‘His House’ Is Hypnotic, Haunting and Harrowing

‘His House’ Is Hypnotic, Haunting and Harrowing

By Lynn Venhaus

 Haunting and hypnotic, “His House” is one of the most original horror films in years.

Writer-director Remi Weekes, whose first feature debuted at the 2020 Sundance Film Festival, demonstrates assured, smart storytelling, slowly doling out bits of information that add psychological complexities to the couple’s journey.

After making a harrowing escape from war-torn South Sudan, a young refugee couple struggle to adjust to their new life in a small English town, complicated by something evil tormenting their lives.

As they fled, during their boat ride, a tragedy takes place.

Consumed by loss, Rial (Wunmi Mosaku) has a hard time adjusting to a new life, in dingy public housing, But, it’s their home, and she tries to make the best of it. The government has strict rules for refugees, so they must be careful.

Bol (Sope Dirisu) has an easier time adapting, but hears strange noises and begins to see weird things happening in their small place – lights flicker, gaping holes appear in the walls but then close, and then sinister images materialize.

She is spooked, he is trying to come to terms with what’s happening, and their lives are turned upside-down by this hellish existence.

Because of what they have been through leaving their homeland, their struggles have a sadness underneath. The psychological aspect is an intriguing part of the story, which was developed by  Felicity Evans and Toby Venables.

With the characters as asylum-seekers, that gives the haunted house story more weight. They must adhere to the strict guidelines, which has consequences and fleeing again isn’t possible. They struggle to hold it together, but things unravel in a disturbing and unusual way.

Ṣọpẹ́ Dìrísù, as the troubled husband, and Wunmi Mosaku, as the tormented wife, are mesmerizing in their roles. They bring out layers of emotion essential to understanding what they are going through.

British actor Matt Smith, known for “Doctor Who” and a varied resume, plays their government contact, who starts being suspicious about what’s going on in their home.

This gritty and gripping film has unpredictable scares and surprising developments that deepen the mystery and the trauma.

It’s a haunted house film unlike any you’ve seen, and that’s what makes it special, an instant classic.

“His House,” a horror-thriller, is directed by Remi Weekes and stars Sope Dirisu,Wunmi Mosaku and Matt Smith. Not MPAA, its run time is 1 hr. 33 minutes. Lynn’s Grade: A. Available on Netflix beginning Oct. 30.

Facebook Comments

Remastered Bong Joon-ho’s Earlier ‘Memories of Murder’ is a Crime Masterpiece

Remastered Bong Joon-ho’s Earlier ‘Memories of Murder’ is a Crime Masterpiece

By Lynn Venhaus

Had Bong Joon-ho not won multiple Oscars earlier this year for “Parasite,” including Best Director, it’s unlikely that we would have gotten an opportunity to see a remastered version of his second film, “Memories of Murder,” made in 2003. Now considered a crime masterpiece, Fathom Events released it on the big screen for two nights this month, and it is available video on demand, as of Oct. 27, and we are fortunate filmgoers.

Loosely based on the true story of South Korea’s first serial murders, which took place between 1986 and 1991 in Hwaseong, Gyeonggi Province, “Memories of Murder” details a frustrating investigation as more young women are raped and murdered.

Two inept local detectives, Park Doo-Man (Song Kang-ho) and Cho Yong-koo (Kim Roe-ha), struggle to find a culprit after a second young woman is found dead, so a detective from Seoul, Seo Tae-Yoon (Kim Sang-Kyong) joins them, realizing they are searching for a cunning serial killer.

As the mystery unfolds, the details engulf us in much the same way they get in the detectives’ heads, and the small-town setting, with its police force unable to meet the rigorous demands of the cases, heightens the frustration.

And adding to the intrigue, the real murderer was caught last year – although the film does not reference this in the epilogue. Lee Choon-Jae was convicted for the brutal rape and murder of his sister-in-law in 1994, and with DNA evidence, confessed to the Hwaesong murders – nine identified women — and five more.

Although Joon-ho made this film 17 years ago, and he’s been perfecting his craft ever since, his distinctive style was emerging in a noticeable way. He makes room for comic relief and references pop culture, which we now know is a signature move, and he mashes up genres that enhance his storytelling. In addition to directing, he co-wrote the screenplay with Shim Sung-bo, based on Kim Kwang-rim’s play.

For anyone intrigued by crime drama, this film is a treasure trove – a police procedural that Joon-ho turns into a character study on detectives and a blistering indictment on small-town prejudices. He also effectively builds suspense as women are targeted by an unseen predator.

The murders are brutal, as the women are found raped, tied and gagged with their own underwear. Because the town’s two detectives, Park and Cho Yong-koo, are bumbling hot-heads who torture suspects trying to get them to confess, their methods are under attack. The police chief calls in detective Seo, who is smart and practical. When he cracks some of the clues, friction develops between the Big City hot shot and the locals lacking in technique.

How they change on the hunt of the killer is an interesting – and chilling – aspect, and all three actors are superb. There is a madness to these methods. You might recognize Song Kang-ho as the dad in “Parasite,” and he has acted in many of Joon-ho’s films.

The technical elements enhance the bleak story, with brilliant cinematography by Kim Hyung-ku, editing by Kim Sun-min, and a stirring score by Taro Iwashiro.

The film is an engrossing look at cruelty and breaking points, with its last shot a haunting reminder of the devastating effects of criminal minds.


“Memories of Murder,” a suspense-mystery-thriller set in South Korea, was directed by Bong Joon-ho in 2003. It starred Song Kang-so, Kim Sang-Kyong and Kim Roe-ha. Not rated, this remastered version has English subtitles, and its run time is 2 hours, 11 minutes. Available Video on Demand. Lynn’s Grade: A.

