Lynn Venhaus

Total Post: 1300

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.

Stages St Louis Adjusts 2021 Mainstage Season

Stages St Louis Adjusts 2021 Mainstage Season

In response to continuing COVID-19 restrictions and after extensive discussions with staff leadership and the Board of Trustees, STAGES St. Louis will officially amend the 2021 Mainstage Season.

The mainstage production of A CHORUS LINE as well as the Family Theatre Series production of A YEAR WITH FROG & TOAD are cancelled. STAGES will still celebrate its 35th Anniversary Season and move into the new Kirkwood Performing Arts Center with revised schedules for ALWAYS… PATSY CLINE and JERSEY BOYS,

Subscribers will receive a mailing the week of March 29 containing additional information and confirming these changes. The letter will also lay out all possible ticketing options for A CHORUS LINE.

“When planning for our return to live performances last fall, no one imagined that we would be in this challenging position once again,” said Associate Producer Andrew Kuhlman. “But, like so many others, here we are. And while these decisions have been incredibly difficult, we believe that they have been made with the best interest of our community in mind and we remain steadfastly hopeful.”

ALWAYS… PATSY CLINE and JERSEY BOYS will be performed in the brand new Ross Family Theatre at The Kirkwood Performing Arts Center in Downtown Kirkwood. The adjusted season schedule will be as follows:

  • ALWAYS… PATSY CLINE (August 6 – September 5, 2021)
  • JERSEY BOYS (September 24 – October 24, 2021)

“Our top priority since the start of the COVID-19 pandemic has been the health and safety of our patrons, performers, staff, students, and community,” said Executive Producer Jack Lane. “Despite the challenges of the past year, I cannot imagine a better way to celebrate a return to live theatre than with our 35th Anniversary Season premiering at our new home in The Ross Family Theatre at the Kirkwood Performing Arts Center.”

Two-show subscriptions will go on sale beginning May 17, as will subscriber exchanges and subscriber single ticket sales. General public single ticket sales will begin June 1. Any further changes to the 2021 Season will be posted on the STAGES website and shared via email and social media.

For more information, please follow STAGES on Facebook and Instagram or visit the organization’s website.

STAGES St. Louis is the region’s foremost not-for-profit company committed to preserving and advancing the art form of Musical Theatre through excellence in performance and education. In 2021, STAGES celebrates its 35th year of producing Broadway-quality theatre, as well as the grand opening of the new Kirkwood Performing Arts Center.

STAGES Performing Arts Academy is regionally renowned for its innovative and multi-
disciplinary programs that transform lives through immersion in the Musical Theatre arts. Celebrating its 16th year, it is also the only such program in the St. Louis region to be connected to a professional theatre company. Whatever the age or experience level, whether a new or continuing student, aspiring performing artists throughout the St. Louis region have the opportunity to explore and cultivate their talent at STAGES, and set the stage for life changing experiences. For more information or to register today please call 636.449.5775 or visit us online at www.StagesStLouis.org.

Two-show subscription purchases for the 2021 Season will go on sale on May 17. Single ticket sales begin June 1. For more information, please call 314.821.2407 or visit www.StagesStLouis.org.

Anthony Hopkins’ Tour de Force as ‘The Father’

Anthony Hopkins’ Tour de Force as ‘The Father’

By Lynn Venhaus
Without sentimentality, “The Father” depicts a man’s growing dementia and the sheer terror of the disorientation he feels as he doesn’t realize what is happening as he loses his grip on reality. In a bravura performance, Anthony Hopkins draws us into his world as we are caught as off-guard as he is.

Anthony (Anthony Hopkins) is a learned, successful man who refuses his daughter Anne’s (Olivia Colman) assistance as he ages. He begins to doubt her and other loved ones as he tries to make sense of what’s going on around him. The story is adapted from the play by Florian Zeller, who has directed this film

Many families endure these same situations as matriarchs and patriarchs age, so this is a relatable journey that hits close to home as we watch a proud, intelligent, successful man decline and his family feels helpless in response.

Because of the film’s honesty, it is a hard watch, but its shared humanity is what gets us through the experience.

