Lynn Venhaus

Total Post: 982

Lynn Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com...Presents, and writes features and news for Belleville News-Democrat and contributes to other publications. She is a member of CCA, AWFJ and St. Louis Film Critics Association. She is a founding member of the St. Louis Theater Circle.

‘Golf the Galleries’ Interactive Exhibit at The Sheldon Starts June 9

‘Golf the Galleries’ Interactive Exhibit at The Sheldon Starts June 9

The Sheldon Art Galleries presents the 6th annual Golf the Galleries interactive exhibition, June 9 – August 6, 2023, sponsored by UMB Bank. The playable, artist-designed, nine-hole mini golf installation will again be situated in the beautiful Sheldon Art Galleries space, and is designed to be inclusive, family-friendly and accessible.

The nine unique mini golf holes are designed by St. Louis area artists, architects, organizations and other creatives, and have been curated this season by artists Philip and Kelsey Jordan, whose popular golf holes were featured in 2021 and 2022. Tickets are $12 adults / $10 children 12 and under. Golf the Galleries is open Tuesday – Thursday, 12 – 5 p.m.; Friday, 12 – 8 p.m.; and Saturday and Sunday, 10 a.m. – 5 p.m. No advanced reservations will be offered this season. Sales will be accepted at the door only for maximum flexibility. Visit TheSheldon.org for more information.


The Sheldon is proud to announce the Golf the Galleries 2023 hole designs:

Take the Factory Tour by Dave Kish finds players putting their balls through the stages of product life: factory, fairway and dump! Creator Dave Kish presents a collection of recycled cardboard wall sculptures to compliment a zany industrial- themed miniature golf hole where players can take the “factory tour.”

Kish is a St. Louis-based designer and builder. Twice a graduate of Lehigh University, he also studied at the design think-tank SCI-Arc and has compiled extensive and overlapping portfolios in the fields of architecture, fine art, illustration and education.

MuseumCeption by City Museum and artists True Mead & Angelina Brown incorporates several exhibits displayed within the confines of City Museum that many who visit are not familiar with. Most know City Museum as a metalworks playground, focused on reuse, where structures and components of other once-upon-a-time buildings become the play place for children and adults of all ages. This new mini golf hole highlights collections and items being shown for the very first time! City Museum is a Maker Sponsor.

MuseumCeption


Sound Moves by the World Chess Hall of Fame is the first golf hole dedicated to the intersection of chess and music! It will include artifacts and media representing a wide range of musical genres, both traditional and contemporary, featuring a selection of the greatest and most influential musicians and chess players the world has seen. A full exhibition on this subject is currently on display at the World Chess Hall of Fame in the Central West End at 4652 Maryland Avenue. World Chess Hall of Fame is a Maker Sponsor.

Candyman by LitShop is based on the beloved Roald Dahl children’s book Charlie and the Chocolate Factory and the trio of films that followed. The immersive mini golf hole mimics the experiences of the movie characters when they first enter Wonka’s factory. Golfers can take selfies with a life-size cutout of the candyman himself, Willy Wonka. LitShop is a non-profit organization that pairs literacy with hands-on making and building for girls and gender-expansive youth ages 10-16. Founded in 2019, LitShop offers workshops in reading, writing, building and making through modalities such as design, woodworking, carpentry, printmaking and fiber arts.

Putt your way upstream on Wally and Jacob Hauck’s Fly Fishing. Inspired by their love for fly fishing in Missouri’s beautiful streams, the golf hole’s centerpiece features a large sculpture of a native trout. Over the last 15 years, the Hauck’s have been working with a variety of agricultural companies to design and create large-scale sculptures depicting the properties of plants and scientific innovations for display at national trade shows. The Hauck’s are known for turning imaginative ideas into stunning realities, and their talent will be on full display in this unique hole!

In If you hit it, it’s a Drum, artists Kelsey and Phillip Jordan encourage users to explore the act of creating sound and rhythm out of known musical and found instruments. The artists, one a pianist and one a bassist, believe that music is important in child development and exploration, and is beneficial to all ages. Players “make some music” by taking one of the boomwhackers (tuned percussion tubes) around the column to play a little tune – just what they need to make that hole in one!

In A Trip to the Moon by Paul Casey and Sarah Frost, players can choose one of two methods of travel to our favorite celestial body. Starting at adjacent points, one route follows Jules Verne’s 19th century cannon, while the other tracks the 1969 moon landing.

Paul Casey was props master for over 25 years for Opera Theatre of St. Louis and at The Repertory Theatre of St. Louis, and has freelanced for local TV stations, small theaters and trade show companies. Sarah Frost has created sculptures and installation art for 15 years. Originally trained as a painter, she also enjoys working as a set painter at The Muny and other local theaters and returns to Golf the Galleries for a second season after last year’s audience- favorite installation, Hole at the Pole.

The Anatomy of a House by Silas Coggeshall takes inspiration from literature and explores the age-old notion of a haunted house. What happens when the function of architecture and furniture becomes obtuse or even antagonistic to the human experience? What does the history of an object look like when made visible? What sort of presence does a home have when given the attributes of a living organism that has become malignant? Golfers must maneuver through an uncanny, haunting and macabre depiction of the home in this delightfully chilling hole.

Kelsey and Philip Jordan have made the final hole a walk in the park: the dog park! Day at the Dog Park creates a sense of fun and play in one of the most genuinely joyful places for its users. Furry companions remind us to let our stresses go and find excitement in little things like TREATS! BALL! WALKS! There is always something new to explore and a story that’s being created – who was there before them and what were they doing? Together, Phil and Kelsey Jordan are experienced architectural, furniture, construction and graphic designers. They return to Golf the Galleries for a 2nd year.

Hole sponsorships for Golf the Galleries are still available. Call The Sheldon’s Development Department at 314-533-9900 or e-mail sdo@thesheldon.org. For more information about Golf the Galleries call The Sheldon at 314-533-9900 or visit TheSheldon.org.

The Sheldon’s Exhibition series is sponsored by The Bellwether Foundation, Arts and Education Council, Regional Arts Commission, and the Missouri Arts Council, a state agency Golf the Galleries is sponsored by UMB Bank

‘Gloria: A Life’ Keeps The Fires Burning With a Look Back and an Eye Forward

‘Gloria: A Life’ Keeps The Fires Burning With a Look Back and an Eye Forward

By Lynn Venhaus

Relevant and empowering, New Jewish Theatre’s “Gloria: A Life” celebrates one of the most inspiring women in history with a knockout performance by Jenni Ryan as feminist icon Gloria Steinem.

