Lynn Venhaus

Total Post: 1141

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.

Dispatch from The Hills: 500,000+ Lives

Dispatch from The Hills: 500,000+ Lives

By Lynn Venhaus
Feb 22, 2021. In personal remarks, President Biden led a tribute for the 500,000+ lives lost during the coronavirus pandemic that had tp resonate with all those grappling with bereavement.

In a candlelight ceremony, with a moment of silence for all those who have died this past year — more lives lost than in World War I, World War II and the Vietnam War combined — we were able to mark this enormous loss.

Biden’s empathy and firsthand experience with heart-shattering grief are important now, meaningful words to comfort those grieving. He is the man for the moment.

Around 2,000 people die from the disease every day on average (data from Johns Hopkins University), which is down from a high of more than 3,000 a day on average in mid-January. Last month, the coronavirus was the leading cause of death in America. To date, 28 million people have tested positive in U.S.

The eloquence today consoled a nation, with sincerity and sympathy. Throughout the year, though, we knew how wise and heartfelt his words on grief were. — really ever since his book on his son Beau’s death from cancer at age 46. And in a first, the night before the inauguration, they light Lincoln Memorial in a ceremony that was so very touching.

Collective grief is important. I am still grieving two major losses in 2018 and 2019, and all I can say is, it’s hard. So many triggers. It is not something you ever get over. Some days are better than others. But the kindness and compassion of friends and family help.

Joe Biden’s words have helped me navigate mourning, time and time again.

Ok, critics will say he’s longwinded, and whatever else they want to hurl at him, but he rolled up his sleeves and went to work for all Americans. Actions do speak louder than words. And we see that it’s about us, not him. His teams are working to reset some sort of normalcy to American life. And to try to end the political angle and disinformation about the virus.

His approval rating was 62% last week, which is remarkable. I ask all those who didn’t vote for him to give him a chance – I have always done that with people I didn’t vote for (even #45, but then after a few weeks, it was worse than I could ever imagine in a bizarro world that have been documented many times and we don’t have time to rehash. Moving forward. But the contrast is stunning.

Joe is a devout Catholic, a man of faith. It’s refreshing to have a president who actually prays daily — and without a big show or arranging a photo op. People can tell he is a decent man who really cares about others. Attack his policies, his viewpoint, and work towards solutions if you do, but as a country, he is addressing what needs to be done, and we need to do our part. He inherited a huge mess, not to mention the deep scars of the Big Lie.

We are desperate for leadership, strength, peace, support and reassurance.

The pandemic has changed us all. I experienced a mild case of it, and it’s terrifying, but thankfully, I recovered, and pray for many people daily who are hospitalized or for their families who have lost loved ones — a number in that growing statistic. It’s devastating and it’s real. Biden said: “Resist becoming numb.” We must. We must fight.

Godspeed, frontline workers, first responders, those dealing with coronavirus, our leaders to help get the vaccines to as many people as possible, and all those concerned about our fellow man in these dark times. Need something positive? Look for the helpers.

Here’s the whole ceremony:

https://abcnews.go.com/Politics/video/biden-honors-lost-covid-19-76054180

Studio Ghibli’s ‘Earwig and the Witch’ Casts a Generic Spell

Studio Ghibli’s ‘Earwig and the Witch’ Casts a Generic Spell

By Alex McPherson

Studio Ghibli’s latest project, “Earwig and the Witch,” is a bland film lacking depth and imagination.

The story, based on Diana Wynne Jones’ book, follows Earwig (Taylor Paige Henderson), a young girl living in an orphanage in the British countryside. As a baby, she was abandoned by her mother (Kacey Musgraves), a witch fleeing powerful forces seeking her demise. Earwig, quite a bubbly individual, is content living there with her pal, Custard (Logan Hannon), and has zero interest in moving away.

Her fortunes change when she’s adopted by an imposing, scraggly haired witch named Bella Yaga (Vanessa Marshall) and her spindly, short-tempered husband named Mandrake (Richard E. Grant). Earwig becomes Yaga’s servant — mopping floors and preparing ingredients for her potions. She soon befriends a talking cat named Thomas (Dan Stevens). “Coraline,” much? As the days pass by, Earwig is trapped within this toxic household, unless she can find a way out.

Before all else, dear readers, we must address the film’s controversial animation style. Eschewing the hand-drawn techniques typical of other Studio Ghibli films, “Earwig and the Witch” relies entirely on computer-generated imagery. As a result, environments are rendered with striking attention to detail, but characters’ facial expressions lack nuance, leaving them lifeless and difficult to latch onto. Similarly, characters bluntly explain what they’re feeling at any given moment, perhaps attempting to compensate for their doll-like appearances. 

Director Goro Miyasaki (the son of legendary director Hayao Miyasaki) should be commended for breaking from tradition, I suppose. Regardless of the animation, “Earwig and the Witch” still ends up being a rather stale affair.

