Lynn Venhaus

Total Post: 1140

Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.  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.  She is a member of Critics Choice Association, where she serves on the women's and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle. She is retired from teaching journalism/media as an adjunct college instructor.

‘Jersey Boys’ A Rolling Bolt of Thunder at Stages St. Louis

‘Jersey Boys’ A Rolling Bolt of Thunder at Stages St. Louis

By Lynn Venhaus

Oh, what a night! Any time you can be joyfully swept up by the catchy hooks and upbeat sounds of the Four Seasons catalog is a good day.

Although the music is the big draw, the personal stories of bandmates Frankie Valli, Nick Massi, Bob Gaudio and Tommy DeVito combine for the irresistible musical “Jersey Boys.” The four lads from New Jersey’s rough-and-tumble journey through the music business is a fascinating rags-to-riches story, the quintessential American Dream tale.

In its Stages St. Louis premiere, the Tony Award winner comes alive in the Kirkwood Performing Arts Center’s intimate staging in the Ross Family Theater. The show runs through Oct. 24.

This can’t-miss combination overflows with energy and charm – and 30 songs, including their chart-topping hits “Sherry” in 1962, “Big Girls Don’t Cry,” “Who Loves You” and their last number one from 1976, “December 1963: Oh! What a Night!” The group sold 175 million records.

Directed with verve by Stages’ mainstay Michael Hamilton, with input from associate director Gayle Seay and assistant director Christopher Kale Jones, each number is vibrantly staged. Dana Lewis’ choreography is snappy and stylized.

The addition of live music at Stages, with the band perched atop of James Wolk’s grid set design, is a major plus. Music director Jeremy Jacobs kept up a peppy infectious beat with a tight band.

Wolk has efficiently used the space to set up different nooks conveying time and place, from recording studios to Las Vegas, with Sean M. Savoie’s savvy lighting choices expertly enhancing the designs, starting with streetlamps, and moving on to glitzy showbiz venues.

After it opened on Broadway in 2005, the musical became a juggernaut, winning four Tony Awards, including Best Musical, Actor, Featured Actor and Lighting Design in 2006, and ran until 2017, with multiple resident companies in the U.S. and abroad, in addition to several national tours pleasing crowds for years.

“Jersey Boys” is currently the 12th longest-running Broadway show (4,642 performances in 11 years).

Stages has assembled a very capable quartet of smooth operators who mesh as a group –singing actors Christopher Kale Jones, Brent Michael DiRoma, Jason Michael Evans and Ryan Jesse are funny, appealing, good singers whose harmonizing brings a strong dynamic to the show.

Jones, as indefatigable lead singer Frankie Valli, pours his heart and soul into the role, with a comfortable falsetto and a passionate delivery. His rendition of “Can’t Take My Eyes Off You,” one of the show’s biggest moments, will give you goosebumps. He played Frankie on the first national tour.

Jason Michael Evans is an amusing Nick Massi, the quirky bass player, and he pulls off the deadpan delivery and crisp comic timing required of the role. Brent Michael DiRoma, who was so strong as Jerry in Stages’ “The Full Monty,” brings out the complexities of the swaggering troublemaker guitarist Tommy DeVito. He also had national tour experience, but in other roles.

The songwriting talents and keyboard prowess of young musical genius Bob Gaudio is charismatically portrayed by Ryan Jesse, who performed the role on Broadway and on tour.

Stages’ ensemble adroitly fills in the supporting roles: Edward Juvier is Bob Crewe and others, while Dereis Lambert, Jenna Coker-Jones, Nic Thompson, Brady Miller, Sarah Ellis, Donna Louden, Steve Isom, John Flack, Dena Digiacinto, Trevor James Berger, and Erik Keiser fluidly move the story along. The entire production has a close-knit feel.

They journey through backstage drama, in-fighting, inside show-business wheeling and dealing, and unsavory parts of personal and professional relationships.

Clever book writers Rick Elice and Oscar-winning screenwriter Marshall Brickman presented different points of view and broke the Fourth Wall, where characters talk directly to the audience. It’s a masterful touch.

The vintage outfits from several decades are crafted with flair by resident costume designer Brad Musgrove, who knows how to go way back into the time machine of early rock ‘n roll and sharply dress performers.

Because it resonates so well, “Jersey Boys” remains a blissful experience, a delightful jukebox musical with a smartly constructed book that features humor and heartache – not to mention it’s based on a remarkable true story. And those songs!

It was thrilling to be back together in a theater where you could feel the electric jolt on stage – and in the audience. I’ve seen this show, I think, seven times, and it is always a home run. Performers may be better than others, but such pizzazz. It never gets old.

Show features adult content, so viewer discretion.

“Jersey Boys” runs from Sept. 24 to Oct. 24. For information and tickets, visit www.stagesstlouis.org or call 314-821-2407.

.

‘The Rescue’ Documentary Details the Harrowing Journey of Thai Soccer Players in 2018

‘The Rescue’ Documentary Details the Harrowing Journey of Thai Soccer Players in 2018

The daring rescue of 12 boys and their soccer coach from deep inside a flooded cave in Northern Thailand captured the headlines in 2018, and now in an enthralling and inspiring documentary, “The Rescue,” our hearts as well.

Filmmakers Jimmy Chin and Elizabeth Chai Vasarhelyi, Oscar winners for “Free Solo” accessed never-before-seen material and included exclusive interviews to spotlight the risky world of cave diving and to convey the enormous outpouring of caring and compassion from the international community.

Even though we know the outcome, dubbed the “Miracle in the Cave” by the global news media, this documentary is a remarkable story of survival, determination, and ingenuity in the face of daunting odds and natural elements.