Ryan wasn’t initially cast as Steinem, but was announced as the replacement on May 27, a mere five days before opening night. Under intense pressure, not to mention a time crunch, Ryan admirably captures the essence of the leading lady, with gumption and authenticity.

Like others who have been called in at the last minute on productions, for the-show-must-go-on on opening night June 1, she did have a script with her, and nonchalantly glanced at it a few times, but without any awkward interruptions. She affected Steinem’s calmer demeanor while other females are venting on inequality.

Ryan was last seen at the J as the mom in “Broadway Bound” in January. This current turn is a real-life triumph when the show is highlighting women’s accomplishments. After all, Steinem refers to herself as a “Hope-aholic.”

Hope and drive permeate this work. And Ryan gets it – why Gloria matters, why this story is important, and why it is crucial that social activism continue in this current political climate.

Photo by Jon Gitchoff

But it’s not a one-woman show. Emily Mann’s play spotlights other remarkable activists who were catalysts for change in the workplace, the home, and politics in the late 20th century.

Mann, a veteran playwright and artistic director, enlisted Steinem’s participation and guidance for this play, which premiered in 2018.

Now 89 years old, Steinem’s legacy is a remarkable one, and this interpretation details how she used her voice to champion others, putting into practice her philosophy that conversations can prompt changes.

For those who weren’t alive during the rise of the women’s liberation movement in the 1960s and 1970s, this gives that time perspective and is a valuable history lesson. But the 90-minute play (without intermission) is not merely a look back at the discrimination and harassment women faced and how they found their voices in unity.

Rather, it is an urgent call to action for today’s pressing issues. Because struggles are ongoing – race relations, reproductive rights, gender equality, gun violence, patriarchy, #MeToo, other freedoms threatened and democracy in peril. (And that’s where the second act comes into play.)

During the first act of Gloria’s journey, a passionate ensemble embodies a revolutionary spirit, with six actresses playing various pioneers of an earlier era and key people in Gloria’s life.

Actress Sarah Gene Dowling is both gutsy Congresswoman Bella Abzug and Gloria’s broken mother Ruth; Kayla Ailee Bush is fiery Ms. Magazine co-founder Dorothy Pitman Hughes; and Lizi Watt is fierce Wilma Mankiller, first female chief of Cherokee Nation, among the prominent figures; and Chrissie Watkins, Summer Baer, and Carmen Cecilia Retzer take on multiple roles, wearing many hats (and scarves).

Civil rights attorney Florynce Kennedy is depicted, as are women wanting to make a difference. Nevertheless, there are some famous not-so-nice guys, people who aren’t fans, and other negative folks among the positivity.

As directed by Sharon Hunter in the J. Wool’s Studio Theater space configured in the round, the women swiftly move in and out, expressing themselves in discussion, fiery tirades, protests, sisterhood bonding, period music and dance. They reflect the conscience-raising efforts of those past decades.

Significant life touchstones mentioned include Steinem’s reporting days (of course the undercover Playboy Bunny magazine piece); co-founding the National Women’s Political Caucus in 1971 with Abzug, Betty Friedan, Shirley Chisholm, and others; co-founding the monthly Ms. Magazine in 1972; and the 1977 National Women’s Conference.

Gloria’s story portion concludes with the Women’s March in January 2017 in Washington D.C., where Steinem spoke to thousands of women wearing pink pussy hats.

Photo by Jon Gitchoff

A lively Dowling excels as “Battling Bella” – who was elected to the House of Representatives for New York City’s 19th district in 1970, and was a driving force in liberal political organizations, supporting the Equal Rights Amendment, a women’s credit-rights bill, abortion rights, and child-care legislation. (In 1974, women could finally get a loan without their father or husband co-signing it, thanks in part to Bella).

It’s also important to note that the cast and crew are all women. Scenic designer Fallon Podrazik kept the set simple for movement and interaction, costume designer Michele Friedman Siler assembled retro fashions representative of the times, while sound designer Amanda Werre created a mélange of important sound bites and familiar tunes, and there is distinct illumination from lighting designer Denisse Chavez.

Props master Katie Orr’s work was particularly demanding, replicating magazine articles and finding Ms. Magazine issues, not to mention making protest signs.

And there is a unique second act, a 20-minute interactive “talking circle,” that seeks audience participation in hopes of harnessing the energy of this production. Playwright Mann thought it was important to engage people and that these conversations could propel folks into action, pointing to Steinem’s mantra “the healing is in the telling.”

The ultimate goal is for people to learn from each other, and as Gloria has said: “This is the way we discover we’re not crazy and we’re not alone.”

Photo by Jon Gitchoff

At several performances, a local Guest Responder is launching the talking circle by sharing their own story of breaking barriers or simply responding to the play. For a complete list, visit: jccstl.com/njt-gloria-a-life.

The night I was there, State Senator Tracy McCreery led the conversation. One of the audience members pointed out that black women were at the forefront of the feminism movement, and that led to more reflections.

While it may seem that the needle hasn’t been moved that much in the past 10 years, I know that I stand on the shoulders of giants, and I am appreciative of the women who fought hard for the rights we now enjoy. After this viewing, I am optimistic, citing the words of “Hamilton”: “This is not a moment, it’s a movement.”

“Gloria: A Life” is certainly galvanizing, and the cast is enthusiastic about the stories they are sharing. It can fire up younger generations and spark renewed excitement by re-activating those Baby Boomers who recall the victories of the past. And Steinem is still fighting for human rights.

And this intimate look is another opportunity for those to marvel at how far we have come– although the work is unfinished. There are more trails to blaze and fires to put out. The play has something to say and the cast underlines it with vigor.

New Jewish Theatre presents “Gloria: A Life” from June 1 – 18, on Thursdays at 7:30 p.m., Saturdays at 4 and 8 p.m., and Sundays at 2 p.m. at the SFC Performing Arts Center, 2 Millstone Campus Drive. For more information: jccstl.com/arts-ideas/new-jewish-theatre. For tickets, call 314-442-3283 or go online at newjewishtheatre.org.