Facebook Comments

Dance the Vote on CBS Special ‘Every Vote Counts’

Dance the Vote on CBS Special ‘Every Vote Counts’

Dance the Vote, a St. Louis based arts and civic engagement initiative, founded by theatre artist and activist Joan Lipkin four years ago will be featured in an upcoming program, Every Vote Counts: A Celebration of Democracy, a nationally televised event on Thursday, Oct 29, at 8pm Central on CBS and other platforms.

Following their first performance outside Vintage Vinyl, an iconic record store in St. Louis for a few dozen people on a rainy afternoon, Dance the Vote attracted over one thousand people at the midterms at the Missouri History Museum for a community dance class, performances by diverse dance companies, spoken word artists and singers about the history and importance of voting, paired with voter registration.

When the pandemic hit and following the deaths of Breonna Taylor and George Floyd, they pivoted to commission and center dance videos, predominantly by choreographers of color. The themes continue to be about the history and significance of voting, as well as what issues might compel someone to vote including: climate change, racial justice, disability, incarceration, gender equity, women’s suffrage, the wall, and more.

The pieces were released in a series of weekly episodes in pairs of two or three dances, and each episode included information on how to register to vote, check voter registration, and the phone number for the election protection hotline for questions or issues at the polls.

The pieces may be seen on YouTube, Instagram (@dancethevotestl), Facebook (@DanceTheVoteStl), Twitter (@DanceTheVoteStl), and Vimeo as well as their website www.dancethevotestl.org.

This summer, Dance the Vote and Webster University partnered to offer a competition for college students throughout the United States honoring the late congressman John Lewis, called Make Good Trouble: Why John Lewis Inspires Me to Vote. Cash awards have been issued in several categories including mixed media, video, dance pieces, painting, collage, and photo essay.

Joan Lipkin

“We are honored to be included in this exciting program about voting because it recognizes the essential role that the performing arts can play in voter education and advocacy. In addition, Dance the Vote exemplifies how a small grass-roots organization with a promising idea can offer a model for the arts and civic engagement for many communities. We are pleased to have St. Louis showcased on this important national platform,” said Joan Lipkin, founder of Dance the Vote.

Every Vote Counts is a celebration of civic engagement and one last push to get people to vote.

Hosted by Alicia Keys, America Ferrera, and Kerry Washington, with appearances by Amy Schumer, Chris Rock, Cobie Smulders, Coldplay, Condoleezza Rice, Eva Longoria, Jennifer Lopez, John Kasich, Kelly Clarkson, Leonardo DiCaprio, Lin-Manuel Miranda, Natalie Portman, Shaquille O’Neal, Tan France, Wilmer Valderrama, and more, with performances by Alicia Keys, Dan + Shay, Offset, and Shawn Mendes.

Every Vote Counts: A Celebration of Democracy, a nationally televised and streamed event, will air on the CBS Television Network and will be streamed via CBS All Access on Thursday, October 29, 2020 at 9 PM, ET/PT, 8PM CST. The special will also be available via the following platforms: iHeartMedia radio stations and app, Apple Music, Apple TV App, Amazon Music, Twitch, NowThis, YouTube, Twitter, TIDAL and Facebook, with more to be announced.

Facebook Comments

Critics Choice Association Announces Nominees for 5th Annual Documentary Awards

Critics Choice Association Announces Nominees for 5th Annual Documentary Awards

The Critics Choice Association (CCA) has announced the nominees for the fifth annual Critics Choice Documentary Awards (CCDA). The winners will be revealed in a Special Announcement on Monday, November 16, 2020. 

The Critics Choice Associationwill once again be honoring the year’s finest achievements in documentaries released in theaters, on TV and on major digital platforms, as determined by the voting of qualified CCA members. 

Crip Camp: A Disability Revolution, Gunda, and Mr. SOUL! lead this year’s nominations with five each.

Crip Camp: A Disability Revolution is nominated for Best Documentary Feature, James Lebrecht and Nicole Newnham for Best Director, Best Editing, Best Archival Documentary, and Best Historical/Biography Documentary. The film also received an honor for Judith Heumann for Most Compelling Living Subject of a Documentary. 

Gunda is nominated for Best Documentary Feature, Victor Kossakovsky for Best Director, Best Cinematography, Best Editing, and Best Science/Nature Documentary. 

Mr. SOUL! is nominated for Best Documentary Feature, Best First Documentary Feature, Best Narration, Best Archival Documentary, and Best Historical/Biographical Documentary.

Recognized with four nominations each are Athlete A, Dick Johnson is Dead, My Octopus Teacher, and Totally Under Control. 

The nominations for Athlete A are Best Documentary Feature, Bonni Cohen and Jon Shenk for Best Director, Best Editing, and Best Sports Documentary. Maggie Nichols, Rachael Denhollander, and Jamie Dantzscher are also being recognized with the honor of Most Compelling Living Subjects of a Documentary. 

The nominations for Dick Johnson is Dead are Best Documentary Feature, Kirsten Johnson for Best Director, Best Cinematography, and Best Narration. The film also received an honor for Dick Johnson for Most Compelling Living Subject of a Documentary. 

The nominations for My Octopus Teacher are Best Documentary Feature, Best Cinematography, Best Narration, and Best Science/Nature Documentary.

The nominations for Totally Under Control are Best Editing, Best Score, Best Narration, and Best Political Documentary. The film also received an honor for Dr. Rick Bright for Most Compelling Living Subject of a Documentary. 

“At a unique time for the entertainment industry and the world, documentaries are more important and fortunately more abundant and more available and more essential than ever,” said Christopher Campbell, President of the Critics Choice Association Documentary Branch. “In 2020, documentaries have taken us to places and shown us perspectives we’ve never experienced before. They’ve chronicled events and life stories that are enlightening and enthralling – and sometimes frightening. It is a great honor for the CCA to celebrate these stories and subjects and shed light on the work of so many incredible filmmakers. The Documentary Branch faced its greatest task yet considering the quantity and quality of nonfiction cinema released this year. Ultimately, these nominees represent the best of the best of a remarkably fruitful moment for documentary filmmaking.”