Florian Zeller, who wrote the 2012 play, “La Pere” in his native tongue, won the 2014 Moliere Award for Best Play in France. The play went on to open in London and on Broadway, with Frank Langella winning his fourth Tony Award for his performance as the title character.  The English translation by playwright Christopher Hampton, Oscar winner for “Dangerous Liaisons,” is what is used for the film adaptation.

With sly editing and deft production design, we are kept guessing about the time and place, and what’s going on in Hopkins’ residence and in his head.

Because it is adapted from a play, “The Father” can’t really outgrow its stage constraints.

The ensemble is first-rate, particularly Olivia Colman as his adult daughter. We feel her pain acutely.

Both Hopkins and Colman have received much acclaim for their performances, and with Oscar nominations March 15, one can predict their names will be on the short lists.

While Hopkins, one of our finest actors, has an incredible range as a performer, it is in this film’s final 10 minutes where he gives everything he is capable of and leaves us shattered.

As “The Father,” it is perhaps his best work in a storied career, including an Academy Award for the creepiest villain of all-time in “The Silence of the Lambs” and last year’s Oscar nomination for Best Supporting Actor in an astute portrait of former Pope Benedict in “The Two Popes.”

This is a film that will linger for a long time.

“The Father” is a 2020 drama directed by playwright Florian Zeller. It stars Anthony Hopkins, Olivia Colman, Olivia Williams, Rufus Sewell, Mark Gatiss and Imogene Poots. Rated: PG-13 for some strong language, and thematic material, its runtime is 1 hour, 37 minutes. It is in theaters on March 12.

‘Moxie’ Awakens New Generation to Girl Power

‘Moxie’ Awakens New Generation to Girl Power

By Lynn Venhaus
The “Me Too” and “Time’s Up” movements gain allies at an Oregon high school, where the girl students discover their voices and power in unity in the sharply observed “Moxie.”

What is Moxie? It means “force of character, determination or nature,” according to the Oxford dictionary. This coming-of-age cause, based on a 2017 young adult novel by Jennifer Mathieu, grows in influence and energy.

An introverted 16-year-old girl discovers how the female student body is objectified and dismissed, and how pervasive the toxic masculinity is at her school. Fortified by her mother’s rebellious spirit during her youthful Riot Grrrl days, she anonymously publishes a zine, “Moxie!” that inspires the girls to band together and work towards changing the status quo.

Directed by Amy Poehler with a keen sense of Generation Z and its conflicts, this movie gets a lot right, particularly its target message.

The screenplay by Dylan Meyer and Tamara Chestna astutely points out that people aren’t perfect, it’s OK to mess up, be unsure and confused, but at least come away with purpose. The examples of casual sexism and double standards are spot-on as the sisterhood discovers the importance of feminism.

This engaging ensemble – subtly inclusive — portray refreshingly authentic characters.  The mother-and-daughter dynamic between Amy Poehler and Hadley Robinson is the key relationship.  As Vivian’s working single mom, Lisa guides her daughter in raging against the patriarchy but also as a steady strong parental presence.

Among the appealing cast of rising stars, Robinson shines as the shy Vivian, who summons a righteous anger to lead a revolution. Her dorky character’s growth is fun to watch as she develops new friendships and falls in love with once-geeky classmate Seth, who is kind and considerate. She will stumble and figure out how to be a force for good.

Newcomer Robinson, a Juilliard grad, was both the Laurey dancer in “I’m Thinking of Ending Things,” as well as one of the Tulsey Town girls, and Sallie Gardiner Moffat, one of Meg March’s friends, in Greta Gerwig’s “Little Women.”

The dream boyfriend is in the mold of Edward Cullen and other post-Twilight gallant guys, who are attentive to the girl’s needs and feelings. Nico Hiraga is a winning presence as the skateboarding dude who gained confidence after a summer growth spurt.

Each teen character has interesting layers, except for the clear villain, Mitchell Wilson, the popular but insufferable sexist quarterback who has gotten away with bullying because of his Big Man on Campus status. He is played with cocky assurance by Patrick Schwarzenegger, son of Arnold and Maria Shriver. It is a one-note character that’s too obvious.

But the rest of the fired-up girl squad engages with charm and personality. As transfer student Lucy, who stands up for herself and reports harassment, Alycia Pascual-Pena excels, as does Lauren Tsai as mild-mannered Claudia, who carves her own path.

