avenue Q,” “The Mad Ones,” “Ride the Cyclone” and “25th Annual Putnam County Spelling Bee.” Here, she’s spry as Casey’s judgy married older sister Lauren.

Along with Heil and Mizell, Wennstrom is in the new class of triple threats creating memorable performances. Already a St. Louis Theater Circle Award winner for NJT’s comedy “Dear Jack, Dear Louise,” she has appeared at the J in the award-winning “Into the Woods” and in St. Louis Shakespeare Festival’s lively “As You Like It” this past summer.

Henry-Eagles has stood out in such quirky ensemble shows as “Trash Macbeth,” “Oedipus Apparatus,” “Hand to God,” and most recently, “Life Is a Dream.”

This tight ensemble is an abundance of riches, for they each distinguish themselves in their individual roles, but also work cohesively in group numbers, making this material seem fresh – and a cut above theme-park song-and-dance acts.

Mizell and Wennstrom. Photo by Jon Gitchoff.

Musical Director Larry D. Pry, who won the St. Louis Circle Award for Best Music Direction for “Into the Woods” last year, knows how to bring out the best in his singers.   
Playing keyboards, he’s joined by Mathew Coble on guitar, Brandon Thompson on woodwinds, and Joseph Winters on drums.

The crackerjack design team included John Stark, who has expertly crafted a functional and attractive restaurant, and Denisse Chavez gives it a cozy glow as lighting designer. As always, Amanda Werre’s sound design is superb and costume designer Michele Friedman Siler has splendidly defined each character sartorially with the right amount of sass and class.

With the cast’s considerable and extensive talents, anchored in vivid characterizations by Wennstrom and Henry-Eagles. and the creative minds raising the bar, “First Date” is an engaging rip-roaring romp that had us at hello, celebrating the flirty fun and foibles involved in personal connection.

New Jewish Theatre presents the musical “First Date” Nov. 21 through Dec. 8, with performances Thursdays at 7:30 p.m.., Saturdays at 4 and 8 p.m., and Sundays at 2 p.m., without a show on Thanksgiving Day, and an added 2 p.m. matinee on Nov. 29. Performances take place in the Wool Studio Theatre at the SFC Performing Arts Center, 2 Millstone Campus Drive. For tickets, visit: showpass.com/first-date-3 or call 314-442-3283. For more information: jccstl.com/arts-ideas/new-jewish-theatre/current-productions.

Wennstrom, Henry-Eagles. Photo by Jon Gitchoff.

By Lynn Venhaus

A dazzling spectacle based on the 2003 Broadway musical fantasy, “Wicked” is overproduced and padded with unnecessarily stretched out musical numbers and extended scenes to present the popular culture phenomenon as only the first act in a 2 hour, 30-minute film.

After years in development, this long-awaited adaptation surely could have been pruned without affecting the story arc. The second act, “Wicked: Part II,” is set for a Nov. 21, 2025, release. Did it need to be this long? No. Is it worth your time? Yes.

With ‘wow factor’ production values and sensational performances, this vivid re-imagining of the Land of Oz is a must-see event best-suited for the big screen.

After opening Oct. 30, 2003, on Broadway, the beloved musical captured theatregoers’ fancy with its imaginative and sharp-witted story about the unlikely friendship between the Glinda the Good Witch of the North and Elphaba the Wicked Witch of the West. It draws from the familiar mythology based on the classic 1939 film “The Wizard of Oz” and L. Frank Baum’s series of 14 novels written between 1901-1917.

However, it is a prequel to those events, and takes place, for the most part, before farmgirl Dorothy Gale arrives from Kansas. But ‘Wicked,’ you see, is only a perception, and a misunderstood one at that. This inspired take fascinates with the green-skinned outcast Elphaba attending Shiz University, where she is taken on an unusual path, which leads to discovering her magical powers, and develops a bond with her mean-girl opportunist roommate Glinda, first known as “Galinda.”

As college students, the pair are exact opposite in looks, temperament, personality and values. Loosely based on Gregory Maguire’s 1995 novel, the screenplay is adapted by Winnie Holzman, the original musical book writer, who smartly gave us so much to ponder, and and Dana Fox, whose most recent credit is “Cruella.” Holzman created the TV series “My So-Called Life” and wrote for the landmark TV series “thirtysomething” and “Once and Again.”

The centerpiece is the glorious songs – those heartfelt, soaring, beautifully crafted numbers from virtuoso composer-lyricist Stephen Schwartz. He started his acclaimed five-decade career with “Godspell” in 1970, and has gone on to create “Pippin,” “Children of Eden,” “The Hunchback of Notre Dame,” “The Prince of Egypt,” and win an Oscar for “Colors of the Wind” from “Pocahontas.” This is arguably his masterpiece.

The film’s biggest strength is its perfectly cast triple-threat performers – Cynthia Erivo as Elphaba Thropp, Ariana Grande-Butera as Glinda Upland and Jonathan Bailey as Fiyero Tigelaar, a handsome prince whose subplot is best not spoiled.