It’s a story we knew from the news, but not so much the harrowing details, which unfold like an edge-of-your-seat thriller. It’s a race against time that took two weeks to complete, and we feel the clock ticking and the mounting danger, especially as monsoon season nears.

To refresh, after a soccer practice, the boys went on an outing to explore a nearby elaborate system of caves and became trapped. While anxious parents awaited their rescue and fate, the Thai Navy, U.S. Navy Seals, and renowned cave divers combined their know-how for a daring rescue. Along with the Thai government and international leaders, we see the teamwork and plans in this life-or-death scenario.

Many people helped save the boys, and the courage they showed in such a perilous journey is astounding. But the two cave divers who first spotted the boys after 10 days, Rick Stanton and John Volanthen, are true heroes, as they give first-hand accounts of what happened.

It’s a lump-in-your-throat moment when the gaunt-looking youngsters say heartfelt “Thank you” and attempt to keep their spirits up, even though they are hungry and scared.

The film recently won the People’s Choice Award at the Toronto International Film Festival.

It’s certain to make an impact as a contender we near the annual awards season. But more importantly, it’s a rare success story and an extraordinary account of what humans are capable of in the face of overwhelming adversity.


“The Rescue” is a 2021 documentary directed by Jimmy Chin and Elizabeth Chai Vasarhelyi. It is rated PG for thematic material involving peril and some language, and the run time is 1 hour, 47 minutes. In select theaters Oct. 15 and will eventually be on the National Geographic Channel (Disney Plus).

Sci-Fi Romance ‘Needle in a Timestack’ Colossal Waste of Time

Sci-Fi Romance ‘Needle in a Timestack’ Colossal Waste of Time

By Lynn Venhaus
Typically, movies about time travel make my head hurt because I overthink things and raise too many questions as I try to figure out the logic.

No need to waste precious brain cells on determining what’s going on in “Needle in a Timestack” because most of it doesn’t make any sense anyway.

In the ‘near future,’ time “jaunting” has become a luxury afforded the wealthy in this sci-fi romance, where architect Nick (Leslie Odom Jr.) is worried that his soulmate wife Janine (Cynthia Erivo) won’t be in his memories because of her ex-husband and his former friend Tommy (Orlando Bloom) messing with altering events in time, which is called “phasing,” and is disruptive in multiple facets of life. Can he stop it or manipulate time to make sure she is in his life?

And that’s a shame because the cast is full of likable performers that you usually want to root for, but their characters are vapid and spout ridiculous psychobabble about love. The two couples are such ciphers lacking much personality and possess all the trappings of comfortable modern life, so what’s the problem? Or, for that matter, the point?

Based on a short story by Robert Silverberg that was first published in the June 1983 issue of Playboy, he had previously published a collection of ten short stories under the same title in 1966 and decided to reuse the title for this story.

Let’s count the ways this project screams ‘misguided.’ For starters, John Ridley, Oscar winner for the adapted screenplay of “12 Years a Slave,” squandered energy on rewriting a story that does not translate well nearly 40 years later, given how there is such a gap between the 1 percenters and the “have-nots” – it smacks of privilege and one more thing to resent the “haves” about.

Surprisingly tone-deaf, the script is superficial in its portrait of married couple Nick and Janine as well as their prior significant others Tommy (Orlando Bloom) and Alex (Freida Pinto).

For all the talk of forever love, Nick and Janine sure don’t look happy. He’s an architect and she’s a photographer, and they live in an airy, ultra-modern home straight out of Architectural Digest.

Nick is consumed by thinking Tommy is trying to snare Janine, but Nick is quite a glum malcontent – and we get generic shots of him not looking happy.

And when a big phasing happens, whoa – he’s back with his beautiful girlfriend Alex – and she seems miserable because he’s such a mopey guy.

Tony winners Leslie Odom Jr. and Cynthia Erivo – he for “Hamilton” and she for “The Color Purple,” are much in demand after Oscar nominations – he for “One Night in Miami” and she for “Harriet.”

However, two premier vocalists do not even team up for a song post credits.

Orlando Bloom’s character is underwritten and puzzling. One phase has him behaving like an entitled rich guy and the second wave turning him to benevolent best bud following his bliss by pursuing his dream, being with the girl of his dreams and concern about his pal Nick.

And wouldn’t these phasings that alter people’s lives cause tremendous chaos in the real world?

Nick’s sister Zoey – a marvelous turn by Jadyn Wong, a bright spot, pays a lot of money to tamper by switching a friend’s tragic loss, but consequences, while threatened, appear to be random or non-existent.

And where are we? We are in a never-mentioned big city, and as the film was made in British Columbia, I assume it is Vancouver, but why assume? It just seems to be plastic and slick without a reason to stay engaged.

Trying to explain this is indeed a head-scratcher. Love is a circle. Let’s move on.

“Needle in a Timestack” is a 2021 science-fiction romance directed by John Ridley and starring Leslie Odom Jr., Cynthia Erivo, Orlando Bloom and Freida Pinto. It is rated R for some language and its run time is 1 hour, 51 minutes. It opened in theaters and was available on digital Oct. 15; and on DVD, Oct. 19. Lynn’s Grade: D.


‘The Last Duel’ is High Stakes Game of Misplaced Righteousness

‘The Last Duel’ is High Stakes Game of Misplaced Righteousness

By Alex McPherson

An ambitious historical epic with powerful performances, hard-hitting action sequences, and an intelligent condemnation of systemic injustice, director Ridley Scott’s “The Last Duel” approaches glory, but falls slightly short of achieving it.