At last year’s fourth annual CCDA event, Apollo 11 took home the evening’s most prestigious award for Best Documentary. Peter Jackson (They Shall Not Grow Old), and Julia Reichert and Steven Bognar (American Factory), tied for Best Director. American Factory also won the award for Best Political Documentary, and subsequently received many more accolades including the Academy Award for Best Documentary Feature.

The nominees for the fifth annual Critics Choice Documentary Awards are:

BEST DOCUMENTARY FEATURE
Athlete A (Netflix)
Belushi (Showtime)
Crip Camp: A Disability Revolution (Netflix)
Dick Johnson is Dead (Netflix)
Feels Good Man (Wavelength Productions/PBS Independent Lens)
The Fight (Magnolia Pictures/Topic Studios)
The Go-Go’s (Showtime)
Gunda (Neon)
Mr. SOUL! (Shoes in the Bed Productions)
My Octopus Teacher (Netflix)
The Painter and the Thief (Neon)
A Secret Love (Netflix)
The Social Dilemma (Netflix)
Time (Amazon Studios)

BEST DIRECTOR
Garrett Bradley, Time (Amazon Studios)
Bonni Cohen and Jon Shenk, Athlete A (Netflix)
Kirsten Johnson, Dick Johnson is Dead (Netflix)
Victor Kossakovsky, Gunda (Neon)
James Lebrecht and Nicole Newnham, Crip Camp: A Disability Revolution (Netflix)
Dawn Porter, John Lewis: Good Trouble (Magnolia Pictures)
Benjamin Ree, The Painter and the Thief (Neon)

BEST FIRST DOCUMENTARY FEATURE
Robert S. Bader, Ali & Cavett: The Tale of the Tapes (HBO)
Chris Bolan, A Secret Love (Netflix)
Melissa Haizlip, Mr. SOUL! (Shoes in the Bed Productions)
Arthur Jones, Feels Good Man (Wavelength Productions/PBS Independent Lens)
Elizabeth Leiter and Kim Woodard, Jane Goodall: The Hope (National Geographic)
Elizabeth Lo, Stray (Magnolia Pictures)
Sasha Joseph Neulinger, Rewind (Grizzly Creek Films/PBS Independent Lens)

BEST CINEMATOGRAPHY
Michael Dweck and Gregory Kershaw, The Truffle Hunters (Sony Pictures Classics)
Roger Horrocks, My Octopus Teacher (Netflix)
Kirsten Johnson, Dick Johnson is Dead (Netflix)
Victor Kossakovsky and Egil Håskjold Larsen, Gunda (Neon)
Scott Ressler, Neil Gelinas and Stefan Wiesen, The Last Ice (National Geographic)
Gianfranco Rosi, Notturno (Stemal Entertainment)
Ruben Woodin Dechamps, The Reason I Jump (Kino Lorber)

BEST EDITING
Don Bernier, Athlete A (Netflix)
Eli Despres, Greg Finton and Kim Roberts, The Fight (Magnolia Pictures/Topic Studios)
Lindy Jankura and Alex Keipper, Totally Under Control (Neon)
Helen Kearns, Assassins (Greenwich Entertainment)
Victor Kossakovsky and Ainara Vera, Gunda (Neon)
Eileen Meyer and Andrew Gersh, Crip Camp: A Disability Revolution (Netflix)
Charlotte Munch Bengtsen, The Truffle Hunters (Sony Pictures Classics)

BEST SCORE
Ari Balouzian and Ryan Hope, Feels Good Man (Wavelength Productions/PBS Independent Lens)
Marco Beltrami, Brandon Roberts and Buck Sanders, The Way I See It (Focus Features)
Tyler Durham, Sven Faulconer and Xander Rodzinski, The Last Ice (National Geographic)
Peter Nashel and Brian Deming, Totally Under Control (Neon)
Daniel Pemberton, Rising Phoenix (Netflix)
Jeff Tweedy, Long Gone Summer (ESPN)
Jeff Tweedy, Spencer Tweedy and Sammy Tweedy, Showbiz Kids (HBO)

BEST NARRATION
David Attenborough: A Life on Our Planet (Netflix)
   David Attenborough, Narrator
   David Attenborough, Writer
Dick Johnson is Dead (Netflix)
   Kirsten Johnson, Narrator
   Kirsten Johnson, Writer
Fireball: Visitors From Darker Worlds (Apple)
   Werner Herzog, Narrator
   Werner Herzog, Writer
Mr. SOUL! (Shoes in the Bed Productions)
   Blair Underwood, Narrator
   Ellis Haizlip, Writer
My Octopus Teacher (Netflix)
   Craig Foster, Narrator
   Craig Foster, Writer
Time (Amazon Studios)
   Fox Rich, Narrator
   Fox Rich, Writer
Totally Under Control (Neon)
   Alex Gibney, Narrator
   Alex Gibney, Writer

BEST ARCHIVAL DOCUMENTARY
Ali & Cavett: The Tale of the Tapes (HBO)
Belushi (Showtime)
Class Action Park (HBO MAX)
Crip Camp: A Disability Revolution (Netflix)
MLK/FBI (Field of Vision/IFC Films)
Mr. SOUL! (Shoes in the Bed Productions)
Spaceship Earth (Neon)

BEST HISTORICAL/BIOGRAPHICAL DOCUMENTARY 
Belushi (Showtime)
Crip Camp: A Disability Revolution (Netflix)
Howard (Disney+)
John Lewis: Good Trouble (Magnolia Pictures)
Mr. SOUL! (Shoes in the Bed Production)
Mucho Mucho Amor: The Legend of Walter Mercado (Netflix)
Natalie Wood: What Remains Behind (HBO)