Unfortunately, Earwig remains irritating from start to finish. She’s fearless and perpetually optimistic. Miyazaki effectively juxtaposes her initial freedom with the repressiveness of her new environment, but she fails to grow in any meaningful way over the course of the film. Ironically, the life lessons we’re force-fed later on don’t apply to Earwig herself.

As she investigates her surroundings, the pacing slows to a crawl. Indeed, “Earwig and the Witch” extends the dullest aspects of her predicament to fill the entire runtime, becoming repetitive and mind numbing leading up to its exposition-packed conclusion. Nothing much of importance happens, as Earwig and her feline companion (primarily relegated to comedy relief) wander around aimlessly without a clear objective. Shouldn’t they want to escape? There’s no driving force to this plot, and little preventing me from watching something else.

Everything changes in the last 15 minutes, however. We’re bombarded with backstory that’s far more compelling than anything Earwig’s involved in, a sad reminder of the film that could have been. Additionally, the visuals stay frustratingly limited until the finale — providing fleeting moments of spectacle that the film should have embraced more consistently. Familiar themes are broached, including music’s communal power, but little stands out, and the end credits sequence leaves more emotional impact than anything in the main plot. 

At least the voice cast does an acceptable job with what they’re given. Grant stands out in particular, conveying Mandrake’s grumbling, volatile demeanor in an intimidating fashion.

Small children might enjoy the film’s simplistic narrative and cutesy, occasionally spooky vibes, but everyone else should steer clear and (re)watch “Coraline” instead. It pains me to write this, as a Studio Ghibli fan, but “Earwig and the Witch” just feels pointless.

“Earwig and the Witch” is an animated fantasy adventure film directed by Goro Miyasaki. It is rated PG for some scary images and rude material and run time is 1 hour, 22 minutes. Alex’s Rating: C-

The Rep Presents New Virtual Comedy ‘Hi, Are You Single?’

The Rep Presents New Virtual Comedy ‘Hi, Are You Single?’

Campy, quirky, sexy and deeply emotional comedy runs through Feb. 28

In an effort to provide access to the best virtual programming in the nation, The Repertory Theatre of St. Louis is proud to present the hilarious Hi, Are You Single?, available virtually through Feb. 28. Patrons who appreciate the cutting-edge works and the intimacy of The Rep’s Studio Series will fall in love with this autobiographical one-person show, called “compelling and fresh” by the New York Times.

Ryan is searching for love. Or a date. Or at least a hookup. From encounters with drag queens to platonic lap dances, writer/performer Ryan J. Haddad guides the audience through the gay dating scene while living with cerebral palsy, sharing his provocative take on intimacy, rejection and judgment.
“Ryan J. Haddad is one of the most compelling, authentic, funny, unapologetically open voices of the 21st century,” said Hana S. Sharif, Augustin Family Artistic Director at The Repertory Theatre of St. Louis. “I am excited to share his work with our community.”
Hi, Are You Single? is produced by Woolly Mammoth Theatre Company in association with IAMA Theatre Company. Directed by Laura Savia and Jess McLeod and originally developed by Laura Savia, Hi, Are You Single? was recorded in an intimate theatre setting with a live audience.
“I have wanted to introduce Ryan Haddad ever since I got to Woolly,” said Woolly Mammoth Theatre Artistic Director Maria Manuela Goyanes. “He is a captivating storyteller who charms anyone he meets within seconds. Hi, Are You Single? asks us to examine sexuality through the lens of a queer man with a disability who is struggling to make meaning out of intimate interactions.”
Ryan J. Haddad is an actor, playwright and autobiographical performer based in New York. His acclaimed solo play Hi, Are You Single? was first presented in The Public Theater’s Under the Radar Festival and continues to tour the country. Other New York credits include My Straighties (Ars Nova/ANT Fest), Noor and Hadi Go to Hogwarts (Theater Breaking Through Barriers) and the cabaret Falling for Make Believe (Joe’s Pub/Under the Radar). He has a recurring role on the Netflix series “The Politician” and has been featured on television in “Bull,” “Madam Secretary” and “Unbreakable Kimmy Schmidt.” Haddad is a recipient of IAMA Theatre Company’s Shonda Rhimes Unsung Voices Playwriting Commission and Rising Phoenix Repertory’s Cornelia Street American Playwriting Award. 
Purchase an access code to view the online comedy Hi, Are You Single? via The Rep box office by calling 314-968-4925 or online at repstl.org. For $20, buyers will receive an email with a link usable any time through Feb. 28.
Hi, Are You Single? contains depictions and descriptions of sexual content, explicit language and discussion of ableism, racism, ageism and the stigmatization of HIV status. For more information, visit the Hi, Are You Single? page on repstl.org or call The Rep box office at 314-068-4025.
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ABOUT THE REPERTORY THEATRE ST. LOUISThe Rep is the St. Louis region’s most honored live professional theatre company. Founded in 1966, The Repertory Theatre of St. Louis is a fully professional theatrical operation belonging to the League of Resident Theatres, The League of St. Louis Theatres and is a constituent member of Theatre Communications Group, Inc., the national service organization for the not-for-profit professional theatre. Visit www.repstl.org for more, and find The Rep on Facebook, Twitter, Instagram and YouTube.
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An August Wilson Play Changed Kimmie Kidd-Booker’s Life

An August Wilson Play Changed Kimmie Kidd-Booker’s Life

Article originally appeared in Arts For Life’s Feb. 18 newsletter. Article written by Kim Klick and Lynn Venhaus

After working as a professional actor and singer for more than 30 years in Las Vegas, including performing opera at the Venetian Hotel on the Strip, Kimmie decided to move back to her hometown.