Based on actual events and taking place in 14th century France, the film, broken into three sections, begins with Jean de Carrouges (Matt Damon, sporting an unfortunate hairdo), a valiant fighter serving under the cuckoo Count Pierre d’Alençon (Ben Affleck). De Carrouges, having lost his first wife and child from the plague, sees an opportunity to father an heir and inherit a large dowry, which includes a huge swathe of land. He weds Marguerite de Thibouville (Jodie Comer), the daughter of a wealthy-yet-disgraced nobleman. However, through a series of political maneuvers, longtime friend Jacques Le Gris (Adam Driver) ends up possessing a large portion of de Carrouges’ new land, gets promoted to captaincy over him, and rapes Marguerite when she’s alone at home. De Carrouges files lawsuit after lawsuit, eventually requesting a last duel to the death. Retribution for Marguerite’s rape isn’t de Carrouge’s primary motivation — it’s his own pride and “honor” that’s at stake.

We then see the same events from Le Gris’ point of view: he observes as the handsome, fun-loving squire who parties with the Count and helps him improve his fortunes (Le Gris can read and handle basic accountancy). He betters his own lot in life by currying favors. In this version, de Carrouges isn’t a brave warrior, but a bumbling fool. It’s all rather smooth sailing for Le Gris who, after the assault, is reassured from the Count and the clergy that there’s no way that Marguerite’s claims will be taken seriously. 

Jump to section three, the most resonant of them all, and we watch the happenings unfold from Marguerite’s vantage point, getting a more intimate look at the horrible situation she’s become stuck in. She’s left feeling dehumanized and at the mercy of arrogant men whose final battle risks not only their lives, but her own as well.

Suffice to say, there’s plenty of anxious tension headed into the climactic confrontation, a bloody brawl that’s undoubtedly one of the best scenes of 2021. Beforehand, “The Last Duel” takes a creative approach to storytelling that fully fleshes out its subjects — the courageous Marguerite in particular. While Scott’s film isn’t especially profound in revealing that 14th century France was, in fact, horrendously unjust towards women, it slyly demonstrates how shifts in perspective can alter how we perceive the world, and the self-serving ways in which we might perceive ourselves.

Indeed, “The Last Duel” invites viewers to compare and contrast each party’s accounts of what took place, illustrating pertinent differences between them. Alterations in music, camera angles, and dialogue reveal the truth layer by layer, depending on who’s telling it, both serving to fill in narrative gaps and make the film feel decidedly stretched-out by the sword-clashing finale. The costuming and production design are incredibly detailed and period accurate, to be expected. The screenplay — co-written by Damon, Affleck, and Nicole Holofcener — highlights the egomania of de Carrouges and Le Gris, while occasionally throwing subtlety to the wind.   

This episodic structure wouldn’t work if the actors weren’t in top form, and luckily, the whole cast delivers. Comer, bringing to life Marguerite’s kindness, trauma, and steadfast bravery in facing a system designed to subordinate her, is wholly deserving of accolades come awards season. Until the final act, she’s mostly relegated to the sidelines, but she conveys Marguerite’s weathered fearlessness through her facial expressions alone, infusing the film’s final stretch with true emotional gravitas. 

Damon and Driver are similarly effective, albeit portraying more straightforward characters. There’s little redeeming either of them, no matter if we’re seeing through their eyes or not, but “The Last Duel” takes great lengths to show the patriarchal structures that inform their worldviews. Affleck almost seems like he’s in a different film, but it’s entertaining watching him embrace a demented frat boy persona as the Count, drunk on power along with alcohol.

Where the film stumbles involves Scott’s lack of restraint. Witnessing Marguerite’s assault — twice — comes across as exploitative rather than necessary. On one hand, “The Last Duel” paints similarities of Le Gris’ monstrous actions to the “playful” nights he enjoys with women in the Count’s chambers. On the other hand, when shown again through Marguerite’s frame of reference, it serves little purpose beyond shock value, fueling our anger leading into the titular showdown. In this case,“The Last Duel” uses her violation to artificially amplify dramatic stakes.

Although the film is ultimately uneven in execution, there’s still enough compelling characters to carry it through to its squirm-inducing conclusion. “The Last Duel” succeeds in demonstrating how the past informs the present, and the importance of recognizing how a core issue of the time — viewing women as property rather than human beings — continues in various insidious forms today. It’s also just a bone-crushing, suspenseful medieval thriller that prizes at least some brains over pure brawn.

Jodie Comer in “The Last Duel”

“The Last Duel” is a 2021 drama directed by Ridley Scott and starring Matt Damon, Ben Affleck, Adam Driver and Jodie Comer. The run time is 2 hours, 32 minutes, and it is Rated R for strong violence including sexual assault, sexual content, some graphic nudity, and language. Alex’s Grade: B+

Experience Awe and Wonder in Immersive ‘Beyond Van Gogh’

Experience Awe and Wonder in Immersive ‘Beyond Van Gogh’

By Lynn Venhaus
An enticing sense of wonder and palpable joy in nature can be felt in “Beyond Van Gogh: The Immersive Experience,” now available in St. Louis.

Irresistible and imaginative, it is: “magnificent.”

Art lovers will swoon looking at the walls with a 22-foot ceiling, technology enthusiasts will marvel at the cutting-edge three-dimensional world, and all will be exhilarated by the moving digital light show that breathes new life into Vincent van Gogh’s life work.

One must experience this unique multimedia presentation first-hand to understand just what the ‘immersive’ aspect truly means.

The limited engagement which opened Oct. 1, runs through Nov. 21 and is open from 10 a.m. to 10 p.m. Sundays through Thursdays and 10 a.m. to 11 p.m. Fridays and Saturdays. Four entry times are available each hour and tickets are sold online at www.vangoghstlouis.com

The installation is in the Starry Night Pavilion on the grounds of the Saint Louis Galleria, near the Macy’s side. Upon entry of the gigantic white tent, you will be educated about the legendary Dutch painter – his thoughts recorded in letters to his brother Theo, his dreams and own words about his life and work.