BEST MUSIC DOCUMENTARY
Beastie Boys Story (Apple)
Crock of Gold: A Few Rounds with Shane MacGowan (Magnolia Pictures)
The Go-Go’s (Showtime)
Laurel Canyon (Epix)
Once Were Brothers: Robbie Robertson and The Band (Magnolia Pictures)
Other Music (Factory 25)
Zappa (Magnolia Pictures)

BEST POLITICAL DOCUMENTARY
All In: The Fight for Democracy (Amazon Studios)
Boys State (Apple)
John Lewis: Good Trouble (Magnolia Pictures)
MLK/FBI (Field of Vision/IFC Films)
The Social Dilemma (Netflix)
Totally Under Control (Neon)
The Way I See It (Focus Features)

BEST SCIENCE/NATURE DOCUMENTARY
Coded Bias (7th Empire Media/PBS Independent Lens)
Fantastic Fungi (Moving Art)
Gunda (Neon)
I Am Greta (Hulu)
The Last Ice (National Geographic)
My Octopus Teacher (Netflix)
Spaceship Earth (Neon)

BEST SPORTS DOCUMENTARY
Ali & Cavett: The Tale of the Tapes (HBO)
Athlete A (Netflix)
Be Water (ESPN)
A Most Beautiful Thing (50 Eggs Films)
Red Penguins (Universal Pictures)
Rising Phoenix (Netflix)
You Cannot Kill David Arquette (Super LTD)

BEST SHORT DOCUMENTARY 
Blackfeet Boxing: Not Invisible (ESPN)
   (Directors: Kristen Lappas and Tom Rinaldi. Producers: Craig Lazarus, José Morales, Lindsay Rovegno, Victor Vitarelli and Ben Webber)
The Claudia Kishi Club (Netflix)
   (Director and Producer: Sue Ding) 
Crescendo! (Quibi)
   (Director: Alex Mallis. Producers: Matt O’Neill and Perri Peltz)
Elevator Pitch (Field of Vision)
   (Director and Producer: Martyna Starosta)
Hunger Ward (Spin Film/Vulcan Productions/RYOT Films)
   (Director and Producer: Skye Fitzgerald. Producer: Michael Scheuerman) 
Into the Fire (National Geographic)
   (Director: Orlando von Einsiedel. Producers: Mark Bauch, Harri Grace and Dan Lin)
My Father the Mover (MTV Documentary Films)
   (Director: Julia Jansch. Producer: Mandilakhe Yengo)
The Rifleman (Field of Vision)
   (Director: Sierra Pettengill. Producer: Arielle de Saint Phalle)
The Speed Cubers (Netflix)
   (Director and Producer: Sue Kim. Producers: Evan Krauss and Chris Romano)
St. Louis Superman (MTV Documentary Films)
   (Directors and Producers: Sami Khan and Smriti Mundhra. Producer: Poh Si Teng)

MOST COMPELLING LIVING SUBJECTS OF A DOCUMENTARY (HONOR)
Dr. Rick Bright – Totally Under Control (Neon)
Steven Garza – Boys State (Apple)
The Go-Go’s – The Go-Go’s (Showtime)
Judith Heumann – Crip Camp: A Disability Revolution (Netflix)
Dick Johnson – Dick Johnson is Dead (Netflix)
Maggie Nichols, Rachael Denhollander, Jamie Dantzscher – Athlete A (Netflix)
Fox Rich – Time (Amazon)
Pete Souza – The Way I See It (Focus Features)
Taylor Swift – Miss Americana (Netflix)
Greta Thunberg – I Am Greta (Hulu)

DISTRIBUTOR NOMINATION TOTALS:
Netflix: 31
Neon: 15
Magnolia Pictures: 9
Showtime: 6
Amazon: 5
HBO: 5
National Geographic: 5
PBS Independent Lens: 5
Shoes in the Bed Productions: 5
Apple: 4
ESPN: 3
Focus Features: 3
Wavelength Productions: 3
Field of Vision: 2
Hulu: 2
IFC: 2
MTV Documentary Films: 2
Sony: 2
7th Empire Media: 1
50 Eggs Films: 1
Disney+: 1
Epix: 1
Factory 25: 1
Greenwich Entertainment: 1
Grizzly Creek Films: 1
HBO MAX: 1
Kino Lorber: 1
Moving Art: 1
Quibi: 1
Spin Film/Vulcan Productions/RYOT Films: 1
Stemal Entertainment: 1
Super LTD: 1
Universal: 1

About CRITICS CHOICE AWARDS
The Critics Choice Documentary Awards are an off-shoot of The Critics Choice Awards, which are bestowed annually by the CCA to honor the finest in cinematic and televised/streaming achievement. Historically, the Critics Choice Awards are the most-accurate predictor of the Academy Award nominations.

The 26th annual Critics Choice Awards will air LIVE on The CW Network on Sunday, March 7, 2021, with acclaimed film, television, and stage star Taye Diggs returning to host for his third consecutive time.  The show will continue its combined Film and Television awards format, honoring the finest in both cinematic and televised/streaming achievement, and take place once again at the Barker Hangar in Santa Monica, health considerations permitting.

About 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 organized last year 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.

Facebook Comments

Audacious Borat Gets Political in Subsequent Moviefilm

Audacious Borat Gets Political in Subsequent Moviefilm

By Lynn Venhaus
The highly anticipated sequel to 2006’s “Borat” is similarly equal parts offensive, outrageous and hilarious.

The original mockumentary was so shocking and different that it earned an Oscar nomination for screenplay and a Golden Globe for Sacha Baron Cohen as Best Actor in a Comedy.