Sydney Park and Anjelica Washington are noteworthy as female athletes whose winning soccer team is largely ignored and in the shadow of the losing football team.

There are a few wobbly parts, and a climactic revelation adds darker drama in a too-neatly wrapped up final act.

And while it is more amiable than laugh-out-loud funny, “Moxie” distinguishes itself as cut-above the usual teen comedy. It is not your mom’s call to action, nor is it a fist-pump for only one generation — — and it brings up worthy elements to add to the current conversation.

“Moxie” is a teen comedy and romance directed by Amy Poehler, who also stars, along with Hadley Robinson, Patrick Schwarzenegger, Alycia Pascual-Pena, Marcia Gay Harden, Nico Hiraga, Ike Barinholtz and Lauren Tsai. The movie is rated PG-13 for thematic elements, strong language and sexual material, and some teen drinking and run time is 1 hour, 51 minutes. Lynn’s Grade: B. Available to stream on Netflix.

‘Raya and the Last Dragon’ Features Next Level Animation, Familiar Storytelling

‘Raya and the Last Dragon’ Features Next Level Animation, Familiar Storytelling

By Lynn Venhaus
With all its sophisticated and dazzling, detailed animation, “Raya and the Last Dragon” demonstrates what computer-generated graphic images can accomplish. The next-level panoramas and sweeping vistas are stunning visuals by Disney Animation Studios.

An ancient civilization inhabits Kumandra, but warring factions have fractured the land into five desolate areas. Legend has it that one dragon lives and warrior Raya is determined to find it, hoping that unity can happen in the realm. But saving the world will take more than teamwork.

Yet, for all that technical advancement, the tone is not consistent, and the storytelling suffers because it is such a familiar Disney template: Be Yourself, Be Kind to Others, Fight for the Common Good, Strive to Live in Harmony with People Who Aren’t Like You and Appreciate Family.

Not that those aren’t lofty ideals, but with multiple directors and eight story contributors, there isn’t a singular vision pushing us into new territory.

As a champion of female empowerment stories, I liked the fierce Raya, a more evolved warrior princess in the mold of Mulan and Moana. 

As Raya, Kelly Marie Tran is the right blend of confidence and concern, grieving for what once was when her benevolent father Benja (Daniel Dae Kim) was alive.

Screenwriters Qui Nguyen and Adele Lim created a few characters strictly along for good humor: Tuk Tuk, a roly poly creature that Raya uses as a vehicle, which of course is voiced by Disney iron man Alan Tudyk; lovable lug Tong (Benedict Wong); plucky restaurateur Boun (Izaac Wang); and Little Noi (Thalia Tran), a precocious baby accompanied by a trio of curious monkeys.

But the conflict with friend-turned-enemy Namaari (Gemma Chan) seems forced, although the sword fights are well-staged.

While the voice cast is strong, the hands-down star is Awkwafina as the dragon Sisu, who can shift-shape into a female. She is glib and self-deprecating, like all good sidekicks are.

My issue with Sisu is she looks like a unicorn drawn by Lisa Frank on a ‘90s lunchbox. The silvery-blue dragon with the big Keane eyes seems out of place among the realistic animated adventures.

 That said, there is an emotional payoff that sums up the story neatly. However, this film is not intended for very young audience.

Us Again

If seeing it in a theater, don’t miss the accompanying vivacious animated short, “Us Again,” which is another home run from the Mouse House.

Director-writer Zach Parrish has created a vibrant cityscape for this delightful dance down memory lane. In this 7-minute short, an elderly couple rekindle their zest for life and each other, reverting to their youthful selves, as they dance through a big city on one magical rainy night.

World of Dance champions Keone and Mari Madrid are the choreographers/dancers in this animated musical fantasy and Pinar Toprak has composed a lively pulsating rhythm. The joy is palpable.

“Us Again” is set for debut on Disney Plus in June.

“Raya and the Last Dragon” is an animated adventure fantasy from Disney Animation Studios. It stars Awkwafina, Kelly Marie Tran, Daniel Dae Kim, Gemma Chan, Benedict Wong, Izaac Wang, Alan Tudyk. The run-time is 1 hour, 47 minutes, and the rating is PG for some violence, action and thematic elements. Lynn’s Grade: B. In theaters and as premier access on Disney Plus beginning March 5.