 After the introduction, a second room, referred to as a “portal,” prepares visitors for the visuals by having them get used to the moving images – comparing it a dreamlike experience.

The work comes alive in the ‘immersion’ room, the third – and largest – space. then we become acclimated to the visuals of his works, through wall projections and finally, able to partake in stunning colors that swirl, dance and refocus into flowers, cafes and landscapes that operate on a 30-minute loop.

Overall, there are about 300 paintings representing his vast body of work. He had a fondness for portraits of peasants and still life of nature settings, and is known for a multitude of self-portraits.

His instantly recognizable masterpieces “The Starry Night,” “Sunflowers” and “Café Terrace at Night” come to life, no longer in frames, and you can see the details. The numerous shades of blue he used to depict night skies is remarkable – and vibrant.

The music score is symphonic and cinematic, and yes, you can hear snippets of Don McLean, along with Paul Simon, Miles Davis and other modern composers.

Whether you are familiar about the tortured artist or not, you can’t help but have a new appreciation for his work and understanding of the 19th century world he attempted to cope with in his all-too-brief, difficult life.

Sadly, he was more famous in death than in life. He was born in 1853 in Zundert, Netherlands. He didn’t take up painting until he was 28 years old. After bouts with depression, cutting off nearly his entire ear, confined to an asylum for a year – he painted nearly a work a day – he shot himself in the chest in 1890 and died two years later of infection in Auvers-sur-Oise, France. He was 37 years old.

His brother, Theo, an art dealer, died of syphilis six months later, and his widow, Jo, is credited for getting the word out about Vincent, and his paintings into the public eye.

In later years, medical experts have concluded that he likely had depression, bipolar disorder and a borderline personality disorder. Because of his poverty, poor diet, sleeping habits, drinking and smoking, he did not help his health either.

Immersion Room. Provided Photo.

For those interested in exploring more about Van Gogh, four of his paintings are on display at the St. Louis Art Museum in Forest Park, including “Stairway at Auvers” and “Head of a Peasant Woman,” seen in the immersive projections.

For those wondering where others are, “Arles Sunflowers” and “Wheat Fields with Cypresses” are at the Metropolitan Museum of Art in New York City, “The Starry Night” is at the Museum of Modern Art in New York City, and “Starry Night Over the Rhone” is in the Musee D’Orsay in Paris.

“Café Terrace at Night” is at the Kröller-Müller Museum in Otterlo, the Netherlands. For that work, he set up an easel in the Place du Forum, a public square in Arles, and painted it en plein air.

“Irises” is at the J. Paul Getty Museum in Los Angeles and “Haystacks” is at the Philadelphia Museum of Art.

At the Van Gogh Museum in Amsterdam, you will find “Bedroom in Arles,” “The Yellow House,” and “The Potato Eaters.”

The Normal Studio, which has accomplished these shows with other artists, too, is known for pushing the boundaries of performing arts, entertainment, and public installations. Founded in 2009, they fuse physical and technological elements to transform spaces into multimedia magic, telling stories in new and different ways.

It is indeed a one-of-a-kind triumph in the St. Louis region, an experience not to be missed.

The St. Louis exhibit also has a gift shop. For a special, Schlafly has introduced a beer, Swirling Sky IPA, at its various locations. 

Provided photo.

The exhibition is open from 10 a.m. to 10 p.m. Sundays through Thursdays and 10 a.m. to 11 p.m. Fridays and Saturdays in the Starry Night Pavilion on the grounds of the Saint Louis Galleria, Richmond Heights. Four entry times will be available each hour.  They recommend that the exhibit takes one hour to view.

Prices start at $36.99 for adults, with VIP and premium passes available up to $93, and $24.99 for children ages 5 to 15, with children under 5 are free. Tickets are sold online at www.vangoghstlouis.com

Beyond Van Gogh is following all St. Louis County Health Department guidelines in place during the exhibition’s run. Parking is free at the Saint Louis Galleria. Group tickets are available for eight or more.

For more information, visit www.vangoghstlouis.com.

Provided photos.

Bond’s Craig Era Ends in Satisfying Swan Song — and Fresh Female Focus

Bond’s Craig Era Ends in Satisfying Swan Song — and Fresh Female Focus

By Lynn Venhaus

“No Time to Die” is everything you want in a Bond movie, a super-spy thrill ride elevated by director Cary Joji Fukunaga’s flair for assembling dynamic action sequences and his attention to details.

And in a welcome surprise – assertive women show up in an impressive triumvirate of Ana de Armas, Lashana Lynch and Lea Seydoux.

For the fifth and final entry in the Daniel Craig era as the suave James Bond, our very human hero has left active service at M16 and is enjoying a tranquil life of retirement in Jamaica. However, his peace is short-lived when his old friend Felix Leiter (Jeffrey Wright) from the CIA asks for help in rescuing a kidnapped scientist. The mission turns out to be far more treacherous than expected and leads Bond onto the trail of a mysterious villain (Rami Malek) armed with dangerous new technology.

Fukunaga’s keen eye is well-documented in his unflinching 2015 film “Beasts of No Nation,” in which he was also cinematographer, and his masterful first season of the dark, hypnotic “True Detective” in 2014, for which he won an Emmy Award for directing.

He excels at moving this intriguing spy story along and the globe-trotting camerawork by Linus Sandgren, Oscar winner for “La La Land,” is dazzling. Even at 2 hours and 43 minutes, this slick yet gritty adventure keeps our attention, and satisfyingly wraps up Craig’s story arc as the British icon.