To leave her comfort zone and start over at 45 years old was daunting.

“More than a few people thought I must have been crazy!” she said.

But she knew it was time for a change and she did have support.

She was hired to work at Nordstrom Department Stores and found an apartment in Valley Park.

“I thought I’d be satisfied with all of that, but I wasn’t. Frankly, I was quite miserable. I was lonely, broke and terribly homesick! Most of all, I missed performing.”

However, things slowly fell into place. She not only found her way into the St. Louis theatre scene but reconnected with childhood friends, settled down here and married Gregg Booker. They grew up in the same neighborhood, and found each other on Facebook.

She started researching St. Louis theater companies, sending out letters and headshots, hoping to be acknowledged, but no response.

One day in 2012, she came across an audition for an upcoming production of August Wilson’s “Fences” at Hawthorne Players.

“I hadn’t even heard of August Wilson! Can you believe that? Someone like me, who has done theatre her entire life, had not heard of August Wilson?”

She showed up, prepared but “terrified.”

“A little-known fact about me is that I had never done a ‘straight play’ before! I had always done musical theatre. So, to put myself in a position where I had to just ACT, well, it was unchartered territory for me, to say the least!”

She was offered the part of Rose, the long-suffering wife who is married to the lead character, Troy.

Kimmie Kidd-Booker in “Fences” at the Hawthorne Players. Photo by Larry Marsh

“It’s one of the most important, historical, emotional, heartfelt roles to exist in American Theatre. I thought, ‘What the hell did I get myself into?’” she said.
She did not need to fret.

“This was one of the best and most fulfilling theater experiences of my career,” she said.

For the record, August Wilson was not only an African American playwright, but also was an amazingly talented award-winning playwright who died too soon at the age of 60, Kidd-Booker explained.

“Fences” is part of Wilson’s celebrated “Pittsburgh Cycle,” sometimes called “The Century Cycle,” in which he wrote 10 plays, each set in a certain decade of the 20th century.

Set in the 1957, it is the sixth play of the cycle, premiered in 1985, and like the others, explores the evolving African American experience and among other themes, examines race relations.

Troy is a Negro Baseball League player who now works as a garbageman – but can’t be a driver (yet). His bitterness is apparent and affects his family – wife Rose and sons Lyons and Cory, and disabled brother Gabriel.

“Fences” won the 1987 Pulitzer Prize for Drama and the Tony Award for Best Play.
“I am honored and privileged to say I performed in an August Wilson play! Being in an August Wilson play was both thrilling and terrifying. The context is historic and genuine and dramatic. His words are thoughtful and compelling and emotional,” she said.

 While “Fences” is her only August Wilson play to date, she said she is optimistic that moving forward, there will be more opportunities to educate, perform, explore and share the African American experience with everyone.

“Black History Month is just a drop in the bucket. But it is certainly a start. My hope moving forward is that we can continue to gain an understanding of each other and continue a dialogue and put fears to rest. We have many differences, but we must continue to be reminded that we are more alike than we’d like to think,” Kimmie said.

Before she debuted in “Fences,” after a year here, she was considering returning to Las Vegas.

But once she started rehearsals with the cast and crew, then bonding with everyone, she decided to stay.

“My love for theatre kept me here in St. Louis. As I began to meet other theatre people and make more and more theatre connections, I knew that this is where I belonged. These are my People!” she said.

As Eliza Haycraft in the original musical “Madam”

Kimmie recently became part of the AFL Board of Directors. She has won two Best Performance Awards for Best Featured Actress as Glinda in “The Wiz” at Hawthorne Players in 2014 and as Estonia Dulworth in “Nice Work If You Can Get It” at the Kirkwood Theatre Guild in 2019.

She was nominated as Best Actress in a Featured Role as Sister Mary Hubert in “Nunsense” at Hawthorne Players in 2015 and as The Witch in “Into the Woods” at Curtain’s Up Theater in 2018.

Among her roles in regional professional theater, she played Tom Robinson’s wife in “To Kill a Mockingbird” at The Repertory Theatre of St. Louis, as Lady Bird in Stray Dog Theatre’s “Spellbound: A Musical Fable”and in the ensemble of “Sweeney Todd,” as “Aunt Missy” in The Black Rep’s “Purlie” and as Evangeline Harcourt in “Anything Goes” at New Line Theatre. In January 2020, she starred as brothel owner and philanthropist Eliza Haycraft in the original musical, “Madam.”