Erivo’s knockout voice is her superpower. She won a Tony Award in 2016 as Celie in “The Color Purple” revival, the only non “Hamilton” cast member to win a musical acting trophy that year. She proves herself to be a gifted actress, as she leans into sympathetic Elphaba’s differences as a proud badge of honor, especially in her newfound activism against injustice.

Grande has sold more than 90 million records as a pop star and appeared on Nickelodeon and Broadway. If you’ve seen Grande host “Saturday Night Live,” you know she has terrific comic timing and unforced charm. As a singer, she has a four-octave vocal range and in this role, she inhabits the spoiled rich girl with a self-deprecating humor. She looks dainty, but there’s an intriguing power and intelligence behind the bubbly façade.

The charismatic Bailey, Emmy-nominated for “Fellow Travelers,” is known as the oldest son Anthony in the “Bridgerton” TV series, but in England, he is also an accomplished musical theater performer. He won an Olivier Award as Best Supporting Actor in a Musical for playing Jamie in the revival of “Company” in 2018. Fleet-footed and a nimble vocalist, he gives Fiyero an allure that wasn’t initially apparent on stage. (Fun fact: St. Louis’ own Norbert Leo Butz, two-time Tony winner, originated the role in its San Francisco tryout and on Broadway).

Outstanding in supporting roles are Jeff Goldblum as the morally compromised Wizard of Oz, who handles “A Sentimental Man” quite nicely, Michelle Yeoh as no-nonsense Shiz headmistress Madame Morrible, and Peter Dinklage, in a voice-over, as an animal professor, Dr. Dillamond, who’s frightened in “Something Bad,” tipping us off to sinister political forces (shades of authoritarianism and fascism ahead).

There are more-to-develop turns by Ethan Slater as Boq Woodsman, a Munchkin in love with Glinda, and Marissa Bode as Nessarose, Elphaba’s paraplegic younger sister. Slater was Tony-nominated and won a Drama Desk Award for his role as SpongeBob SquarePants in the 2017 Broadway musical. Stay tuned for some interesting twists with these two in Act 2.

New roles include Glinda’s fawning sycophants — Bowen Yang of SNL fame is Pfannee and Bronwyn James of CBS’ “Ghosts” is ShenShen.

As one who has seen the stage musical seven times, with an inaugural voyage to Chicago for the first national tour in May 2005 and the remainder at the Fabulous Fox in St. Louis, the film is faithful to the source material. (BTW, “Wicked” is considered “St. Louis’ favorite musical” after record-breaking runs here).

“One Short Day” is a grand introduction to the breathtaking art-deco Emerald City, Erivo’s emotional gravitas is displayed in “I’m Not That Girl,” and her humorous duet with Grande on a crisply delivered “What Is This Feeling?” is a highlight. Grande also shines in the peppy “Popular,” her signature song.

But the dramatic opener “No One Mourns the Wicked,” a too-heavy CGI-enhanced “The Wizard and I,” and an acrobatic “Dancing Through Life” set on library staircases are overstuffed. The choreography is in the contemporary style of elaborate and athletic dance moves with distinctive razzle-dazzle that is mega-staged for maximum effect.

That said, the defining showstopper, “Defying Gravity,” is everything you want it to be, an enthralling way to end, just before the curtain comes down on stage, but here with a “To be continued” card stunning the audience who doesn’t realize it’s only half.

Now the fourth longest-running musical of all-time, “Wicked” continues to draw packed houses in theaters around the world. While plans for a film adaptation started in 2012, the project did not kick off in earnest until 2021.

Jonathan M. Chu was hired to direct, after his successes with “Step Up 2 In the Streets,” “Step Up 3D,” “Crazy Rich Asians” and “In the Heights.” That was when it was decided to split the film into two parts to “meet the demands of the story’s epic scope and to expand upon the journeys of and relationships between the characters, without cutting any songs and major plot points” (I quote press here).

The second half is when more dark secrets and identities will be revealed, and features the moving “For Good” number. (No spoiler alert here, nor will I reveal cameos).

Highlights of Part 1 include the magnificent costume designs by Paul Tazewell, Tony Award winner for “Hamilton.” He must be the frontrunner for year-end awards, for each intricate outfit is stunning in detail.

The visual effects, while often over-the-top, are eye-popping. With today’s audiences conditioned for blockbuster franchise films, such as the Marvel Cinematic Universe, Harry Potter series, and new “Star Wars” chapters, these are the flamboyant excesses people expect, but I find them overdone.

The everlasting appeal of “Wicked” will always be as a timeless tale of love and friendship, and its brilliant way of presenting the proverbial “two sides to every story.” Those who cherish the musical can find moments to savor.

“Wicked” is a 2024 musical fantasy directed by Jon Chu and starring Cynthia Erivo, Ariana Grande-Butera, Jonathan Bailey, Jeff Goldblum, Michelle Yeoh, Ethan Slater, Marissa Bode, Bowen Yang and Bronwyn James. It is rated PG for some scary action, thematic material and brief suggestive material, and its runtime is 2 hours, 40 minutes. It opens in theatres Nov. 22. Lynn’s Grade: B+