This time, however, we’re in on the joke. The film’s original title: “Delivery of Prodigious Bribe to the American Regime for Make Benefit Once Glorious Nation of Kazakhstan” has been finessed.This is a follow-up centering on the real-life adventures of a fictional Kazakh television journalist. But this time it is more political as he travels across the South, first starting in Texas.

Baron Cohen is recognized during his antics in character, so he dons wigs and fat suits to play rednecks and American dads — and even puts on a “McDonald Trump” costume to disrupt a Mike Pence speaking engagement at CPAC.

With eight screenwriters — including Baron Cohen and some familiar names going way back to his “Da Ali G Show” days, the episodic journey is scattershot. Even at 95 minutes, director Jason Woliner’s style is choppy and uneven.

The intrepid reporter Borat, trying to redeem his honor in his country of Kazahkstan, picks too easy targets in devout Christian, flag-flying MAGA hat-wearing country, where people think the coronavirus is a hoax, they bring guns to picnics and they give this foreigner the side eye.

Always shedding light on anti-Semitism, Borat has a cake decorated with “Jews will not replace us.” That is his satirical way of taking on bigotry.

In the credits, Baron Cohen honors Holocaust Survivor Judith Dim Evans (1932 – 2020), who is in the synogogue scene but died shortly before the film’s release. “I feel obligated to be a good person and to bring good to the world. We owe the dead,” he quotes her saying.

As a “gotcha” journalism parody, the film skewers sacred cows and excesses in American life. The crude and lewd content is designed to make us squirm.

As with the other film, I’m uncomfortable when he is making fun of ordinary people who aren’t in on the joke, but I’m OK when people who deserve it get their comeuppance. And this time, there are some regular folk who can barely contain their smile at being part of a Borat film, so we know they are willing participants.

Baron Cohen is fearless, and he loves to stir things up. The jaw-dropping scene where daughter Tutar (aka Sandra Jessica Parker Sagdeyev), poses as a reporter for a conservative TV show, “Patriot Reports.” is now the much-talked about “shirt-tucking” incident with Trump attorney Rudy Guiliani.

I can’t unsee what I saw, and Guiliani shamelessly flirts with Tutar (Bulgarian actress Maria Bakalova) during the interview, and then when she asked “Shall we have a drink in the bedroom?”, he follows her into the room. Borat, dressed in skimpy under-garments, saves the day.



That is only a fraction of the film, but it’s the one making headlines during this election cycle.

Baron Cohen, whose versatility as a supporting performer is obvious — Thenardier in “Les Miserables,” Pirelli in “Sweeney Todd” and recently, Abbie Hoffman in “The Trial of the Chicago 7,” delights in being as silly as possible in his own character creations. 

Actually, the movie becomes a female empowerment statement near the end, and Bakalova and Baron Cohen work well together as daughter and father duo.

In a bizarre year, the fact that Baron Cohen can’t make up stuff that is more absurd than reality really says something.

“Borat Subsequent Moviefilm” is a comedy directed by Jason Woliner and written by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Peter Baynham, Erica Rivinoja,Dan Mazer, Jena Friedman, Lee Kern . It stars Sacha Baron Cohen, Maria Bakalova and others as themselves.
Rated R for pervasive strong crude and sexual content, graphic nudity and language, run-time is 1 hr. 36 min. Lynn’s Grade: B

Facebook Comments

The Rep Commissions Voter Education Videos

The Rep Commissions Voter Education Videos

In an effort to support voter education and participation on November 3, The Repertory Theatre of St. Louis is developing videos to inform and empower voters. 

In partnership with the Missouri Voter Protection Coalition (MOVPC), a non-partisan statewide network of voter advocates, The Rep commissioned professional artmakers to create short, entertaining videos designed to educate voters. 

“As one of the largest performing arts nonprofits in the state of Missouri, The Rep is more than a venue for great plays – we also exist as a town hall in service of the St. Louis region and beyond,” said Hana S. Sharif, Augustin Family Artistic Director at The Rep. “We are grateful to MOVPC for their advocacy for voters’ rights and are proud to join them in that work.”

The Missouri Absentee Voting Video, written by artist, community organizer and award-winning theatre maker Annalisa Dias, explains all voting options available to Missourians who are unable to vote in person or feel unsafe with in-person voting due to the pandemic. 

“I feel very grateful to have been invited to use storytelling to help catalyze civic processes,” said Dias. “It’s exciting to contribute to helping people understand how to exercise their rights.”

The National Voter Protection Video will be available soon. It examines the Election Protection Hotline, which connects voters with trained lawyers who can answer questions on overcoming obstacles to voting and combating voter intimidation. This video was written by award-winning playwright, film/television writer and educator Steph del Rosso. (del Rosso’s play The Gradient was slated for production in The Rep’s 2020-21 season which was shortened by the pandemic.)

“So often, #Vote campaigns ignore the reality of voter disenfranchisement,” said del Rosso, “blithely demanding participation without recognizing how fraught the process is for many communities. I’m so excited that The Rep is partnering with the Missouri Voter Protection Coalition, since fighting voter suppression and connecting voters to tangible resources is a powerful and shame-free organizing strategy.”

“Our goal is to ensure that all eligible voters are able to cast a ballot,” said Denise Lieberman, director and general counsel of the Missouri Voter Protection Coalition, which coordinates nonpartisan 866-OUR-VOTE Election Protection efforts in the state. “We are grateful to The Rep for commissioning these videos so that voters are armed with the information they need to vote. We must continue to work to ensure every voter is able to access their right to vote freely and without fear.” 

The Missouri Absentee Voting Video is animated by video artist, VJ and designer Kassie M. Sanders, and the National Voter Protection Video is illustrated by Elle Powell.

The Rep believes institutions of creative expression can be uplifting spaces that encourage and engage the community. To further model this renewed commitment to civic engagement, The Rep is making November 3 a paid holiday for its staff, to encourage voting and volunteerism on election day. The Rep has also created a Voter Resources Webpage of Missouri and Illinois voter information. 