About August Wilson

August Wilson

Wilson was born Frederick August Kittel in Pittsburgh, Penn., on April 27, 1945. His mother, Daisy Wilson, was of African American heritage. His father, Frederick Kittel, was a German immigrant.

As a child, Kittel attended St. Richard’s Parochial School. When his parents divorced, he, his mother and his siblings moved from the poor Bedford Avenue area of Pittsburgh to the mostly white neighborhood of Oakland. After facing the relentless bigotry of his classmates at Central Catholic High School, he transferred to Connelly Vocational High School, and later to Gladstone High School.

When he was 15 years old, Wilson pursued an independent education at Carnegie Library of Pittsburgh, where he would earn his high school diploma.

Following his father’s death in 1965, a 20-year-old Wilson adopted the pen name “August Wilson” — reportedly an homage to his mother — and declared himself a poet. In 1968, Wilson and a friend, Rob Penny, co-founded the Black Horizon Theater.

Wilson remained primarily focused on making it as a poet — largely to no avail — until moving to St. Paul, Minnesota, in 1978.

Wilson wrote his first notable play in 1979,” Jitney,” for which he earned a fellowship at the Minneapolis Playwright Center.

The following year, his new play, “Ma Rainey’s Black Bottom,” was accepted at the Eugene O’Neill Playwright’s Conference. The year 1982 was particularly fruitful for Wilson, as it marked his introduction to Lloyd Richards, who went on to direct Wilson’s first six Broadway plays.

“Joe Turner,” the second part of the cycle, opened on Broadway in 1988.He took home another Pulitzer Prize in 1990, this time for The Piano Lesson, following its Broadway premiere.

Wilson died of liver cancer on Oct. 2, 2005, in Seattle. His new play, “Radio Golf,” had opened in Los Angeles just a few months earlier.

Information from www.biography.com is included here.

Mrs. Harcourt in “Anything Goes” at New Line Theatre 2018

Women in Film: Indie Honors for Shatara Michelle Ford’s ‘Test Pattern’

Women in Film: Indie Honors for Shatara Michelle Ford’s ‘Test Pattern’

By Lynn Venhaus

During the month of March, PopLifeSTL.com will recognize significant female contributions in filmmaking. Today we spotlight “Test Pattern,” a debut feature I saw in February 2021, and stayed with me throughout the year, voting for it on several occasions.

Shatara Michelle Ford was raised in St. Louis, so it was fitting for her film “Test Pattern” to be shown at the St. Louis International Film Festival in November 2020. After Kino Lorber agreed to distribute it, I was able to see it a few months later, and was impressed by Ford’s first-time feature, her story and her cast, particularly breakout Brittany S. Hall.

At last week’s Film Independent Spirit Awards, Ford was nominated for Best First Feature and Best First Screenplay, and Hall for Best Actress. Ford, who identifies as they/them, did not win, but she has received other critical acclaim, Gotham Award nominations for Breakthrough Director and Independent Film, and hopefully more opportunities. There has been no announcement or update on her IMDB page.

But she is definitely one to watch. Here is my review of “Test Pattern,” which is now available on Starz (subscription) and to rent via video on demand platforms, such as Amazon, Google Play, DirecTV and others.

A New Female Filmmaker’s Voice Emerges In Realistic ‘Test Pattern’

By Lynn Venhaus
In a powerful feature-length film debut, Shatara Michelle Ford presents a gripping, relevant view of how traumatized women are still treated in the aftermath of sexual assault and the prevailing patriarchy about womanhood and consent.

Ford, who grew up in St. Louis, wrote and directed “Test Pattern,” which was shown at last year’s St. Louis International Film Festival. It won the inaugural Essy Award for best narrative feature, which is given to a film shot in St. Louis or made by a St. Louisan.

It’s about how an interracial couple’s relationship is tested after Renesha (Brittany S. Hall) is sexually assaulted and her live-in boyfriend Evan (Will Brill) drives her to several hospitals in pursuit of a rape kit.

Defying stereotypes, and with its exploration of identity and race, this work has flourished on the festival circuit, and as of Feb. 19, Kino Lorber is distributing it as a video on demand through their Kino Lorber Marquee platform (https://kinomarquee.com)

Ford’s realistic drama veers into psychological horror as everything about Renesha’s girls’ night with best friend Amber (Gail Bean) turns into a nightmare, from the predatory actions of brash e-commerce entrepreneur (Drew Fuller) to its day-after blurry, drugged, foggy trauma.

Not only does Ford delve into these ongoing systemic issues, but also features a frustrating quest to seek answers and justice that serves as an eye-opening indictment of health care inequities.

It is a lot to take on in one film, and Ford has much to say, but she uses one couple’s experiences as an intimate portrait of modern relationships and the framework to look at external forces affecting life today.

Using flashbacks in key moments, self-assured Ford establishes a loving opposite-attracts relationship between an easy-going white tattoo artist, Evan, a superb Will Brill, and a bright, beautiful black development director, Renesha, played shrewdly and delicately by Brittany S. Hall.

Interestingly, they meet during an innocuous girls’ night out of drinking and dancing. Their awkward encounters lead to a first date, then a first night together, then fast-forward to ‘now.’