St Louis Actors’ Studio to Live Stream ‘Now More Than Ever’ March 18-20

St Louis Actors’ Studio to Live Stream ‘Now More Than Ever’ March 18-20

The Gaslight Theater is still closed due to the pandemic, but St. Louis Actors’ Studio will be presenting a free Zoom play by Hanna Kime, She is a John Burroughs graduate and currently resides in Chicago as a playwright. The play is called “Now More Than Ever” and will be screened for three nights only March 18-20 at 8 pm.

It is free to watch the live stream event, but you must register here: What’s On Stage | St. Louis Actors Studio (stlas.org). Donations are encouraged.

It is roughly a 45-60 minute one act directed by Annamaria Pileggi and starring: Colleen Backer, Jens Tulio, William Humphrey, Phil Leveling and Ebby Offord. Stage manager is Amy Paige.

Premise of the play: After the coronavirus crisis forces a major regional theatre to go remote and lay off half their staff, their remaining box office associates must attend an emergency Zoom training session from marketing on how to cold call patrons to solicit donations while promoting the theatre’s thrilling new slate of online content.

Her recent works include THE TARGETED (2020 O’Neill Finalist, 2021 BAPF Semifinalist, Selected for Broken Nose’s “Off/Nights” Development Series), THE BEST DAMN THING (2021 O’Neill Semifinalist, Selected for the Up: Renewal Reading Series), and DROP (Produced through Side Street Studio Art’s Going Dutch Festival).


She has been fortunate enough to develop her full-length works with Jackalope Theatre Company, Sideshow Theatre Company, The New Colony, Broken Nose Theatre, and First Floor Theater, where she currently serves as Literary Manager. She is a member of the Wampus Cat Collective. She graduated from the University of Chicago in 2018 with degrees in English and Gender and Sexuality Studies.

Finalist Acts Announced For St Louis Teen Talent Competition

Finalist Acts Announced For St Louis Teen Talent Competition

On February 28, fifty metro area high school acts competed in the semi-final round of the 11th Annual St. Louis Teen Talent Competition.  Six outstanding performing arts professionals adjudicated the performances and narrowed the field to 14 acts (20 students) who will move on to the finals, performing on the Fabulous Fox Stage for a special NinePBS broadcast to air later this spring.

Annually 120,000+ viewers have watched the NinePBS feature program on the final competition.  We are thrilled that NinePBS is partnering with the us again to broadcast the 2021 competition. Due to pandemic constraints, the final competition will not be filmed in front of a live audience on stage at the Fox Theatre, however the finalists will have the opportunity to perform in front of a small group of their closest family and friends. Finalists include a variety of singers, musicians, dancers, a poet, and an acrobat (a list of acts can be found here). 

Mary Strauss, creator of the St. Louis Teen Competition and Fox Performing Arts Charitable Foundation Board President “It’s a thrill for me to see the competition evolve with new acts, talents and skills! Every year is so different – we have a great mix of talent this year!” 

In addition to the excitement of performing on the Fox Stage, contestants are eligible to win scholarships, prizes, and performance opportunities.  Nearly $50,000 in prizes, cash awards, and college scholarships will be distributed among the top competitors.  A full list of prizes along with official event information can be found on the Fox Performing Arts Charitable Foundation’s (FPACF) website. 

The acts will be directed by St. Louis native Tony Parise, Broadway actor, dancer, director, choreographer, who is returning for his 11th year to write the script and direct the finals. Parise will work with choreographer Yvonne Meyer Hare and music director Steve Neale to prepare performers for filming on the Fox Stage.

Finalists acts will be judged on technical ability, interpretation, stage presence, and originality. Judges for the finals have careers spanning music, dance, and Broadway.  A complete list of final round judges is available on the FoxPACF website. 

The announcement of the date and time of the Nine PBS broadcast, subsequent re-broadcast, and online celebrations will be available on the FPACF website and Nine PBS website along with social media outlets. The 2020 winner was DemBari Taneh, a freestyle hip hop dancer from Kirkwood High School who will return this year for a special performance. A complete list of the past ten years of winners and finalists can be found on the FoxPACF website. 