While most other Bond films can stand on their own, some 25 and counting over six decades, the five in the Daniel Craig era are connected. “No Time to Die” relies on viewers knowing that Vesper Lind was Bond’s first wife in the 2006 “Casino Royale” reboot and that tragic backstory, as well as familiarity with what happened in the last one, “Spectre” in 2015 – especially about his girlfriend Dr. Madeleine Swann, daughter of nemesis Mr. White, and sinister mastermind Blofeld (Christoph Waltz), Swann’s dad’s boss.

The script by Neal Purvis and Robert Wade, as well as Fukunaga, is noticeably impacted by the contributions of screenwriter Phoebe Waller-Bridge (heralded creator of “Fleabag”), who brings a refreshing female perspective to the well-documented male patriarchy of the Bond franchise.

This entry is far more female-forward than previous Bond installments – and there is a new 007, Nomi, and she is a feisty, ferocious machine, with Lashana Lynch in a dandy performance, the first black British agent in the film’s 58-year history. No, he may be legendary, but they did not retire Bond’s number, 007.

The iconic ID has been around since Ian Fleming’s first novel, “Casino Royale,” in 1953, and he went on to write 11 novels and two short story collections. Other authors have carried on Bond’s missions.

What direction the Bond franchise goes after Craig’s swan song is anyone’s guess – but post-credits, producers are emphatic: Bond will return in 2022. Debate rages over the possibility of Idris Elba or Rege-Jean Page, or even a female agent. Hmmm…anticipation grows.

In the meantime, Craig fans will enjoy his final emotionally charged performance. He’s been a fine Bond, one of the best, displaying an intensity about dedication to duty, a wily intelligence and a tiny chink in his reserved demeanor about feelings, which is endearing. His orphan roots and lovers’ betrayals have exposed his internal wounds.

While he might not be as memorable as some previous villains, Rami Malek is an interesting adversary as mad genius Lyutsifer Safin, warped by his father’s zeal for using chemicals as weapons.

As the other Bond villain, Blofeld, Christoph Waltz is far better here in one confrontation than he was in the entire “Spectre,” which was a disappointing film after the extraordinary “Skyfall” in 2012.

Not everyone is sold about French actress Lea Seydoux playing the love interest, a rare second appearance for a girlfriend, but it deepened the Craig finale.

This foray features a solid cast, with the always-exceptional Ralph Fiennes returning as a conflicted M, Ben Whishaw as tech whiz Q, Naomie Harris as loyal assistant Eve Moneypenny, Rory Kinnear as government wonk Tanner and this time around, Jeffrey Wright compelling as CIA pal Felix.

Besides a take-notice turn by Lynch, Ana de Armas is sensational as a rookie CIA operative helping Bond in Cuba. She is not given as much screen time as she deserved, and her captivating sequence had viewers wanting more, ushering in a new type of “Bond girl” in a changing era.

Bond may be a relic from a distant past, but the fact that filmmakers acknowledge that change is necessary, makes for a fascinating future.

The franchise, known for stylish escapism, may be forced to adapt to keep relevant in a brave new world, but viewers will always want engaging stories of right triumphing over might – no matter if it’s good girls AND guys.

And wow, are those car chases fun to watch.

Daniel Craig as James Bond in “No Time to Die”

“No Time to Die” is an action-adventure directed by Cary Joji Fukunaga and stars Daniel Craig, Rami Malek, Lea Seydoux, Lashana Lynch, Ben Whishaw, Naomi Harris, Christoph Waltz, Ralph Fiennes, Jeffrey Wright, BIlly Magnussen and Ana de Armas. It is Rated: PG-13 for sequences of violence and action, some disturbing images, brief strong language, and some suggestive material. Its run time is 2 hours, 43 minutes. It is in theaters on Oct. 8. Lynn’s Grade: A


‘Titane’ is Full-Throttle Showstopper

‘Titane’ is Full-Throttle Showstopper

By Alex McPherson

Nothing can prepare you for director Julia Ducournau’s “Titane” — a profane, sentimental, horrific work of art. It’s also a film that benefits from viewers knowing as little as possible about going in. Rest assured, this gem is A+ quality, but if you don’t mind some mild spoilers, feel free to continue reading.

Set in Southern France, “Titane” focuses on Alexia (Agathe Rousselle), an erotic dancer with some peculiar kinks and murderous inclinations. As a child, she was in a car accident that required surgery and the doctors implanting a slab of titanium in her skull. This presumably explains her love for automobiles and all things metallic, as well as her aversion to fellow humans. The movie starts with an elaborate sequence leading to Alexia writhing passionately upon the hood of a flame-streaked Cadillac to the sound of “Doing It To Death” by The Kills. Later on, she’s summoned by the vehicle to, well, have unprotected sex. Alexia finds out she’s pregnant, and it’s only a matter of time before the police put her behind bars for some vicious killings.

She impulsively decides to assume the identity of a boy, named Adrien, who has been missing for a decade. She’s unexpectedly picked up by Adrien’s father, Vincent (Vincent Lindon), a fire chief willing to overlook glaring implausibilities to achieve a sense of long-lost comfort. Alexia/Adrien, straining to conceal her identity, finds a purpose missing from her former way of life.

Indeed, “Titane” takes the cake as the boldest, most unforgettable film I’ve watched this year. When you wade through all the blood, guts, and body horror, the central plot winds up strangely wholesome and life-affirming. Just like with “Raw,” Ducournau’s previous masterpiece, shock value is paired with fascinating characters that yield layer upon layer of complexities, even as viewers avert their eyes in disgust.