As their mutual attraction has led to commitment, they have moved in together in a small starter house in Austin. Convincing in every way, their performances are intertwined in a truth.

Bored with the corporate world, Renesha has started a new job working for a non-profit, the Humane Society.  

That night, her pal Amber wants to celebrate, so she reluctantly goes to the Hacienda Social Club. Everything that unfolds screams “bad idea” – Amber, eager to party and already losing her inhibitions, falls prey to a pushy guy, Chris, (Ben Levin), who is toasting a business deal with his friend.

The flashy white guys keep the champagne flowing as they pressure each girl to drink more and dance – and despite Renesha’s repeated attempts at no, and that “I have a boyfriend,” she is stuck in this situation with her fun-loving friend, who is having a good time.

At some point, Renesha is slipped a “roofie,” the illegal date-rape drug Rohypnol, and when incapacitated, she is taken to Mike’s apartment, where he rapes her. She wakes up with little knowledge of how she got there or what happened.

A concerned and devastated Evan wants answers, insistently pursues a rape kit, but Renesha doesn’t want to go through the process. The tense journey does not go well, as each deal with their own emotional responses while facing the bureaucratic red tape of health care hell and a police report.

What is in no doubt is that they have been forever changed as a couple, tested both by gender roles and prejudice.

At only 88 minutes, the film leaves out some pertinent details, and the abrupt ending is not satisfying. But Ford’s flair for dialogue and crafting authentic characters is strong.

Cinematographer Ludovici Isodori’s has contrasted the two storylines masterfully, locations are well-chosen for a low-budget indie, while Robert Oyuang Rusli’s string-heavy score accents an entire gamut of emotions. Tchaikovsky’s “The Waltz of Flowers” from “The Nutcracker Suite” is a clever choice for a compelling scene.

Oscar Wilde’s quote, “Everything is about sex, except sex, which is about power,” is used as the film’s tagline, and Ford has wisely applied it to a modern exploration of how women are conditioned about sex and consent. Add institutional racism from a black woman’s perspective and the power shifts between couples, and you get one potent thought-provoking film.

“Test Pattern” addresses similar territory that “Promising Young Woman” tackles and will add more to the national conversation.

Like the impressive female-directed and written 2020 social commentaries “The Assistant” and “Never Rarely Sometimes Always,” with this film, Ford proves she is an exciting new voice. Her name can be included in the growing list of formidable female directors with something to say.

Shatara Michelle Ford

“Test Pattern” is a 2019 drama written and directed by Shatara Michelle Ford, starring Brittany S. Hall and Will Brill. It is not rated and the run time is 1 hour, 22 min. The film is available as a video on demand through Kino Lorber Marquee. Lynn’s Grade: B+

‘Rock Camp: The Movie’ Is Surface-Level Tribute

‘Rock Camp: The Movie’ Is Surface-Level Tribute

By Alex McPherson

“Rock Camp: The Movie,” directed by Douglas Blush and Renee Barron, remains charming in-the-moment, but disappoints upon further reflection.

The film centers around Rock and Roll Fantasy Camp, an annual event in Las Vegas where ordinary folks can jam out with famous musicians. “Camp counselors” include Paul Stanley, Roger Daltrey, and Nancy Wilson, among many others. Once paired with a counselor, campers practice tunes together until their miniature bands perform at the end of the week. 

The camp was created by David Fishoff, a former sports agent turned music promoter who helped create Ringo Starr’s All Starr Band. An eccentric, bubbly individual, Fishoff loved hanging out with rock legends, and he was inspired to let others share in that thrill. Thus, in 1997 Rock and Roll Fantasy Camp was born. After an, ahem, rocky start, it eventually became a cultural phenomenon, even acknowledged by “The Simpsons,” “Bones,” “Ellen,” and “Pawn Stars.”

Rock and Roll Fantasy Camp has delighted attendees year after year ever since. The spirit of collaboration and shared love of music is infectious. Sign up today, if you have several thousand bucks to spare! Indeed, “Rock Camp: The Movie” reminds me more of an advertisement than anything else — albeit an especially heartwarming one. 

At least Fishoff’s intentions are admirable. There’s joy to be found in watching fans live out their musical fantasies, and “Rock Camp: The Movie” is often touching in this regard. Viewers see a young musician with autism embracing his passion for guitar; an ISSM network specialist finally being recognized for his skills as a drummer; a guitarist experiencing the camp with his son who has brain damage; a realty trust controller learning how to sing professionally — everyone finding joy through participation in the camp. These stories are resonant, to varying degrees, targeting larger truths about art’s power to heal, inspire, and bring people together, even though the campers’ privilege shows.

When the focus shifts away from the campers themselves, “Rock Camp: The Movie” becomes considerably less compelling. Watching rockers such as Alice Cooper, Gene Simmons, and Tony Franklin describe the camp’s significance to them lacks impact. Sure, fans will likely get a kick out of seeing genre legends reflect on how the camp reinvigorated their lives. Coming from someone with little knowledge of who these people are, on the other hand, I found listening to them reminisce becomes somewhat repetitive by the film’s conclusion, and the life lessons they impart of pursuing one’s dreams aren’t especially remarkable.