Photo by Jon Gitchoff

Addendum: Some follow-up streaming programming:

  • “9to5: The Story of a Movement” is a 2021 documentary directed by Steven Bognar and Julia Reichert,” and currently streaming on Netflix. (It won the Joe Williams Documentary Award given by the St. Louis Film Critics Association. I was on that jury).

  • CNN miniseries “The Seventies” in 2015 – seventh episode is “Battle of the Sexes.” (Max)
  •  In a 2020 Amazon Prime original narrative film, “The Glorias,” Julie Taymor directed four different actresses to play Steinem at different stages of her life — Julianne Moore and Alicia Vikander as adults and Ryan Kiera Armstrong and Lulu Wilson as youngsters.
Photo by Jon Gitchoff

‘Spider-Man’ Leaps Into Second Spider-Verse With Eye-Popping Innovation But Super-Frantic

‘Spider-Man’ Leaps Into Second Spider-Verse With Eye-Popping Innovation But Super-Frantic

By Lynn Venhaus
Pop art, quantum physics and pathos collide in a grand superhero spectacle, resulting in this “Spider-Man: Across the Spider-Verse” sequel being a mind-blowing amalgamation of next-level animation like but surpassing the 2018 original.

In this second installment of an animated film trilogy, Miles Morales (Shameik Moore) catapults across the multiverse, where he encounters a team of Spider-People charged with protecting its very existence. When the heroes clash on how to handle a new threat, Miles must redefine what it means to be a hero.

However inventive and clever it is, though, about half of the storyline is incoherent and panders to fan service — and the sensory-overload-on-steroids style is overwhelming and exhausting. Yet, we’re all locked in.

This 2 hour and 20- minute eye-popping extravaganza takes place across six dimensions, has 240 characters in it and had over 1,000 animators working on it – the most ever.

The Spider-Man mythology, easily relatable for teens who understood creator Stan Lee’s metaphors for figuring out their place in the world, began as a socially inept high school student who was bitten by a radioactive spider, and thus developed superpowers. That was in 1962, and in fighting crime in his subsequent Marvel Comics issues, Peter Parker would eventually learn “with great power comes great responsibility.”

Since 2002, there have been eight live-action Spider-Man movies, plus his role in “The Avengers” franchise, not to mention a past TV series, Broadway musical, video games and books.

The three co-directors Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson mash parts of the old films with elements of the comic books. That comic imagery, added in with drawing and painting styles of the 20th and 21st centuries, results in a visually stunning work. Art historians will be in for a treat.

And comic book fans will be delirious about the Easter eggs – no doubt courtesy of cheeky producers Phil Lord and Chris Miller who finally won an Oscar for directing the first movie (previously robbed for “The Lego Movie”) but only co-wrote this script with David Callaham, a veteran of the first and “Shang-Chi and the Legend of the Ten Rings.”

I understand their desire to throw in as many gags for the super-fans, but that darn muddled narrative lets the rest of us down. And their need to fiddle with the Spider-Man canon to keep it fresh and interesting. Sure, there are compelling human emotional touches (dead relatives, loved ones in peril), but the hyper-kinetic storytelling weakens the overall effect for those ‘not in the zone.’

Another sticking point is that the middle entry in this animated world ends with a cliffhanger, then states Miles will return in “Spider-Man: Beyond the Spider-Verse.” It is set for a March 29, 2024, release — frustrating to viewers who like things resolved before waiting for another one, because this one just ends without a resolution.

And if you did not see “Spider-Man: Into the Spider-Verse” released four and a half years ago, you will be lost here. As a quick recap, Miles Morales, a black Hispanic Brooklynite, was juggling his life between being in high school and a Spider-Man, but when Wilson “Kingpin” Fisk uses a super collider, he finds out that others from across the Spider-Verse have been transported to his dimension.

This time, 15-year-old Miles remains on Earth – 42, but as he discovers more multi-verses, he meets dozens of other Spider-People. In this global take, we meet a Spider-Man India (Karan Soni), a cockney street punk Spidey named Hobie (Daniel Kaluuya), a snarling, hulking vampire Spidey Miguel O’Hara (Oscar Isaac), and a pregnant Spider-Woman, motorcycle mama Jessica Drew (Issa Rae). Saving the world is tough business, and there are existential crises happening.

Miles’ mentor, Peter Parker (Jake Johnson), is shown as a young father, married to MJ (Zoe Kravitz), who brings his baby along for the adventures. Sad girl Gwen Stacy (Hailee Steinfeld) is a combo grrrl rocker and a Spider-Girl whose anguished storyline is equal to Miles’.

Spidey and The Spot

While one can applaud the energy and the dazzling visuals of non-stop action, characters are often frazzled, and the pace is so frenetic that you feel like you are trapped in this parallel universe too. Who’s good, who’s evil, and who may be both?

Shameik Moore has returned to voice Miles, and he’s dandy as the angsty teen who is exasperating to his parents because of his time-management skills (they don’t know he’s keeping the bad guys in check, at least in his neighborhood).

His parents are voiced by Brian Tyree Henry and Luna Loren Valdez, joining a slate of major talent whose vocal work is solid but does not immediately identify them. Yet, it’s easy to place J.K. Simmons as J. Jonah Jameson, SNL’s Rachel Dratch as the principal, and Jason Schwartman as the revenge-seeking villain “The Spot” (a standout).

Hyper and hypnotic, “Spider-Man: Across the Spider-Verse ” has pushed forward the genre and is a fun fan experience. The propulsive score by composer Daniel Pemberton is also a plus. I give the animation an A+ but the story a B-.

It’s a lot to juggle sci-fi, action, adventure, family, comedy, drama, and fantasy in one animated feature, and this film does display heart, even if the movie can’t stand on its own.

After two decades of superhero comics ruling the bombastic blockbuster box office, what’s next? Has art opened another dimension? One of the Spider-Verse’s greatest strengths is that it still surprises, and these multiverses show no signs of maxing out.

One thing is for certain, the enthusiasm for this head-spinning series is not waning anytime soon (even with the grumbling about waiting for the next sequel). It’s as if we’ve hopped on one of the wildest amusement parks rides ever, and we need to see where it leads.