Fox Performing Arts Charitable Foundation fosters, promotes, and encourages young people in the St. Louis region to discover and participate in the joy and wonder of live performances.

In addition to the St. Louis Teen Talent Competition, the Fox Performing Arts Charitable Foundation also produces a variety of other performing arts programs including
Kids’ Night at the Fabulous Fox, Broadway Master Classes, Educational Encores,
and is a producing partner of the St. Louis High School Musical Theatre Awards.

‘Nomadland’ and ‘The Crown’ Lead 26th Annual Critics Choice Awards

‘Nomadland’ and ‘The Crown’ Lead 26th Annual Critics Choice Awards

The Critics Choice Association (CCA) announced the winners of the 26th annual Critics Choice Awards LIVE on The CW during an in-person/virtual hybrid ceremony hosted for the third time by acclaimed film, television, and stage star Taye Diggs on Sunday, March 4.  The full list of winners can be found below. 

“Nomadland” led the winners in the film categories, taking home four awards including Best Picture, Best Director and Best Adapted Screenplay for Chloé Zhao, and Best Cinematography for Joshua James Richards.  Zhao is the first Chinese woman to win as either director or writer. 

“Ma Rainey’s Black Bottom” followed closely behind, winning three categories including Best Actor for the late Chadwick Boseman, Best Costume Design, and Best Hair and Makeup.  Best Actress was awarded to Carey Mulligan for “Promising Young Woman,” which also earned a Best Original Screenplay win for Emerald Fennell.  Best Supporting Actor went to Daniel Kaluuya for “Judas and the Black Messiah,” and Best Supporting Actress to Maria Bakalova for “Borat Subsequent Moviefilm.”   

In the series categories, “The Crown” took four categories, the most of the night, winning Best Drama Series, Best Actor in a Drama Series for Josh O’Connor, Best Actress in a Drama Series for Emma Corrin, and Best Supporting Actress in a Drama Series for Gillian Anderson.  In the comedy genre, “Ted Lasso” won all three categories for which it was nominated: Best Comedy Series, Best Actor in a Comedy Series for Jason Sudeikis, and Best Supporting Actress in a Comedy Series for Hannah Waddingham.  “The Queen’s Gambit” took the prize for Best Limited Series, and its leading lady Anya Taylor-Joy won Best Actress in a Limited Series or Movie Made for Television. 

The race for “Best Comedy Special,” which was dominated entirely by Netflix nominees, resulted in a tie between “Jerry Seinfeld: 23 Hours to Kill” and “Michelle Buteau: Welcome to Buteaupia.” 

As was previously announced, John David Washington presented this year’s SeeHer Award to his “Malcolm & Marie” co-star, Zendaya.  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. 

After leading the nominations, Netflix also won the most awards of any studio/network with a total of 14.  Amazon Studios and Searchlight Pictures each won four. 

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 was produced by Bob Bain Productions and Berlin Entertainment.  The CCA is represented by Dan Black of Greenberg Traurig. 

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

FILM CATEGORIES 

BEST PICTURE 

Nomadland (Searchlight Pictures) 

BEST ACTOR 

Chadwick Boseman – Ma Rainey’s Black Bottom (Netflix) 

BEST ACTRESS 

Carey Mulligan – Promising Young Woman (Focus Features) 

BEST SUPPORTING ACTOR 

Daniel Kaluuya – Judas and the Black Messiah (Warner Bros.) 

BEST SUPPORTING ACTRESS 

Maria Bakalova – Borat Subsequent Moviefilm (Amazon Studios) 

BEST YOUNG ACTOR/ACTRESS 

Alan Kim – Minari (A24) 

BEST ACTING ENSEMBLE 

The Trial of the Chicago 7 (Netflix) 

BEST DIRECTOR 

Chloé Zhao – Nomadland (Searchlight Pictures) 

BEST ORIGINAL SCREENPLAY 

Emerald Fennell – Promising Young Woman (Focus Features) 

BEST ADAPTED SCREENPLAY 

Chloé Zhao – Nomadland (Searchlight Pictures) 

BEST CINEMATOGRAPHY 

Joshua James Richards – Nomadland (Searchlight Pictures) 

BEST PRODUCTION DESIGN 

Donald Graham Burt, Jan Pascale – Mank (Netflix) 

BEST EDITING – TIE  

Alan Baumgarten – The Trial of the Chicago 7 (Netflix) 

Mikkel E. G. Nielsen – Sound of Metal (Amazon Studios) 

BEST COSTUME DESIGN 

Ann Roth – Ma Rainey’s Black Bottom (Netflix) 

BEST HAIR AND MAKEUP 

Ma Rainey’s Black Bottom (Netflix) 

BEST VISUAL EFFECTS 

Tenet (Warner Bros.) 