Additionally, the documentary depicts the proceedings with rose-tinted glasses and only spotlights those with positive stories to tell. Having all these personalities interacting would inevitably result in some sort of conflict, right? Viewers are left with a relentlessly upbeat film that provides plenty of warmth and wholesomeness, but feels too sanitized for its own good. This is a once-in-a-lifetime opportunity for many of the attendees, and it’s a shame that “Rock Camp” doesn’t mine more emotion from the event itself, coming across as a bit self-serving.

Similarly, although the film’s editing doesn’t do much to distinguish itself, “Rock Camp: The Movie” unfolds at a breezy pace, capturing the idiosyncratic nature of many of its subjects, as well as campers’ excitement and nervous anticipation. 

Perhaps the film would have benefited from focusing on a single group of individuals from day one, allowing us to spend more time with them while providing a clearer throughline leading up to the final night of performances.

Above all else, however, Blush and Barron’s documentary feels like a beacon of sunshine through the darkness, and that alone warrants a recommendation. “Rock Camp: The Movie” is a shallow yet uplifting slice of entertainment that accomplishes what it sets out to do without reaching #1 in the charts.

‘Rock Camp: The Movie” is a documentary written and directed by Douglas Blush and Renee Barron. Run-time is 1 hour, 27 minutes, and it is not rated. Available Feb. 16 as a video on demand. Alex’s Rating: B

Teen Time Loop Rom-Com ‘The Map of Tiny Perfect Things’ Is a Charmer

Teen Time Loop Rom-Com ‘The Map of Tiny Perfect Things’ Is a Charmer

By Lynn Venhaus
Borrowing elements of “Groundhog Day” and “Palm Springs,” “The Map of Tiny Perfect Things” is a charming teen rom-com that does not feel forced or derivative.

That is mainly due to the appealing couple at its center – Kyle Allen is Mark and Kathryn Newton, last seen in “Freaky,” is Margaret. The two teens live the same day repeatedly, so after they discover that they share a time loop, they go on a quest to find “tiny perfect things” in their town and create a map. He is more open book and she is more secretive, but together they make a fun couple to hang out with for 98 minutes.

With rapid-paced pop culture-inspired dialogue, the pair banter about a myriad of topics as they explore their city together. References to “Doctor Who” and “Edge of Tomorrow” come up.

Mark has decided that discovering every “tiny perfect thing” in their ordinary small town would be ideal, and they could make a map full of memories.

The pair have terrific chemistry and keep us entertained, when really, we can’t figure out the astrophysics of their predicament, which always makes my head hurt.

What feels familiar in this coming-of-age tale, with its time travel tropes, yields to warm-hearted insights and clever results. There is something special in its sameness.

However, the jaunty tone is not always sustained, which is on purpose, and there is a serious streak about what really matters in life. Mark, who glides through his morning using his repetitive life for good, discovers at 17, the world does not always revolve around you.

The way empathy is introduced midway is not jarring, but rather integral to the plot and their journeys. By then, the couple had us at hello.

Director Ian Samuels has deftly told screenwriter Lev Grossman’s script, which is based on a 2016 short story. He’s aided by Andrew Wehde’s crisp cinematography, with some nifty long takes, as well as Tom Bromley’s in-the-moment indie music score.

The supporting cast is another bright spot, with Jermaine Harris as Mark’s best friend, Josh Hamilton as his dad, Cleo Fraser as his sister Emma, and Al Madrigal as his math teacher.

The film has a pleasant small-town setting, and production designer Kara Lindstrom has captured the rhythms of everyday life in depicting personal space and the town’s endearing framework.

With an emphasis on life lessons for young folk, such as live in the present and make moments count, the story is not routine, but sells its points in convincing fashion. Its mindful and positive focus set it apart.

“The Map of Tiny Perfect Things” is a comedy, romance and fantasy, directed by Ian Samuels. The cast includes Kyle Allen, Kathryn Newton, Jermaine Harris and Josh Hamilton. Rated PG-13 for brief strong language, some teen drinking and sexual references, its run-time is 1 hour, 28 minutes. An Amazon original film. it began on Prime Feb. 12. Lynn’s Grade: B

Zendaya To Be Honored with CCA SeeHer Award

Zendaya To Be Honored with CCA SeeHer Award

The Critics Choice Association (CCA) has announced that award-winning actress and activist, and current Critics Choice Award nominee, Zendaya will receive the fifth annual SeeHer Award at the 26th annual Critics Choice Awards. The honor will be presented by her “Malcolm & Marie” co-star John David Washington during the live ceremony on Sunday, March 7, 2021 from 7-10pm ET/PT hosted by Taye Diggs.  