Additionally, The Rep is hosting a panel discussion to empower individuals to exercise their fundamental right to vote titled “Breaking Down the Ballot”. This roundtable discussion, moderated by Hana S. Sharif and featuring a bipartisan group of thought leaders, political experts and voting rights advocates, will allow community members to ask questions about critical ballot measures affecting our region. The virtual roundtable is free and open to the public. Visit The Rep’s Facebook page or YouTube channel on October 26 from 6:00 – 8:00 p.m. to participate. No pre-registration is required.

For more information, visit repstl.org. Receive assistance through the Election Protection Hotline at 1-866-OUR VOTE. View the Missouri Absentee Voter Video now.

—

ABOUT THE REPERTORY THEATRE ST. LOUIS

The 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. www.repstl.org

Facebook Comments

Sorkin’s ‘The Trial of the Chicago 7’ Is Acting Showcase and One of Year’s Best Films

Sorkin’s ‘The Trial of the Chicago 7’ Is Acting Showcase and One of Year’s Best Films

By Lynn Venhaus

A civics lesson for the ages, writer-director Aaron Sorkin’s riveting account of “The Trial of the Chicago 7” is a potent examination of injustice during a politically charged time of civil disobedience. Through the lens of a riveting courtroom drama, the film is an acting showcase and one of the best films of the year.

And because the maestro is Sorkin, the film is also a discourse on cultural revolution and political theater, all while working in the confines of a true story. Because it is not a documentary, some of the timeline jumps around and incidents are embellished, but trial transcripts are used, along with archival footage, to create an authentic portrait.

In August 1968, several activist groups opposed to the Vietnam War converged at the Democratic National Convention in Chicago – the Students for a Democratic Society led by Tom Hayden (Eddie Redmayne) and Rennie Davis (Alex Sharp), the Youth International Party (Yippies) led by radical revolutionaries Abbie Hoffman (Sacha Baron Cohen) and Jerry Rubin (Jeremy Strong) and the National Mobilization Committee to End the War in Vietnam (MOBE), led by older conscientious objector David Dellinger (John Carroll Lynch).  Bobby Seale (Yahya Abdul-Mateen II), leader of the Black Panthers, is also present but not connected with the others. They, along with eventually acquitted Lee Weiner (Noah Robbins) and John Froines (Danny Flaherty), are the Chicago 8. Seal’s case would later be declared a mistrial, thus leaving seven.

Demonstrators violently clashed with police in and around Grant Park, which was captured on live television and the reason for a courtroom circus the next year after Nixon was elected President. Using a new law, the eight are charged with conspiracy to cross state lines to incite a riot. 

The infamous 1969 trial, orchestrated by Nixon’s Department of Justice, is presided over by Judge Julius Hoffman (Frank Langella). The legal eagles are civil rights attorney William Kunstler (Mark Rylance) and Ben Weinglass (Leonard Shenkman) for the defense and Justice Department prosecutors Richard Schultz (Joseph Gordon-Levitt) and Thomas Foran (J.C. MacKenzie).

The Trial of the Chicago 7. Mark Rylance as William Kunstler, Eddie Redmayne as Tom Hayden in The Trial of the Chicago 7. Cr. Niko Tavernise/NETFLIX © 2020

The casting is impeccable. Sorkin’s breakthrough was the play “A Few Good Men” in 1989, later a movie. Known for “The West Wing,” he won an Oscar for best adapted screenplay for “The Social Network.” With his fast-paced dialogue and customary insightful monologues, Sorkin’s original screenplay now vaults to leading awards contender. It is a marvel of nuance and first amendment passion, focusing on change – how people make it happen.

Sorkin immerses us in the atmosphere of the ’60s volatile times, as dissent grew throughout the country. Martin Luther King Jr. had been assassinated in April, followed by the killing of presidential candidate U.S. Sen. Bobby Kennedy two months later. More anti-war activists took to the streets when the conflict in Southeast Asia escalated. But “the Establishment” attacked free speech and peaceful protests, fearing anarchy and widespread unrest.

His dialogue, nimbly spoken by this extraordinary ensemble, astutely advances character development and shows the duality of law – when it works in a courtroom, and when it doesn’t. With such a large cast, Sorkin has managed to bring out the distinct personalities of the iconoclast rebels.

Sorkin has shrewdly opted to concentrate only on the present with the major defendants, providing little backstory to their rise as movement leaders. While everyone snugly fits their roles, stand-outs are Eddie Redmayne as fervent Tom Hayden, convinced working inside the system is the right conduit for progress, and Sacha Baron Cohen as the mouthy disrupter Abbie Hoffman, who mastered media for his own purposes. Their different approaches lead to confrontations but ultimately, they are on the same page.

As the clearly biased tyrannical judge, Frank Langella is chilling as a man who thinks he does not discriminate but his cruelty to Seale suggests otherwise. Mark Rylance, Oscar winner for the 2015 “The Bridge of Spies” and three-time Tony Award winner, will likely score nominations for his remarkable portrayal of impassioned lawyer William Kunstler.

Abdul-Mateen II, who won an Emmy for HBO’s “Watchman,” is powerful in his silence as Seale and bears the brunt of the injustice during the trial. Seale, who co-founded the Black Panthers in 1966, was just in Chicago to give a speech and did not know the other guys.

Alex Sharp excels as the dedicated Rennie Davis, who is less flashy than the other counterculture activists but whose involvement is significant nonetheless. Sharp won a Tony Award for “The Curious Incident of the Dog in the Night-Time” in 2105.

Sorkin had only directed once before, 2017’s “Molly’s Game,” an uneven but interesting account of a true story. For this legal drama, he keeps the courtroom scenes taut and the street scenes intense and chaotic.