And there are graphic images aplenty, particularly during the first 30 minutes or so. The film’s relentless introduction immerses viewers into Alexia’s no-holds-barred approach to living with visceral, at times stomach-churning impact. Bathed in vivid neon light and captured with smooth, mesmerizing long takes forcing us to view the brutality up-close-and-personal, “Titane” throws viewers into the muck with zero time to breathe. We don’t completely understand what’s motivating Alexia’s decisions, but Rousselle’s performance is so magnetic — forgive the pun — that she commands viewers’ undivided attention whenever she’s on screen. Her inhumane actions, to put it lightly, are based in a deep sense of discontent with the world at large, as well as with her own body, which the pregnancy impacts day by day.

When she encounters Vincent, though, “Titane” becomes a wholly different beast. We go from observing an abhorrent character in Alexia to spending time with a broken, haunted man. Leading a crew of hyper-masculine men, Vincent puts on the appearance of strength, but remains deeply vulnerable. He will grasp at anything to appease his grief-stricken psyche and is able to suspend his disbelief to feel whole once again. Lindon’s performance is soulful, earning our sympathy from the outset. As they grow closer, and as Alexia/Adrien navigates intense scrutiny from Vincent’s crew and beyond, “Titane” provides some surprisingly warm-hearted, tear-jerking moments — finding humor, beauty, and compassion in the grotesque and uncertain.  

Ducournau’s film is anything but static, gliding between genres and tones with such confidence that it’s practically impossible to predict what will happen next. In a sense, this refusal to be categorized extends into the themes Ducournau explores — largely revolving around agency of one’s body, the rigidity of societal norms, the fluidity of gender, and the messy, chaotic lengths some will go to feel love and belonging. The trials Alexia/Adren and Vincent endure strip them down to their base drive for connection, struggling against man-made machinations and preconceptions that seek to control their ways of being.

Add to this a perfect soundtrack and original score on par with “Raw,” along with minimalist dialogue that sparkles with darkly comic wit, and “Titane” emerges as a film that deserves to be cherished by anyone brave enough to weather the storm. Sure, some more insight into Alexia’s backstory could have fostered a greater emotional attachment early on, but by the conclusion, we’ve witnessed something special — brought to life by talented actors and a director in absolute command of her craft.

“Titane” is a drama-sci-fi-thriller in French with English subtitles, directed by Julia Ducournau It stars Agathe Rousselle, Vincent Lindon, Garance Mariller and is rated R for strong violence and disturbing material, graphic nudity, sexual content, and language. Its runtime is 1 hour, 48 minutes. It was released in the United States on Oct. 1 in theaters. Alex’s Grade:: A+.  

Mysterious ‘Lamb’ from Iceland is ‘Shear’ Brilliance

Mysterious ‘Lamb’ from Iceland is ‘Shear’ Brilliance

By Alex McPherson  

Director Valdimar Jóhannsson’s offbeat, poetic, and emotionally complex “Lamb” stands in a league of its own, adding yet another gem to A24’s ever-expanding oeuvre.

This bleakly twisted fairy tale unfolds within a secluded Icelandic mountain range bathed in thick fog that reflects the quiet gloom of our main characters, sheep farmers María (Noomi Rapace) and Ingvar (Hilmir Snær Guðnason). One night, an unseen, heavily breathing presence startles nearby horses and farm animals, targeting one sheep in particular. Meanwhile, María and Ingvar go about their days, which involve maintaining crops and caring for their animals, with subtle detachment. Even though they enjoy each other’s company, an unspoken rift exists between them. Something’s missing in their relationship, casting a dark shadow over their household. 

When one of their sheep gives birth to an odd hybrid that has to be seen to be believed, María creates a motherly bond with this creature, whom she names Ada. Ingvar, initially shocked but determined to ensure his wife’s happiness, gradually slips into his new role as a father. Much to the dismay of Ada’s birth mother, who bleats outside their bedroom window every night, Ada has rendered both María’s and Ingvar’s lives more fulfilling. However, as Ada grows up and the film progresses through three distinct chapters in her life, a sense of dreadful anticipation looms — reaching a boiling point when Ingvar’s rowdy and unpredictable brother, Pétur () shows up on their doorstep.

A cinematic morality tale confronting humankind’s flawed connection to nature and the perils of motherhood, “Lamb” is difficult to describe, but an absolute treat to witness. The film takes viewers on a mesmeric trip through valleys of sadness, joyfulness, and fear. It’s utterly impressive that the plot’s crazier elements don’t hijack its dead-serious heart.

“Lamb” exudes patience, nearly to its detriment — in shot compositions, pacing, and vague nuances in character interactions — to set a disquieting mood. For the first 20 minutes or so, dialogue is kept to a bare minimum, letting us observe María’s and Ingvar’s ennui along with them. Jóhannsson forces us to sit in their melancholy, surrounded by their sheep and pets who seemingly question their decision to adopt Ada, providing some of the best animal acting I’ve ever seen. 

Neither María nor Ingvar question the creature’s origins — they have a new purpose in life and a chance to rekindle what they lost in the past. Guðnason beautifully conveys Ingvar’s transformation into a loving father, but this is truly Rapace’s film, and we can see through her eyes that she will not, under any circumstances, lose this opportunity to be a mother. As a result, her uncompromising love for Ada seems wholly believable, and even heartbreaking, for Ada’s arguably not hers to begin with. 

This dichotomy between nature vs. nurture fuels the drama, as we want this family to thrive, but recognize the moral ambiguity of rearing Ada away from her kin and robbing her of agency. Indeed, “Lamb” explores the humans’ connection to Ada more than Ada herself, but perhaps that’s intentional. She’s inhabiting two different, opposing worlds, and Jóhannsson emphasizes her inability to truly fit in.