The SeeHer Award recognizes a woman who embodies the values set forth by the SeeHer movement, to push boundaries, defy stereotypes and acknowledge the importance of authentic portrayals of women across the entertainment landscape. SeeHer is the leading global movement for accurate portrayals of women and girls in media. Led by the Association of National Advertisers (ANA), SeeHer is a collective of leading marketers, media organizations and industry influencers committed to creating advertising and media content that portrays women and girls as they truly are. Previous award recipients are Kristen Bell, Viola Davis, Claire Foy, and Gal Gadot. 

“We are so proud to be a part of the Critics Choice Awards, and celebrating our fifth SeeHer Award,” said Nadine Karp McHugh, President, SeeHer. “We are delighted to be presenting the award to Zendaya, who is such a strong representation of what it means to be a woman in 2021. One of the busiest rising stars in Hollywood – with a generation of Disney Channel fans, Marvel devotees and ‘Euphoria’ evangelists – she is a role model and leading voice of her generation. From being the youngest actress to win an Emmy for Outstanding Lead Actress in a Drama Series to using her platform to advocate for Black women in Hollywood, she is showing the next generation that you are never too young to use your voice to make a difference. Inspiring girls everywhere to see themselves in their full potential, Zendaya represents everything SeeHer is.”  

Emmy Award-winning actor Zendaya is one of the most prominent and influential names in the entertainment industry today. Born and raised in Oakland, California to two teachers, Zendaya grew up performing, having spent a lot of her time at the local theater where her mother worked. She is currently starring in Netflix’s “Malcolm & Marie,” now available to watch globally, for which she also serves as a producer. Her role as Marie earned her a Critics Choice Award nomination for Best Actress this year.  

Zendaya launched her career as an actress on the Disney Channel starring in the hit series “Shake It Up” for three seasons and Disney’s “K.C. Undercover” for three seasons, which she also helped produce. 

Zendaya moved to the big screen in 2017, when she played the role of MJ in Marvel’s “Spider-Man: Homecoming” followed by its sequel “Spider-Man: Far From Home” that premiered July 2019. She recently starred in the HBO and A24 hit series “Euphoria” for which she won the 2020 Emmy Award for Outstanding Lead Actress in a Drama Series. 

She can next be seen in Warner Bros. highly anticipated movie “Dune” which will be released in October 2021. 

Other film projects have included “The Greatest Showman” in which she played trapeze artist Anne Wheeler opposite Zac Efron and Hugh Jackman. The film was released in 2017 and instantly became a cult classic. In 2018 Zendaya played the voice of Meechee, a young yeti in the animated musical film “Smallfoot.” 

Zendaya is currently a beauty ambassador for Lancôme, as well as an ambassador for Bulgari and for Valentino. 

Critics Choice Awards are bestowed annually to honor the finest in cinematic and television achievement. Historically, they are the most accurate predictor of Academy Award nominations. 

The 26th annual Critics Choice Awards show will be produced by Bob Bain Productions and Berlin Entertainment. The CCA is represented by Dan Black of Greenberg Traurig. The show will continue its combined Film and Television awards format, honoring the finest in both cinematic and televised/streaming achievement. In response to the COVID-19 pandemic, the 26th annual Critics Choice Awards show will be an in-person/virtual hybrid, with Diggs and some of the evening’s presenters filming from a stage in Los Angeles, and nominees appearing remotely from various locations around the world. 

Follow the 26th annual Critics Choice Awards on Twitter and Instagram @CriticsChoice and on Facebook/CriticsChoiceAwards. Join the conversation using #CriticsChoiceAwards. 

Digital assets and artwork can be found HERE. 

About the Critics Choice Association (CCA)  

The Critics Choice Association is the largest critics organization in the United States and Canada, representing more than 400 television, radio and online critics and entertainment reporters. It was established in 2019 with the formal merger of the Broadcast Film Critics Association and the Broadcast Television Journalists Association, recognizing the blurring of the distinctions between film, television, and streaming content. For more information, visit: www.CriticsChoice.com.  

About SeeHer 

Despite strides made in recent years to accurately portray women and girls in media, unconscious bias persists throughout advertising and entertainment. The average age, race, body type, and other aspects of women depicted in media today still represents only a small fraction of the female population. Led by the Association of National Advertisers (ANA), SeeHer is a collective of marketers, media organizations and industry influencers committed to creating advertising and supporting content that portrays women and girls as they really are. It launched in June 2016 in partnership with The Female Quotient (The FQ) in Washington DC at the United State of Women. To help marketers benchmark success, the group developed Gender Equality Measure® (GEM®), the first research methodology that quantifies gender bias in ads and programming. GEM® shows that content portraying females accurately dramatically increases both purchase intent and brand reputation. In 2017 GEM® won the prestigious ESOMAR Research Effectiveness Award. The methodology quickly became the industry standard, which led to a global rollout in 2018. In 2019, the movement expanded into new verticals: sports (SeeHer In Sports) and music (SeeHer Hear Her). Visit SeeHer.com and follow @SeeHerOfficial on Facebook, Instagram, and Twitter. 