“Spider-Man: Across the Spider-Verse” is a 2023 animation-fantasy film directed by Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson and starring (voices): Shameik Moore, Hailee Steinfeld, Luna Loren Valez, Oscar Isaac, Issa Rae, Jake Johnson, Jason Schwartzman, Rachel Dratch, Brian Tyree Henry, Shea Whigham, Karan Soni, Daniel Kaluuya, J.K. Simmons, and Mahershala Ali.
It is rated PG for sequences of animated action violence, some language and thematic elements and the runtime is 2 hours and 20 minutes. It opens in theaters on June 2. Lynn’s Grade: B

This review also appeared in the Webster-Kirkwood Times’ Reel World with Kent Tentschert.

The Muny and Classic 107.3 Announce Partnership For Programming

The Muny and Classic 107.3 Announce Partnership For Programming

The Muny and the award-winning Classic 107.3 announced today a partnership for programming. The partnership will begin on Monday, June 12, 2023. Two separate shows are planned for 2023-2024.

First on the schedule, to coincide with The Muny’s 2023 Season, is “Muny Post-Show Conversations,” a half-hour program where listeners can learn the behind-the-scenes details and fun facts on how “Muny Magic” is created for each production. Immediately following each performance, audience members, St. Louisans, and listeners around the world can tune in to Classic 107.3 FM (or 96.3 HD-2) to join hosts Julie Schuster and Gavriel Savit for the inside scoop from actors, designers, creatives, and Muny team members about what it takes to put on The Muny’s epic shows.

Peel back the petals of Audrey II in Little Shop of Horrors to see what lies within. Follow the moves involved when two St. Louis cultural partners come together for a production of Chess. Reveal the secrets of the enchanting costumes in Disney’s Beauty and the Beast. Listeners will discover all this – and more – when they tune in to “Muny Post-Show Conversations” this season!

Along with interviews, “Muny Post-Show Conversations” will feature a segment called Rooted in St. Louis, where local contributors to the production are featured. Episodes will also highlight Muny Moments, where listeners can hear what it is like to be an usher, a member of guest services, a member of the administrative staff, a part of the concessions team, and more!

“We are thrilled to partner with this outstanding station, which promotes the arts in St. Louis so expertly. This adds another layer of experience for our guests as they leave each show,” said President and CEO of The Muny, Kwofe Coleman. He continued, “I am looking forward to tuning in on my ride home!”

“Classic 107.3’s focus is the incredible arts institutions in St. Louis, and summertime at The Muny is one of our region’s most treasured traditions,” said Julie Schuster, CEO and General Manager of Classic 107.3. “We can’t wait to bring some of that ‘Muny Magic’ to the airwaves for Muny audience members as well as our regular listeners!”

Tune in to Classic 107.3 FM (or 96.3 HD-2) each night immediately following the show for an entertaining half-hour, seven days a week during The Muny season. The episodes will also be featured on the Classic 107.3 website, classic1073.org.

Beginning in late August, the program will shift to a weekly hour-long program called “The Muny Hour.” This weekly show will become a roundtable for the arts, exploring hot topics in St. Louis and on Broadway and the state of the arts in St. Louis and beyond. It will also feature selections from notable cast recordings; discussions about actors, creatives, and significant productions; and what’s new in theatre. Details about “The Muny Hour” broadcast times will be announced at a later date.

The Muny’s 2023 Season includes Beautiful: The Carole King Musical (June 12-18), Disney’s Beauty and the Beast (June 22-30), Chess (July 5-11), West Side Story (July 15-21), Little Shop of Horrors (July 25-31), Rent (August 4-10) and Sister Act (August 14-20).

Single tickets and gift cards to The Muny’s 105th Season are on sale now online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900.

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The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest outdoor musical theatre, we produce seven world-class musicals and welcome over 350,000 theatregoers each summer. Now celebrating 105 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.

Classic 107.3, The Voice for the Arts in St. Louis, was created in 2013 by people who believe a vibrant arts and cultural scene is essential for our community to thrive, with a mission to enrich the cultural landscape of St. Louis through the programming and outreach efforts of a nonprofit classical music station.

For more information about The Muny, visit muny.org. For more information about Classic 107.3, visit classic1073.org.

Midnight Company Announces Cast of ‘The Years’ Running July 13-20

Midnight Company Announces Cast of ‘The Years’ Running July 13-20

The Midnight Company will present Cindy Lou Johnson’s THE YEARS, running July 13-29 at The Chapel.  Performances will be Thursdays, Fridays and Saturdays at 8pm, with Sunday matinees July 16 and 23. 

Tickets, $20 for Thursdays and $25 for Fridays, Saturdays and Sundays, will be on sale at MetroTix.com on Monday, June 12. The show will be directed by Midnight’s Artistic Director, Joe Hanrahan.

The play opens on a tumultuous day for two sets of cousins:  Andrea and Eloise, and Isabelle and Andrew.  It is Andrea’s wedding day, and she and her sister Eloise, are dealing with the recent death of their father, which was soon followed by their mother’s suicide.  On the day of her wedding, Andrea has gone into work to help someone, and returning home is mugged. Meanwhile Eloise has just learned of her husband’s betrayal and the end of their marriage.   They make it through that turbulent day.  And as the story continues, thirteen years pass, and all of the cousins are forced to deal with the vagaries of life and death that the years deliver.

Joe Hanrahan directed this script some years ago for The Orthwein Theatre Company, and Gerry Kowarsky, writing for the St. Louis Post-Dispatch, called that production of THE YEARS “…an exceptional work.  Many plays deal with the pain of family relationships, but few have as much insight, pathos and humor as THE YEARS.”  And Phyllis Thorpe, for Intermission, a theatre publication at the time, called it “…a beautiful play.  Those who saw it will cherish it for a long, long time.”  In its premiere New York production, Broadway World cited an “…amazing script,” that resulted in “…a poignant play.”

Hanrahan said, “THE YEARS is a delicate, haunting, unusual play.  It deals with situations everyone faces in life, and so we’re able to quickly connect and feel  deeply for these characters.  I’m so looking forward to working with it once more.  And so lucky to have such a great cast to tell this story.”

The Midnight production features Summer Baer and Alicen Moser as sisters Eloise and Andrea.  For Midnight, Summer was seen in last year’s RODNEY’S WIFE.  And recently she’s appeared in PROOF for Moonstone,  THE BIRTHDAY PARTY for Albion, and currently GLORIA: A LIFE at New Jewish Theatre.  Alicen, Artistic Director for Poor Monsters, just directed THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY for Midnight, and previously appeared in the Company’s Beatle play at the St. Louis Fringe Festival, THE EVEREST GAME.  She’s currently appearing in ERA’s THE BRECHTFAST CLUB.  