Sorkin gets terrific assistance from cinematographer Phedon Papamichael, who shot last year’s “Ford v. Ferrari,” and editor Alan Baumgarten, known for other Sorkin films and “American Hustle.” Composer Daniel Pemberton scores the action with the right tempo without using popular protest music from the times.

As an important acknowledgement of this case in America’s evolution, “The Trial of the Chicago 7” conveys precious civil liberties. And demonstrates what makes compelling stories – Americans speaking out, what inspires revolution and why civil discourse matters.

Sasha Baron Cohen and Jeremy Strong as Abbie Hoffman and Jerry Rubin

“The Trial of the Chicago 7” is a courtroom drama based on real events, directed and written by Aaron Sorkin. It starts Eddie Redmayne, Frank Langella, Sacha Baron Cohen, Jeremy Strong, John Carroll Lynch, Alex Sharp, Michael Keaton, Joseph Gordon-Levitt, J.C. MacKenzie and Ben Schenkman. Rated: R for language throughout, some violence, bloody images and drug us, The runtime is 2 hr. 10 min. Lynn’s Grade: A
Available in select theatres Oct. 9 and on Netflix Oct. 16.

Facebook Comments

Registration Now Open for 11th Annual St. Louis Teen Talent Competition

Registration Now Open for 11th Annual St. Louis Teen Talent Competition

Fox Performing Arts Charitable Foundation (FPACF) is pleased to announce online registration is now open for the 11th Annual St. Louis Teen Talent Competition for high school students in the bi-state St. Louis Metropolitan area.  There are no fees to participate or register. This year the Preliminary Round of the competition will be conducted solely by video submissions.

Students will be vying forscholarships, special awards, prizes, and the opportunity to compete in the Finals on the Fabulous Fox Theatre stage. This event showcases the most talented teens in our region who excel in the performing arts. Past Finalists have performed on tour with Hamilton, on NBC’s The Voice, American Idol, in The Muny, with the Chamber Music Society of St. Louis, at the Sheldon Concert Hall, Shakespeare Festival St. Louis, at Gateway Grizzlies & St. Louis Cardinals games, and area festivals.

Contestants must be enrolled in the 9th, 10th, 11th or 12th grade in the 2020-2021 school year and must attend a high school/home school within a 50-mile radius from the St. Louis Gateway Arch. Acts may be a solo or up to six students performing as a group. Performing arts categories include (but are not limited to): singers, dancers, actors, musicians, comedians, ventriloquists, and circus skill artists. Acts may perform original or published material. High school students can respond to the “Call for Entries” and register on-line at www.foxpacf.org.

Executive Director Judith Cullen noted, “This year, talented teens can compete in our first round by simply registering and submitting a video; there is not another scholarship opportunity as easy as this anywhere in our St. Louis area.”

Finalists in past years have included aerialists, classical and pop singers, a whistler, pianists, a harpist, ukulele artists and other musicians, dancers, jugglers, bands, and baton twirlers. The 2020 winner of the competition was freestyle, hip hop dancer DemBari Taneh from Kirkwood High School who won a $8,000 scholarship and a dance intensive scholarship.

Each round of the competition will have a panel of at least three judges who will adjudicate performances and advance acts to the next round. Judges for the Preliminary and Semi-final rounds are arts professionals from the St. Louis region who are asked to give each act constructive, verbal feedback following each performance. The Finalists will compete on the Fabulous Fox stage.

Students placing First, Second and Third will win college scholarships. Contestants who advance to the Semi-final Round will be eligible for various prizes, special awards, and scholarships. A complete list is available at www.foxpacf.org.  Finalists will also be provided unique performance opportunities within the St. Louis area arranged by FPACF and by request.

“We are always gratified and happy with the response to this event from students, parents, arts organizations and the community. We are thrilled to provide the opportunity for students to perform at the Fox and on other stages around St. Louis. We are pleased that we are able to put talented young people in the spotlight,” said Mary Strauss, FPACF Board President and creator of the St. Louis Teen Talent Competition.

Call for Entries

11th Annual St. Louis Teen Talent Competition

DEADLINE: Dec. 31, 2020

Register on-line: https://www.foxpacf.org/programs/teen-talent-competition/

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 5th Annual St. Louis High School Musical Theatre Awar

Facebook Comments

One of Year’s Best Ensembles in Weird and Wonderful ‘Kajillionaire’

One of Year’s Best Ensembles in Weird and Wonderful ‘Kajillionaire’

By Lynn Venhaus
For centuries, we have been used to family dysfunction propelling comedies and dramas. Along comes the strange “Kajillionaire” with its unconventional story and bizarre characters, giving us a refreshing dip into a surreal world.

It won the Audience Award at this year’s Sundance Film Festival, and it is easy to see why — this daffiness allows a different look at the family unit.

A tale about career grifters shines brightest because of the caliber of actors. The minute I heard Debra Winger’s voice as the Mom, I was so happy to see her back on screen – and she doesn’t disappoint. The term Mom is used loosely for there is not a maternal bone in her body.

And that’s all the more heart-wrenching to see Evan Rachel Wood as this socially awkward 26-year-old who is basically her parents’ prop, the dutiful daughter who has never enjoyed the good parts of growing up.
Wood is an elegant beauty who has been acting since she was a kid and is best known for her Emmy-nominated role as Dolores in “Westworld.” As Old Dolio, she is a revelation, all sharp angles, dowdy clothes and deadpan voice. She creates some depth as an innocent in emotional development, enough to tug on your heartstrings.

Richard Jenkins is smooth as a con artist and Gina Rodriguez is bubbly as a game girl who has seen too much TV. She’s in way over her head – or is she? 

Gina Rodriguez and Evan Rachel Wood

As one of the year’s best ensembles, they make this unpredictable and idiosyncratic journey palatable, even at its wackiest. 