BEST COMEDY 

Palm Springs (Hulu and NEON) 

BEST FOREIGN LANGUAGE FILM 

Minari (A24) 

BEST SONG  

Speak Now – One Night in Miami (Amazon Studios) 

BEST SCORE 

Trent Reznor, Atticus Ross, and Jon Batiste – Soul (Disney) 

SERIES CATEGORIES 

BEST DRAMA SERIES 

The Crown (Netflix) 

BEST ACTOR IN A DRAMA SERIES 

Josh O’Connor – The Crown (Netflix) 

BEST ACTRESS IN A DRAMA SERIES 

Emma Corrin – The Crown (Netflix) 

BEST SUPPORTING ACTOR IN A DRAMA SERIES 

Michael K. Williams – Lovecraft Country (HBO)

BEST SUPPORTING ACTRESS IN A DRAMA SERIES 

Gillian Anderson – The Crown (Netflix) 

BEST COMEDY SERIES 

Ted Lasso (Apple TV+) 

BEST ACTOR IN A COMEDY SERIES 

Jason Sudeikis – Ted Lasso (Apple TV+) 

BEST ACTRESS IN A COMEDY SERIES 

Catherine O’Hara – Schitt’s Creek (Pop) 

BEST SUPPORTING ACTOR IN A COMEDY SERIES  

Daniel Levy – Schitt’s Creek (Pop) 

BEST SUPPORTING ACTRESS IN A COMEDY SERIES 

Hannah Waddingham – Ted Lasso (Apple TV+) 

BEST LIMITED SERIES 

The Queen’s Gambit (Netflix) 

BEST MOVIE MADE FOR TELEVISION 

Hamilton (Disney+) 

BEST ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION 

John Boyega – Small Axe (Amazon Studios) 

BEST ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION 

Anya Taylor-Joy – The Queen’s Gambit (Netflix) 

BEST SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION 

Donald Sutherland – The Undoing (HBO) 

BEST SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION   

Uzo Aduba – Mrs. America (FX) 

BEST TALK SHOW 

Late Night with Seth Meyers (NBC) 

BEST COMEDY SPECIAL – TIE  

Jerry Seinfeld: 23 Hours to Kill (Netflix) 

Michelle Buteau: Welcome to Buteaupia (Netflix) 

BEST SHORT FORM SERIES 

Better Call Saul: Ethics Training with Kim Wexler (AMC/Youtube) 

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.  

Sightlines: Tune into Critics Choice Awards on the CW March 7

Sightlines: Tune into Critics Choice Awards on the CW March 7

By Lynn Venhaus
On Sunday night, the Critics Choice Awards will air beginning at 6 p.m. CST on the CW (ch. 11 in STL). I promise you, it will be way better than the Golden Globes.

For one, I vote as a member of Critics Choice Association (formerly Broadcast Film Critics Association). Hehehehe. I am one of 400+ members. Secondly, we have a diverse membership and our nominations reflect that, unlike the 87 at HFPA.

As far as the show goes, this is what our leadership reports:

We will have virtually all our nominated performers participating virtually in our show on Sunday night. Our lineup of Presenters includes Kevin Bacon, Angela Bassett, Mayim Bialik, Phoebe Dynevor, Morgan Freeman, Gal Gadot, Jim Gaffigan, Chris Hemsworth, Jameela Jamil, Eva Longoria, Lin-Manuel Miranda, Jared Padalecki, Kyra Sedgwick, Yara Shahidi, Courtney B. Vance, John David Washington, and Catherine Zeta-Jones.