Pétur’s arrival brings with it some welcome comedic relief, but “Lamb” soon slips back into a slow-burn dread leading into its inevitable but nevertheless shocking conclusion. In keeping with Jóhannsson’s folkloric inspirations, the film resembles a potent mix of the fantastical and the grounded, basking its absurdism in a cautionary reminder of nature’s colossal power and the extreme lengths some take to assuage grief, no matter the repercussions.

“Lamb” would have benefited from tighter editing here and there, particularly surrounding a somewhat unnecessary love triangle that Pétur initiates, shifting focus away from Ada, but this is a wild and wooly debut feature. If viewers give themselves over to the film’s unorthodox premise, they’ll find one of the most memorably unnerving stories of the year. 

“Lamb” is a horror-mystery-drama from Iceland, directed by Valdimar Jóhannsson and starring Noomi Rapace, Hilmir Snær Guðnason and Björn Hlynur Haraldsson, Rated R for some bloody violent images and sexuality/nuditym its runtime is 1 hour, 46 minutes. In theaters Oct. 8. Alex’s Grade: A-

Profound and Poignant ‘The Story of My Life’ is New Line’s Latest Work

Profound and Poignant ‘The Story of My Life’ is New Line’s Latest Work

By Lynn Venhaus

Friendship is indeed one of life’s blessings, especially those lasting ones through the ebb and flows of the years. The French novelist Francois Mauriac once wrote that “No love, no friendship, can cross the path of our destiny without leaving some mark on it forever.” And this little musical theater gem, “The Story of My Life,” illustrates that theme beautifully.

New Line Theatre kicks off its 30th season with this deceptively simple yet poignant and profound work, an intimate and thoughtful reflection on the special people who change our lives. It runs Sept. 30 through Oct. 23, Thursdays through Saturdays at 8 p.m. at the Marcelle Theater.

It particularly strikes a chord after what we’ve been through during the past 18 months, dealing with a coronavirus pandemic and periods of lockdown and quarantine during the public health crisis. The appreciation of and craving for connection has become an exclamation point.

“The Story of My Life” opened on Broadway in 2009 after earlier productions in Toronto and the Goodspeed Opera House. It was nominated for four Drama Desk Awards, including best musical.

With a keenly observed book written by Brian Hill and heartfelt music and lyrics by Neil Bartram, “The Story of My Life” follows the friendship of Alvin Kelby and Thomas Weaver, two lifelong friends since age 6 who grew up in a small town. Once inseparable, they are reunited after Alvin’s mysterious death.

Jeffrey M Wright as Thomas, Chris Kernan as Alvin. Photo by Jill Ritter Lindberg

While Thomas, a successful author, struggles to write Alvin’s eulogy, his deceased pal appears from the afterlife, and they take a sentimental journey, revealing moments big and small from their intertwined lives.

Alvin goes through the manuscripts and short stories in Thomas’ mind, some which found their way to being published and receiving acclaim.

The adage “write what you know” is what guides Thomas as he sums up his best friend. During the process, he finds his own story and comes to terms with his past.

New Line veterans Chris Kernan as Alvin and Jeffrey M. Wright as Thomas make for an appealing pair, ardently portraying the lifetime friends who chronicle their journey in vignettes – their story is told through stories.

And the two actors punctuate each other’s remembrances. Pouring their hearts and souls into the demanding roles, Kernan and Wright are passionate about making these two guys memorable.

With a deft touch, Scott Miller accompanies the pair on keyboard. He also directed the show with a smart no-frills approach that never feels static.

The score finds the magic in special moments that friends share during lengthy relationships – and addresses rough patches, too. There are four parts to “Saying Goodbye,” and each one is real.

Kernan and Wright meet the challenge of being on stage the entire 70 minutes, without an intermission, breathing life into these roles with insight and charm  

Tom’s book report, “1876” and a song after something Alvin said, “The Butterfly,” are just two highlights.

These parts are unlike anything else they have ever done, with Wright known for classic leading men roles like Nathan Detroit in “Guys and Dolls” and Nicky Arnstein in “Funny Girl,” and Kernan often supporting and humorous roles, like one of the dads in “Heathers” and St. Jimmy in “American Idiot,” and his award-winning Snoopy in “You’re a Good Man, Charlie Brown.”

As the likable kids, who bond over their annual Christmas movie tradition “It’s a Wonderful Life,” they resonate at every turn in their lives.

Alvin, a cheerful sort despite being dealt a few George Bailey-like blows during his life, lost his mom at an early age. When his father begins ailing, he takes over running the bookstore instead of going off to college and adventures.

Thomas, a driven guy who communicates better on paper, is the one who grabs the opportunities afforded him and leaves town, rarely returning.

Alvin stays rooted in their town, running the treasure trove that is his father’s bookstore, “The Writers Block,” and misses his buddy, who is off to other crossroads. Nobody “gets” him like Thomas did. “You’re Amazing, Tom” Alvin sings.

As Thomas is off living a life he imagined, does he feel the same about how special their friendship has been?

Redolent with tender and touching moments, “The Story of My Life” includes many warm humorous bits too – starting with Alvin’s reminisce about their teacher, “Mrs. Remington.”

The show’s rich emotional depth effectively builds to a heart-tugging conclusion, ending with “Angels in the Snow.” Moist-eye alert – bring a tissue.

Scenic designer Rob Lippert’s minimalist set – full of books and the written word – and Kenneth Zinkl’s modest lighting design are impressive accents for a show that stands out without any bells and whistles.