Ashley Bauman and Joey File will play their cousins, Isabelle and Andrew.  Ashley has appeared in AS YOU LIKE IT for SIUE, A LATE SUMMER NIGHT’S STROLL for St. Louis Shakespeare Festival and DR. FAUSTUS: THE MODERN PROMETHEUS for SATE.  Joey was also in the cast of AS YOU LIKE IT, and has also been seen in MUCH ADO ABOUT NOTHING and RENT at SIUE.

Michael Pierce will portray Jeffrey, husband to Eloise.  Michael, who will also serve as Fight Director for the play, has been seen in the Aphra Behn Festival for SATE, and LAUGHTER ON THE 23rd FLOOR for New Jewish.  He also served as Fight Director for St. Louis Shakespeare Festival’s TWELFTH NIGHT and MURDER ON THE ORIENT EXPRESS for The Rep.  And Joseph Garner will portray Bartholomew, a stranger who becomes involved in the cousins’ lives.  Garner appeared in Midnight’s ANOMALOUS EXPERIENCE, was seen in THE CHRISTIANS at West End and currently in CLASH OF THE TITANS for Cherokee Street Theater.

Hanrahan recently appeared in Midnight’s THE ABSOLUTE BRIGHTNESS OF LEONARD PELKEY.  He wrote and directed the Linda Ronstadt show, JUST ONE LOOK, currently playing in extended performances at The Blue Strawberry, and is writing and directing the upcoming Judy Garland show, YOU MADE ME LOVE YOU, coming in late July there.  Hanrahan was nominated by The St. Louis Theatre Circle as Outstanding Director for last year’s RODNEY’S WIFE from Midnight.

Mason Hunt will be Stage Manager for the show,  Brad Slavik is designing the set, Tony Anselmo the lights, and Elizabeth Henning costumes.  Miriam Whatley will handle props.

Photos Todd Davis.  Alicen Moser (black eye/wedding dress)  Summer Baer (wedding veil/smile)

The Midnight Company’s 2023 season continues with:
Extended Performances of the JUST ONE LOOK July 19, August 16 & 30 at Blue Strawberry
YOU MADE ME LOVE YOU July 26, August 2 & 9 at Blue Strawberry
HUMANS OF ST. LOUIS at The St. Louis Fringe Festival  August 15-21
and
THE LION IN WINTER at the .ZACK  October 5-21

Kelly Howe in “Just One Look”

more at MidnightCompany.com

‘From the Garden’ Skewers Irritating Do-Gooders In a Funny One-Act

‘From the Garden’ Skewers Irritating Do-Gooders In a Funny One-Act

By Lynn Venhaus

“From the Garden” is a clever topical one-act play that deserves to be seen. Its brief weekend run revealed a local writer’s biting wit and sharp observations that were realized by a zealous cast.

Whip-smart playwright Donald C. Miller directed his own show earlier this month (May 5-7) for four performances at the intimate venue, The Chapel, a modest production by Wee Laddie Theatrics.

It may have been staged on a shoestring budget, but the satire had big ideas and pointed barbs delivered by a taut ensemble of veteran performers, whose natural abilities carried over the message.

The three sold-out and one near-capacity matinee crowds got the jokes, so merry laughter ensued. Whether or not you know the real-life community conflict that sparked Miller to put pen to paper, tongue firmly in cheek in this “work of fiction,” you’ll mull over the points he’s making that are far from heavy-handed.

This is not a preachy diatribe about well-meaning citizens whose self-righteous stances can derail compassionate acts for ‘the greater good.’ It’s far more insightful about hypocrisy and personal agendas, pegging the democratic divide between old-school liberals and uberleft progressives.

And how some decent folks who want to avoid drama in their daily lives are unwittingly caught up in the maelstrom. And made very uncomfortable by those purporting to know what’s best for everyone.

We are familiar with the modern political climate of loud extremists, the right and left often far apart and unwilling to compromise or work together. It’s not just at the national and state level, but in our fair city’s distinct neighborhoods – and lines are drawn between left and far-left in the Democratic Party (and right and far-right in Republican circles).

This is an ‘across the aisle’ situation, only it’s set in an outdoor community garden tended to by neighbors and civic-minded people.

You’ll be able to recognize numerous characters as the cast nails the nimble wordplay. They are playing relatable people, not overly complicated roles.

Donald Kidd, Brenda Morrison, Mara Bollini and Camille Elena Fensterman

Playing against type, Ann Hier Brown is amusingly annoying as Lisbeth Stanton, an upper middle class urban housewife that has cultivated an activist-advocate persona through curated social media posts.

She considers herself a feminist but is not seeking equality, for she is a control-freak do-gooder. As the comedic melodrama unfolds, she agitates her neighbors who want to get involved but eventually are put off by her sanctimonious lectures – and her assortment of chic bandanas. She is not above escalating conflicts for her personal gain.

It’s no coincidence her name resembles the great woman’s suffragette Elizabeth Cady Stanton. Miller is not anti-women’s rights at all, just pointing out how some folks take charge and then play martyrs or victims when they don’t get their way.

He provides more Easter Eggs, for other characters are given the last names of Nixon, Carter, Monroe and Ford. Ring a bell?

Funny guy Jason Meyers plays her husband Kirk, who tries to be supportive but is often a referee between mother and daughter. Teenager Emmy, conveyed by Nadja Kapetanovich in a defiant and questioning way, is like oil and water with her mom, who gets snippy and defensive in interactions.

Lisbeth also tussles with her no-nonsense natty mom, Sylvia Ford, played shrewdly by Margeau Steinau. Sylvia, with a deep pocketbook, travels in important circles and is organizing a benefit that Lisbeth is loath to attend.

Donald Kidd is well-suited to play Dwayne Jenkins, a committed activist who is running for the city council, but Lisbeth attempts to pull the strings and back another candidate. Rut-ro.

Neighbors who want to make a difference, but not necessarily get into a toxic situation, include Mara Bollini as Kate Carter, Camille Elena Fensterman as Xiomara Monroe, and Brenda Morrison as Ruth Nixon. They toss off snappy remarks with ease – and can spot a Karen lurking on the tree-lined streets – and don’t buy the disingenuous Lisbeth’s savior schtick.