But once the Critics Choice winner is announced and all the nominees have reacted, we will focus full-screen on the live acceptance speech, without awkwardly returning to the other nominees. And we will offer generous clips showcasing our nominated performances, a treat for audiences who may be inspired to discover movies and series they want to catch up on.

Hosted for the third year in a row by Taye Diggs and with our special See Her Award going to Zendaya, we hope and expect that our 26th annual Critics Choice Awards show will be our best ever. And as the world starts to return to normal in the coming months, we will continue to shine our light on the best the creative community has to offer at our Critics Choice Real TV Awards, Critics Choice Documentary Awards, and Critics Choice Super Awards.

Me and Seth Meyers at 2020 Awards

Last month, we brought our 3rd annual Celebration of Black Cinema to a national audience for the first time, reinforcing our commitment to championing the broadest spectrum of popular entertainment. If it’s as fun as it was last year, I will be very proud and happy! (I attended the ceremony in Santa Monica last January 2020).

It was really hard to pick winners this year — so many good nominees.

Enjoy, movie lovers!

(And if you want to read/listen to my reviews, I am in the Webster-Kirkwood Times; KTRS Radio (segment with Ray Hartmann on Sound Cloud — just go to station website, under Shows, click St Louis in the Know, and the list of audio clips is right there; Reel Times Trio podcast (all posted on Facebook page); and my website, www.PopLifeSTL.com, which is a work in progress, but content is growing.)

Me and Awkwafina at 2020 Awards

Andra Day Outshines ‘The United States vs. Billie Holiday’

Andra Day Outshines ‘The United States vs. Billie Holiday’

By Lynn Venhaus

When the Academy Award nominations are announced on March 15, I will wager that Andra Day will be among the five names listed for Best Actress. She is ferocious in her portrayal of the troubled, self-destructive and talented vocalist – and even more remarkable, it is her first major acting role.

Day, a Grammy-nominated R&B singer, summons raw emotion when depicting Holiday’s sad, sordid life. When she is on stage, singing Holiday’s classics, she is incandescent.

Costume designer Paulo Nieddu, known for “Sex and the City” and “Empire,” provides an elegant and opulent look for the entertainer, while the hair and makeup department’s work is award-worthy.

Starting in 1947, iconic jazz and blues singer Billie Holiday (Andra Day) was targeted by the Federal Department of Narcotics for not only her heroin use, but also for singing the praised yet controversial “Strange Fruit,” which is about a lynching. An undercover sting operation is led by black federal agent Jimmy Fletcher (Trevante Rhodes), with whom she had a tumultuous affair.

Unfortunately, Day is far better than the film’s material. While focusing on the last 10 years of Holiday’s life, director Lee Daniels and screenwriter Suzan-Lori Parks cram too much into the narrative and allow characters to come and go with little context.

It’s frustrating to watch because of the inconsistencies, and the rest of the characters are caricatures.

Parks, the Pulitzer Prize-winning playwright, adapted the screenplay from Johann Mari’s book, “Chasing the Scream: The First and Last Days of the War on Drugs,” specifically the chapter “The Black Hand.”

The bold “Strange Fruit” helped Holiday gain prominence, but the ballad was a lightning rod for controversy and her defiance was a source of aggravation for the feds.

 In 1999, Time magazine called it “The Song of the Century” and it was inducted into the Grammy Hall of Fame in 1978. The song is credited as a catalyst in the civil rights movement.

But back in her day, Lady Day suffered for her art.

Garrett Hedlund, who desperately needs a hit after a string of duds since his breakout role in the 2004 film “Friday Night Lights,” plays the antagonistic bigoted bully Harry Anslinger, head of the bureau, almost as if he’s Snidely Whiplash.

Natasha Lyonne plays actress Tallulah Bankhead, who was rumored to have a relationship with Holiday, but it’s a useless part of the narrative, and just dropped in with little context.

Faring better is Trevante Rhodes as Jimmy Fletcher, a complex agent who falls in love with Holiday. Their relationship is confounding, mainly because of Holiday’s other husbands and lovers – and hard to keep who’s who straight because of the jumps back and forth. Rhodes, who played the grown-up Chiron in “Moonlight,” does what he can with playing a real, conflicted character.