An outstanding collaboration by all involved, “The Story of My Life” has a lot to say, and you’ll be glad you spent time getting to know Alvin and Thomas. Maybe you will recognize your own friends and your experiences along the way, like I did.

After all, George Bailey wisely learned: “Remember, no man is a failure who has friends.”

Holiday time or not, this show is a gift to theatergoers eager to feel “the feels” that only live theater can provide. And a reminder about humanity in a time of great uncertainty and division. It could not be more timely – and timeless.

Jeffrey M Wright, Chris Kernan. Photo by Jill Ritter Lindberg.

“The Story of My Life” runs through Oct. 23, Thursdays, Fridays and Saturdays at 8 p.m. at the Marcelle Theater, 3310 Samuel Shepard Drive, three blocks east of Grand, in the Grand Center Arts District. For more information, visit www.newlinetheatre.com.

Tickets are $25 for adults and $20 for students/seniors on Thursdays; and $30 for adults and $25 for students/seniors on Fridays and Saturdays. To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website.

COVID-19 POLICY

All patrons will be required to wear masks in the lobby and theatre. The stage area will be safely distanced from the audience. In addition, the Kranzberg Arts Foundation now requires all patrons 12 years or older to show proof of their full COVID-19 vaccination or negative COVID-19 test upon entry for all ticketed events at all KAF indoor performance venues, including the Marcelle Theater.  

Photos by Jill Ritter Lindberg.

Tickets On Sale for Midnight Company’s St. Louis Premiere of ‘It Is Magic’

Tickets On Sale for Midnight Company’s St. Louis Premiere of ‘It Is Magic’

Tickets are on sale for The Midnight Company’s St. Louis premiere production of Mickle Maher’s It Is Magic at MetroTix.com.  Performances, at Kranzberg’s Black Box Theatre, are Thursdays, Fridays and Saturdays October 21 through November 6, with all shows at 8pm.  Tickets are $15 for Thursdays and $20 for Fridays and Saturdays.  The production will be following all Kranzberg Arts Foundation safety protocols, including proof of vaccination for entry, and masks at all times.

It Is Magic is a sorrowful and hilarious meditation on the deep, ancient evil at the heart of the community theatre audition process, and an investigation into the mysteries of theatre-making itself.  Two sisters, community theatre veterans who’ve never had the chance to contribute artistically, are holding auditions for their adult version of The Three Little Pigs in the theatre basement, while the group’s pretentious artistic director is attending, then avoiding, opening night of his MacBeth on the MainStage above.  A third sister appears, and reality becomes really magical at the local playhouse.

It Is Magic premiered in Chicago in May, 2019, and Third Coast Review called it “…one of those love letters to theatre…delightfully wacky,” while New City Stage said “Any show that juggles loving critics and tearing their throats out is good in my book.”  Midnight has previously presented two Mickle Maher plays, The Hunchback Variations and An Apology For The Course And Outcome of Certain Events As Delivered By Doctor John Faustus On This His Final Evening.  

Mickle Maher plays have Off-Broadway and around the world, and have been supported by grants from the NEA, the Rockefeller MAP fund, and Creative Capital. They include There is a Happiness That Morning Is; Song About Himself; The Strangerer; Spirits to Enforce; Cyrano (translator), The Cabinet; Lady Madeline; The Pine; and An Actor Prepares (an adaptation of Stanislavsky’s seminal book). He is a cofounder of Chicago’s Theater Oobleck, and has taught playwriting and related subjects at the University of Chicago, Columbia College, and Northwestern University. He recently wrote the book and lyrics for a new musical about basketball, commissioned by the Catastrophic Theatre of Houston and Daryl Morey, the General Manager of the Houston Rockets. And he’s currently adapting the graphic novel Berlin by Jason Lutes for the Court Theatre.

Suki Peters will direct It Is Magic.  In Spring, 2022, Suki will play the bride in Cherokee Street Theatre’s adaptation of Kill Bill, and she will direct Once for R-S Theatrics.  The cast for It Is Magic includes Nicole Angeli as Sandy, desperate to get a part in a play, the part being the lead role of the Wolf in her sister’s play.  Nicole was most recently seen in Metro Theater’s It’s A Wonderful Life, in West End’s Photograph 51, and in Stray Dog’s Hedda Gabler and A Doll’s House.  Michelle Hand portrays her sister, the first-time, aspiring playwright, Deb.  This past year Michelle was in Max & Louie’s Tiny Beautiful Things and SATE’s Zoom show Tonya And The Totes In Subterrstrata.  Carl Overly Jr. is Tim in the play, another actor vying for that coveted Big Bad Wolf role.  Carl was in recent productions of St. Louis Shakespeare Festival’s King Lear and COCA’s Billy Elliott, and upcoming will direct Rimers Of Eldritch at St Louis University.  Chrissie Watkins will be Elizabeth, arriving from seemingly nowhere to land smackdab in the middle of the audition process.  Chrissie was seen in Alpha Players’ The Mountaintop this summer.   And Midnight’s Artistic Director, Joe Hanrahan is in the role of Mortier Civic Playhouse Artistic Director Ken Mason, as arrogant, self-absorbed and sporadically brilliant as any Artistic Director comes.  This year Joe has acted in Midnight productions of Here Lies Henry, and in his own scripts of Now Playing Third Base For The St. Louis Cardinals Bond James Bond, My Violin My Voice at the St. Louis Fringe Festival, and Tonight’s Special at the St. Louis Theatre Showcase.  He will next be seen in his new script, Midnight’s Tinsel Town in December.

Linda Menard will be the Stage Manager for the show, Elizabeth Henning is designing costumes, Kevin Bowman is designing the set and lights, and Ted Drury will design sound.

For more information, visit MidnightCompany.com