Calvin Chambers was the technical coordinator and stage manager Ann Rapko.

The scenes are divided into soil preparation, weed prevention, watering and care, infestation, harvest, and dormancy. Of course, these are structured so that people can read between the lines.

The scene changes were a tad cumbersome, given the short time-length and the small performance space. But the sets were simple, reflecting the low-budget labor of love.

Nevertheless, small technical issues – like some performers being easier to hear than others – would be worked out in an encore presentation.

Hopefully, the play will have some staying power and there will be an opportunity for more theatergoers to enjoy it. Because an examination of identity politics is a good thing, exposing how unproductive it can be.

For background on playwright motivation, read this article in the Riverfront Times:

https://www.riverfronttimes.com/news/andoes-society-page-its-left-vs-far-left-in-maplewood-politics-39605670?media=AMP%20HTML&fbclid=IwAR1tU88TYee-aMpt9BK_yUxpL_y2libTFCqj52gq5_jSabftcc009Gvzk9E

Because after all, not conforming and speaking out instead is always the preferable way to go, especially someone as skilled as Miller in expressing himself. In “From the Garden,” he mocks the obvious – and is not so subtle in a very funny way.

Margeau Steinau and Ann Hier Brown

Cover Photo: Nadja Kapetanovich and Jason Meyers

Mutual Satisfactory Settlement Reached Between Fox Associates & Foxland Inc

Mutual Satisfactory Settlement Reached Between Fox Associates & Foxland Inc

Fox Associates, L.L.C. and Foxland, Inc. are pleased to announce that they have reached a mutually satisfactory settlement in resolution of their dispute over the Fox Theatre. Fox Associates has operated the Theatre for 40 years after undertaking its restoration in the 1980s.

Since April 2021, the parties have been involved in a lawsuit in the Circuit Court of the City of St. Louis over which party will have the right to own and operate the Theatre once the current lease expires in 2025.

Under the parties’ settlement agreement, Fox Associates will purchase Foxland’s interest in the land underlying the Theatre, thereby consolidating ownership in one party. The parties worked together to achieve this resolution and share the belief that this is the right result for the St. Louis community, as it will ensure uninterrupted Theatre operations.

“On behalf of myself and partners Lisa Baudendistel Suntrup and Julie Baudendistel Noonan, we are thrilled that the Fabulous Fox Theatre will continue to bring world class entertainment to St. Louis for generations to come,” said Mary Strauss, Fox Associates partner. “It has been a labor of love for our Strauss and Baudendistel families to be the custodians of this St. Louis treasure and national landmark for the past four decades and we look forward to a fabulous future.”

Charles Modlin of Foxland, Inc. stated, “While our family had been looking forward to operating the Theatre for many years, we are happy with the result and believe the Theatre remains in good hands with Fox Associates, who we are confident will continue its important legacy of successfully operating one of the most magnificent historic Theatres in the world.”

Cinema St Louis Announces Lineup For This Year’s Golden Anniversaries

Cinema St Louis Announces Lineup For This Year’s Golden Anniversaries

Films of 1973 spotlighted in online discussions and in-person screenings

The Golden Anniversaries film series — an annual presentation of Cinema St. Louis (CSL) — features classic films celebrating their 50th anniversaries. The sixth edition of the event highlights films from 1973.

This year, Cinema St. Louis will hold both virtual conversations and in-person screenings as part of Golden Anniversaries. Virtual conversations are presented free of charge.

The online conversations, with people watching the films on their own but gathering virtually to discuss them, will continue through December. The virtual programs will be available as livestreams through Eventive. Each online event has a link to register on the CSL website: cinemastlouis.org/golden-anniversaries.

This year’s series kicked off in April and will continue through December, with films playing on Sunday afternoons at the Hi-Pointe Theatre, 1005 McCausland Ave, 63117.

Tickets are required for the in-person screenings at the Hi-Pointe. Free parking is available at the Hi-Pointe Backlot or Lindell Bank across the street from the theater.

Ryan and Tatum O’Neal in “Paper Moon”

In addition, during the 32nd Annual Whitaker St. Louis International Film Festival, which takes place from Nov. 9-19, CSL will offer a trio of free Golden Anniversaries screenings — Jack Hill’s “Coffy” (with Novotny Lawrence), Robert Clouse’s “Enter the Dragon” (with Daniel Yezbick), and Peter Bogdanovich’s “Paper Moon” (with Tom O’Keefe) — on the second Saturday and Sunday of the fest at the St. Louis Public Library – Central Branch, 1301 Olive St., 63103.

Whether the event is held online or in person, film critics, film academics, filmmakers, and writers will offer introductory remarks and participate in discussions about the films. In addition to St. Louis-based experts, Golden Anniversaries will again feature contributors from elsewhere, including returning presenter Novotny Lawrence (“Coffy” and “Cleopatra Jones”) and new participants such as freelance writer and film historian, Marya E. Gates (“Love & Anarchy”).

For full descriptions of the films, visit the Cinema St. Louis website.

In-Person Screenings

Sunday, April 1, at 1:00 PM

The Sting

George Roy Hill, U.S., 129 min.

With Chris Clark, artistic director of Cinema St. Louis.

Sunday, May 21, at 1:00 PM

Robin Hood

David Hand & Wolfgang Reitherman, U.S., 83 min.

With Jim Tudor, co-founder of ZekeFilm and adjunct professor of film studies at Webster University.

Sunday, June 18, at 1:00 PM

Live and Let Die

Guy Hamilton, U.K. & U.S., 121 min.

With Jim Tudor, co-founder of ZekeFilm and adjunct professor of film studies at Webster University.

Sunday, July 16, at 1:00 PM

The Three Musketeers

Richard Lester, Spain & U.S., 106 min.

With Robert Hunt, former film critic for The Riverfront Times.

Sunday, Aug. 20, at 1:00 PM

Sissy Spacek and Martin Sheen in “Badlands”

Badlands

Terence Malick, U.K., 94 min.

With T.J. Keeley, Ph.D. student in contemporary American literature at Saint Louis University and teacher of English and film at college prep schools in the St. Louis area.

Sunday, Sept. 17, at 1:00 PM

The Long Goodbye

Robert Altman, U.S., 112 min.