Holiday’s personal life was messy, and the movie shows how drug use, excessive drinking, non-stop smoking and abuse by awful men lead to her decline. It’s a tragic tale, to be sure, but the graphic shots of injecting heroin and the physical assaults are tough to watch.

However, as the third film this past year showing how evil J. Edgar Hoover’s moves as the director of the FBI were, it is always worth remembering his abuses of power. (The other two films: “MLK/FBI” and “Judas and the Black Messiah”).

While Day shines a light on this legend, the film ultimately disappoints. Holiday, and Day, deserved better.

Andra Day stars in THE UNITED STATES VS. BILLIE HOLIDAY from Paramount Pictures. Photo Credit: Takashi Seida.

“The United States vs. Billie Holiday” is a biographical drama, directed by Lee Daniels and starring Andra Day, Trevante Rhodes, Garrett Hedlund,. It is rated R for drug use, domestic violence, language, nudity and mature themes and the run time is 2 hours, 9 minutes.
Lynn’s Grade: B. Now available streaming on Hulu.

Compelling Performances Mark the Justice-Gone-Haywire Drama ‘The Mauritanian’

Compelling Performances Mark the Justice-Gone-Haywire Drama ‘The Mauritanian’

By Lynn Venhaus
What happened to Mohamedou Ould Slahi at Gitmo is a stunning example of how things went wrong in the aftermath of 9-11, and as facts have come out over the years, this miscarriage of justice really is unconscionable.

“The Mauritanian” is the true story of Slahi (Tahar Rahim), who wrote the best-selling 2015 memoir “Guantanamo Diary,” which detailed his fight for freedom after being detained and imprisoned without charge by the U.S. government for nearly 15 years.

Accused of being the recruiter for those who attacked the Twin Towers and the Pentagon on Sept. 11, 2001, he is eventually represented by defense attorney Nancy Hollander (Jodie Foster) and her associate Teri Duncan (Shailene Woodley). Along with evidence uncovered by military prosecutor Lt. Col. Stuart Couch (Benedict Cumberbatch), the legal team discovers a shocking and far-reaching conspiracy.

Understandably, the fear of another terrorist attack was high 20 years ago. But what happened to detainees and the failure of the legal system is illuminated here. Think of this film as a companion piece to another record, “The Report,” a 2019 political drama about an FBI agent’s investigation into the CIA’s interrogation techniques.

And like that film, the evidence is exhausting. Although hard to watch when brutal unethical treatment and torture is shown, “The Mauritanian” is compelling as a procedural narrative.

The film gets bogged down in the dense material, but through excruciating details, screenwriters M.B. Traven and Rory Haines, with Sohrab Noshirvani, have recounted what happened

Helping to provide lucidity is a strong cast, whose dedication to telling this story is obvious. In a remarkable performance, Tahar Rahim makes us feel what he feels. He nimbly alternates speaking English, French and Arabic during the 2-hour, 9-minute film.

Rahim, first noticed in “A Prophet,” a 2009 French drama about a Muslim taken under the wing of a Corsican crime boss in prison, offers a riveting, nuanced portrait of Slahi.

The ever-authentic Benedict Cumberbatch, who also is listed as one of the producers, nails a Southern accent as the dedicated Lt. Col. Stuart Couch, whose integrity helps gets the atrocities noticed.

In a no-nonsense role that suits her, Jodie Foster serves her subject Nancy Hollander well, and she makes a good team with Shailene Woodley’s Teri. Their dogged digging shows the tediousness of the actual legal work and their fierce focus on the rule of law is emphasized. One never doubts either’s commitment.

His righteous anger transparent, Kevin Macdonald, who directed “The Last King of Scotland,” shows the travesty of what transpired with multiple exclamation points.

Editor Justine Wright does fine work, and the music score by Tom Hodge is used effectively.

Although the execution is uneven, the film’s faithfulness to Slahi’s story is admirable. And the performances give it the gravitas it needed to be persuasive.

“The Mauritanian” is a true-story based drama directed by Kevin Macdonald and starring Tahar Rahim, Jodie Foster, Shailene Woodley and Benedict Cumberbatch. Rated R for violence including a sexual assault, and language, its runtime is 2 hours and 9 minutes. Lynn’s Grade: B. It opened in theaters Feb. 12 and on video platforms March 2.