About The CW  

THE CW TELEVISION NETWORK, a joint venture between Warner Bros. and CBS, launched in 2006. The CW is a multiplatform network that broadcasts a six-night 12-hour primetime lineup, Sunday through Friday and streams its ad-supported content, free, without login or authentication on CWTV.com and The CW app which is available on every major OTT platform. In daytime, The CW broadcasts a Monday through Friday afternoon block, and a three-hour Saturday morning kids block. The CW’s digital network, CW Seed, launched in 2013, and offers beloved limited-run series, as well as past seasons of recent fan-favorite television shows. For more information about the network and its programming, visit www.cwtvpr.com.  

AFL To Host All-Showbiz Virtual Trivia Night March 12

AFL To Host All-Showbiz Virtual Trivia Night March 12

There’s no business like show business! Arts For Life is devoted to supporting community theater in these pandemic times and will host its annual Trivia Night – only with a few twists.

The event is set for Friday, March 12, with rounds beginning at 7 p.m. but ‘doors’ open at 6:30 p.m. Teams can have up to 8 players and the cost is $10 per person/$80 a team. Mulligans and 50-50 tickets are available separately.

During the evening, nominations for the sixth annual Theatre Mask Awards will be announced. A scaled-back format is planned for a virtual awards ceremony on April 3. The TMAs honor plays – both comedy and drama – produced by community theater companies in the St. Louis metropolitan area, including the metro-east and St Charles County.

The Best Performance Awards, which recognizes excellence in community musical theatre, have been cancelled for this year.

“We hope groups will come together from their homes to share in the camaraderie of the arts community and have a fun evening celebrating theater,” said AFL President Mary McCreight. “AFL plans to return to its regular activities once it is safe to do so during this public health crisis.”

Using the teleconferencing platform Zoom, the AFL Board of Directors is producing an evening of eight rounds of 10 all-theater questions.

Colin Dowd, who is on the AFL Board of Directors and has been a BPA winner and TMA nominee, will be the host.

Registration will close on March 10. When registering, the team needs to designate a team captain. Information updates will be sent to the team captain to pass along to their teammates.

Players are encouraged to wear cast T-shirts that evening. (Pajama pants optional!).

To register or for more information, visit the website, www.artsforlife.org

Any questions may be directed to AFL Secretary Kim Klick — email afltrg@artsforlife.org.

Visually Stunning, Contrived ‘Land’ Lacks Emotional Payoff

Visually Stunning, Contrived ‘Land’ Lacks Emotional Payoff

By Lynn Venhaus
Self-quarantining is something we have had to adapt to these past 11 months, and have dealt with grief, collective or personal, as more than 450,000 lives have been lost in the U.S. during the coronavirus pandemic.  “Land” taps into those feelings through a personal journey of Edee Mathis, who has lost her husband and son (But not in COVID-19 times).

A grief-stricken woman (Robin Wright) chucks modern conveniences and city life for a primitive cabin, complete with outhouse, in Wyoming. Edee Mathis has decided to live in isolation, so she chucks her cell phone, has someone pick up her rental car and proceeds to carve an existence in the wilderness.

Wright, the fine actress whose breakout role was “The Princess Bride,” wrings out emotions as inconsolable Edee, who goes off the grid and deals with nature’s relentless cruelty while she copes with such a devastating blow. She faces a string of calamities, as she is unprepared and not yet adept yet at survival skills in harsh conditions. It is miserable.

She is in constant sorrow, and that is about all we know, for the character lacks context for most of the movie and then there are predictable developments. Many close-ups indicate her anguish.

One day, near death, she is randomly rescued by Miguel (Demian Bichir), on his way back from hunting, and he brought his Native American nurse friend Alawa (Sarah Dawn Pledge) with him. Edee slowly heals and develops a bond with Miguel, another lost soul, but she is very private and does not reveal too much about herself.

The film’s third act is contrived, and the emotional payoff feels as if we are cheated. After hitting the notes – connecting after shutting one’s self down, learning to live with unbearable pain and all the feelings brought on by reminiscence, “Land” lets us down.

The script by Jesse Chatham and Erin Dignam gets rather stale as it goes over well-worn cliches. Wright, who is such an intelligent, intuitive actress, deserved better material to work with, but as a director, she keeps the narrative moving. The film is a tidy 88 minutes, with little padding.

As seasons change, the majestic mountain view is a sight to behold. Of course, you would expect Big Sky Country to be awe-inspiring, with its proximity to three national parks, only the movie was shot in Alberta, Canada. However, cinematographer Bobby Bukowski takes advantage of the natural beauty and makes the vistas a stunning component.

A couple cover songs by British indie folk group, The Staves, are well-chosen to bracket the personal journey.

As she restores her well-being, Edee’s steps forward, each one seems hard fought. But “Land” has too little details to keep us thoroughly engrossed.

“Land” is a drama directed by Robin Wright, who also stars, with Demian Bichir and Kim Dickens. Rated PG-13 for thematic content, brief strong language, and partial nudity, the film runs 1 hour, 29 minutes. Lynn’s Grade: B-. In theatres Feb. 12.