With Calvin Wilson, theater, film, dance and jazz critic for the St. Louis Post-Dispatch/stltoday.com.

Sunday, Oct. 15, at 1:00 PM

F for Fake

Orson Welles, Gary Graver & Oja Kodar, France, Iran & West Germany, 89 min.

With Joshua Ray, film critic for KMOV and Co-Founder and Contributing Editor of The Take-Up.

Robert Redford and Barbra Streisand, The Way We Were

Sunday, Dec. 17, at 1:00 PM

The Way We Were

Sydney Pollack, U.S., 118 min.

With Lynn Venhaus, a Rotten Tomatoes-approved film critic who reviews for the Webster-Kirkwood Times, KTRS Radio (Jennifer Blome and Wendy Wiese Show), and PopLifeSTL.com website, www.poplifestl.com

Virtual Discussions

Monday, June 12, at 7:30 PM

Love & Anarchy

Lina Wertmüller, Italy, 120 min., Italian

With Marya E. Gates, freelance film writer and historian who specializes in the work of female directors.

Monday, July 10, at 7:30 PM

The Spirit of the Beehive

Victor Erice, Spain, 98 min.

With Cait Lore, who holds a Master’s Degree in Film Theory from the University of Kent, teaches film studies at Websger University, and serves as a co-programmer of QFest St. Louis.

Monday, Aug. 14, at 7:30 PM

Day for Night

François Truffaut, France, 116 min., French

With Robert Hunt, former film critic for The Riverfront Times.

Randy Quaid and Jack Nicholson in “The Last Detail”

Monday, Sept. 11, at 7:30 PM

The Last Detail

Hal Ashby, U.S., 104 min., English

With Robert Garrick, attorney and former contributor to the davekehr.com film blog.

Monday, Oct. 9, at 7:30 PM

Amarcord

Federico Fellini, Italy, 122 min., Italian

With Cate Marquis, a Rotten Tomatoes certified film critic and film historian who writes for We Are Movie Geeks, the St. Louis Jewish Light, and the Alliance of Women Film Journalists, and a member of the Alliance of Women Film Journalists and the St. Louis Film Critics Association.

Monday, Dec. 11, at 7:30 PM

Cleopatra Jones

Jack Starrett, U.S.,  89 min.

With Novotny Lawrence, associate professor at Iowa State University.

Bruce Lee in “Enter the Dragon”

One-Man Show ‘Leonard Pelkey’ Delves into Intolerance and An Indomitable Spirit

One-Man Show ‘Leonard Pelkey’ Delves into Intolerance and An Indomitable Spirit

By Lynn Venhaus

As we head into Pride Month, “The Absolute Brightness of Leonard Pelkey” couldn’t be timelier, especially in this unfortunate age of intolerance.

This passion project from The Midnight Company stars an empathetic Joe Hanrahan in multiple roles and is deftly directed by Alicen Moser.

A one-man show, written by Celeste Lecesne, is based on their young adult novel, and illuminates a very personal struggle about acceptance.

Lecesne has gone by he/they since 2020, and is best known for winning an Academy Award for Best Live Action Short in 1995, for “Trevor.” In 1998, they co-founded and launched The Trevor Project, which is a 24-hour suicide prevention and crisis intervention lifeline for LGBTQ+ youth.

The 2015 narrative fictional play is structured as a police procedural, with a detective seeking answers about a missing teen in a small-town on the Jersey Shore. A hard-hitting story that draws inspiration from such horrific true incidents as high school student Jadin Bell in Portland, Ore., who committed suicide after gay-shaming, and college student Matthew Shepard who was attacked and left for dead in Laramie, Wyoming in 1998, among other anti-gay hate crimes.

The playwright, who described Leonard as a luminous force of nature who encountered evil and whose magic wasn’t truly felt until he disappeared, shines a compassionate spotlight on this character you feel that you know.

Unapologetically flamboyant, theatrical, and true to himself, the 14-year-old chatterbox looked and acted as he pleased, just being himself. He planned to dress up as Lady Gaga on Halloween.

Bullied for being who he was, Leonard did win some people over. Details emerge about what a colorful presence he was, and how that light dimmed in the people’s lives who loved him.

Joe Hanrahan .Photo by Joey Rumpell

Besides the inevitable pensive sadness that permeates the one-act, there is also a glimmer of hope about progress and brings more focus on the never-ending mission to understand those who are lesbian, gay, bisexual, transgender and questioning – and anyone who beats to a different drummer.

Over the course of 1 hour and 20 minutes, Leonard looms larger than life, although he is not physically present. We feel him. We see him through the people who knew him, which Hanrahan effectively presents.

Besides playing the primary character — police detective Chuck DeSoto, Hanrahan takes on the characters Chuck interviews – Ellen Hertle, a hair salon owner who cared for Leonard after his mother died, and her 16-year-old daughter Phoebe Hertle, who report him missing; Buddy Howard, who ran the drama and dance school where Leonard took classes; Gloria Salzano, who saw a platform sneaker floating in the lake next to her home; Marion Tochterman, Otto Beckerman, suspect Tyler Lembeck; and Chuck’s boss, Marty Branahan.

Trevor didn’t tell people he was gay, they just assumed, although he liked to remain a mystery. That didn’t stop name-calling. And he attempted suicide.

As Chuck discovers clues and puts together details of a brutal murder, it’s hard not to be moved by the melancholy, but also discover how this boy touched lives, and eventually made a difference in how people saw others.

The minimalist drama, with stage manager Linda Menard placing props on sparse furnishings and production support from Kevin Bowman, features expressive lighting design by Tony Anselmo in the Kranzberg Black Box Theatre.

Although Leonard isn’t a real person, you leave feeling like you know every character. Hanrahan, who often presents one-man shows, makes the people relatable.

The show’s message reflects Shakespeare’s line from “Hamlet”: “To thine own self be true,” and it’s always good to reinforce that, no matter how one identifies themselves. And to bring more attention to The Trevor Project – hotline is 1-866-488-7386.

Hanrahan, himself a force of nature, has dedicated this show to the Absolute Brightness of Travis Hanrahan, his son who died at age 27 in 2017.

Photos by Joey Rumpell

The Midnight Company presents “The Absolute Brightness of Leonard Pelkey” from May 4-20, Thursday through Saturday at 8 p.m., in the Kranzberg Black Box Theatre, 501 N Grand Blvd, St. Louis, MO 63103. For more information, visit www.MidnightCompany.com

Explosive Action and Mega-Momoa Mark the Logic-Free ‘Fast X’

Explosive Action and Mega-Momoa Mark the Logic-Free ‘Fast X’

By Lynn Venhaus
The turbo-charged “Fast X,” aka “Fast Ten,” the latest entry of the 22-year-old “Fast and Furious” saga, continues to defy logic and physics in a dizzying grandiose globe-trotting revenge tale.

A gimmicky gearhead grind, no. 10 features a sprawling star-studded cast racing from one continent to the next between massive explosions, shoot-outs, fisticuffs, and an enormous cavalcade of car crashes all staged to show off high-tech weaponry, fast-paced fight choreography and sensational stunts.

As usual, the muscular hero Dom Toretto has a price to pay for antagonizing his foes, but his list of friends and enemies certainly has grown over the years. We pick up with doting dad Dom teaching his 8-year-old son Brian (Leo Abelo Perry) his own set of rules on the road while his wife Lettie (Michelle Rodriguez) is helping Grandma (Rita Moreno) cook the family dinner, a time-honored ritual.

The gang’s all there – the bickering yet bonded core group of Dom’s team: Roman Pearce (Tyrese Gibson), mechanic Tej Parker (Chris “Ludacris” Bridges), hacker Ramsey (Nathalie Emmanuel), and Han Lue (Sung Kang).

In recent films, their certain set of skills have been in demand by an international government operation called “The Agency.” But even those seemingly fortresses of good can be infiltrated by evildoers, especially this chapter’s megalomaniac villain Dante (Jason Momoa).

He’s the vengeful son of drug kingpin Hernan Reyes, who was killed in “Fast Five,” and now comes calling with heavy artillery, having spent the last 12 years planning his retaliation.

Jason Momoa is Dante in FAST X, directed by Louis Leterrier

The hulking beefcake Momoa, best known as the DC superhero Aquaman, has a blast going over-the-top as a flamboyant, preening sociopath seeking vengeance. Part Cesar Romero’s Joker, part Jim Carrey’s Riddler, and all peacock-strutting and rooster-crowing swagger, Momoa ups the ante as a sadistic dominating presence. (His character is hastily explained as being institutionalized.)

Dom’s sister Mia (Jordana Brewster), widow of Brian O’Conner (Paul Walker, who died in 2013, and was in five of the films), and brother Jakob (John Cena) also figure into the plot threads. And a noteworthy sentimental touch: Paul’s daughter Meadow Walker has a cameo as a flight attendant helping Jakob.

Oscar winners Charlize Theron, as cyberterrorist Cipher, Helen Mirren as Shaw’s (Jason Statham) mom, and Brie Larson as Tess, daughter of Mr. Nobody (Kurt Russell), make brief appearances, and Moreno has one scene.

But even the big-name cast – peppered with stunning cameos (must-see end credits) that the internet has already spoiled – is overshadowed by the mind-numbing number of pileups, combustible engines, bomb detonations, and burning rubber that result in a reckless high body count and ridiculous disregard for the laws of gravity.

That’s not a surprise – it’s always expected in these big, bold and bravura blockbusters. Yet, for those who have been paying attention throughout the soap opera-on-wheels thrill ride sequels, some previous villains are now allies (well, maybe frenemies in a couple cases) and it will be established that former friends betray the good guys. That can get rather head-scratching – but really, thinking is not a requirement here.

Nevertheless, the one constant is that the theme of family remains central to the core. It’s just that the death-defying action becomes a distraction as escaping without harm gets increasingly preposterous.

When this popular franchise began, the personalities carried the minimal plot and maximum action adventures through, but as the scope became bigger, the plots became more convoluted.

I can’t imagine anyone who hasn’t seen the last four or five really knowing – or caring – what has happened and what is going on now, as they’ve swelled from streetfighters to save-the-world in land, sky, and sea scenarios.

Dom in Rome

Case in point: A submarine in the South Pole. Before you ponder this, keep in mind the latest cliffhanger ending is an intriguing tease for “Fast X Part 2,” now scheduled for 2025. Apparently, not the end of the road but “the last chapters” with another or two.

This latest excursion through Brazil, Rome, Portugal, London, Los Angeles, and Antarctica is ultimately fan service. Let’s face it – few view these for interesting intricate stories. Now going into their third decade, people want bullets to spray, cars to fly and more pedals to the metal than in the last chapter.

The stories are such a minimal template that I’ve accused them of being written by chimps, but now, after number 10, I’m convinced they are employing AI.

The latest screenwriters – veteran Justin Lin plus newbie Dan Mazeau — touch on previous scenarios for some sense of a plot thread, but it doesn’t make “Fast X” easy to follow. The characters are based on those created by Gary Scott Thompson in 2001’s “The Fast and the Furious.”

Lin, who directed the third through sixth movies (“The Fast and the Furious: Tokyo Drift” in 2006, “Fast and Furious” in 2009, “Fast Five” in 2011 and “Fast and Furious 6” in 2013, returned for the ninth (“F9, The Fast Saga” in 2021), but abandoned directing this movie, over ‘creative differences,’ and Louis Leterrier, who made the first two “Transporter” movies, took over. Lin, however, stayed on as a producer and has a screenwriting credit.

The entire canon includes “2 Fast 2 Furious” in 2003, “Furious 7” in 2015, “The Fate of the Furious” in 2017, and then “Fast and Furious Presents Hobbs and Shaw” in 2019.

What happens next will determine the franchise’s grand finale. But harkening back to the early glory days would be a nice change of pace, for these increasingly ludicrous sequels have spun the original intentions out of control. After all, it’s supposed to be about family.

Vin Diesel as Dom

“Fast X” is a 2023 action thriller directed by Louis Leterrier and starring Vin Diesel, Michelle Rodriguez, Jason Momoa, Charlize Theron, Jason Statham, John Cena, Jordana Brewster, Brie Larson, Helen Mirren, Rita Moreno, Tyrese Gibson, Sung Kang, Nathalie Emmanuel, Ludacris, Scott Eastwood, Alan Ritchson. It is rated PG-13 for intense sequences of violence, action and language, and some suggestive material. and the run time is 2 hours, 21 minutes. It opened in theaters May 19. Lynn’s Grade: C-.