Writer-director Miranda July has been an independent voice for some time, and her view on life is unusual and funny. But ultimately she connects us, with lonely characters showing their vulnerability and breaking through emotionally. 

Recently, a few films have been released with multiple layers that require mental acuity and stamina to make it through a labyrinth (“Tenet,” “I’m Thinking of Ending Things”). This might be a head-scratcher for some, but I embraced its unexpected daffiness.

I’ll take original any day over safe and same old thing. 

“Kajillionaire” is a comedy written and directed by Miranda July starring Debra Winger, Richard Jenkins, Evan Rachel Wood and Gina Rodriguez. Run-time is 1 hr 46 min. and it’s rated R for for some sexual references/language . Lynn’s Grade: B+

Facebook Comments

Take Ten with Cory Finley

Take Ten with Cory Finley

Writer-Director Helping Small Professional Theatre Sustainment Fund

By Lynn Venhaus
Cory Finley first came on my radar with “The Feast,” his original play that was produced by the St. Louis Actors’ Studio in fall 2017. Since then, he has received national acclaim for two films, “Thoroughbreds” and “Bad Education.” He is definitely one to watch.

Now he is giving back to the small theater company that gave him a shot by being one of the artists trying to help STLAS and others in St. Louis through the Small Professional Theatre Sustainment Fund. This was started to help these struggling companies pay their bills until they can safely re-open.

The coronavirus pandemic has threatened extinction for millions of small businesses all over the world, including theater companies, who will continue to be hit hard as they might not receive any funding in 2021, and if they do, it would be a small amount.

“The federal government has offered some help, but small professional theaters are not in line for major funding and the existing funding that relies on tax dollars is vanishing,” said William Roth, STLAS Founder and Artistic Director. “We decided to take matters into our own hands with the creation of the Small Professional Theatre Sustainment Fund and enlisted the help of well-known St. Louisans with careers in the arts.” 

By donating to the Fund, participants are automatically entered into a drawing to win a virtual hangout with Finley or other famous St. Louis artists Sterling K. Brown, Jon Hamm, Sam McMurray, Beau Willimon, or Neil LaBute (longtime friend of the St. Louis Actors’ Studio).

For every $75 donated to www.stlas.org/sustain, the participant’s name is placed into a drawing for 50 chances to win. The more a person donates, the better their chances are for winning. Contest ends Sept. 17 and the winner will be drawn on September 18.  

During the virtual meet-up, the winner will be able to discuss anything of interest with the artist—from acting tips and insights, to fans just wanting to spend a little quality time. Names will be drawn until all artists are spoken for. For official rules and regulations, please visit the FAQ page. Donations are tax deductible to the fullest extent allowed by law.

Finley wanted to get involved because he believes in their work and the mission they’re starting.

“I was lucky enough to have STLAS put on a production of my play ‘The Feast.’ I’m a huge fan of the work they’re doing and I’m very concerned about the health of theater in America generally in pandemic conditions. I think it’s a great initiative to help keep vital institutions alive,” Finley said. 

In a short-take review, I described the play this way: “One act, three actors, five genres, so says director John Pierson, who shrewdly realizes an eerie “Twilight Zone”-type mind game by Cory Finley of Clayton, Mo. The twisty-turny original play, only 65 minutes’ long, benefits from an accomplished trio of actors and Patrick Huber’s customary meticulous set and artful lighting design. Pierson’s crisp direction and keen sound design enhance the mysterious off-kilter quality.”

Pierson, a St. Louis actor, director and teacher, has been at John Burroughs School since 1993 and is chairman of the Theatre, Speech and Dance Department.

Finley, 31, a Burroughs graduate, is based in New York City, where he is a member of the Obie-winning Youngblood playwrights group at Ensemble Studio Theater. He received a commission from the Alfred P. Sloan foundation for playwrighting, and was the inaugural recipient of the Gurney Playwrights Fund for “The Feast,” which was presented first at The Flea Theater.

Three years ago this month, Finley’s play “The Feast” fit into the vision at The Gaslight Theatre, STLAS’ black-box home.

“STLAS is committed to bringing engaging theatrical experiences to our community of actors, writers, producers, filmmakers and all patrons of the arts; and to provide a strong ensemble environment to foster learning and artistic expression. Through the use of ensemble work, STLAS explore the endless facets and various themes of the human condition by producing existing and original collaborative theatre,” Roth said.

Finley received high praise for the film “Thoroughbreds,” which he adapted from his play and also directed. It was accepted for the Sundance Film Festival in January 2017, and nominated for the Audience Award in the Best of Next! competition. It played at the St. Louis International Film Festival that November. Sold to Focus Features for $5 million, the film opened in theaters in March 2018.

Finley wrote the crime-drama-dark comedy about two upper-class teenage girls in suburban Connecticut, who rekindled their unlikely friendship after years of growing apart. Then they hatch a plan to solve both of their problems — no matter what the cost. The cast included Anna Taylor-Joy and Olivia Cooke, and was the last film of Anton Yelchin, who died in a tragic accident at his home in June 2016. The film is dedicated to him.

Anton Yelchin, Cory Finley, Anya Taylor-Joy. Photo by

Indie Wire described the film as “Heathers meets American Psycho.” Rotten Tomatoes had a score of 86% and the critic consensus was: ” Thoroughbreds juggles genres with panache, delivering a well-written and refreshingly unpredictable entry in the teen thriller genre.”

In 2019, Finley scored a Film Independent Spirit Award nomination for Best First Screenplay for “Thoroughbreds.” The annual awards, held since 1984, honor independent filmmakers working with small budgets. For more information on the film, visit www.thoroughbredsmovie.com

Last year, Finley directed “Bad Education,” which was shown at the Toronto International Film Festival in 2019 and sold to HBO for $20 million. HBO aired it April 25 this year (Currently available in HBOMax catalog) and as of Sept. 8, it is available on DVD and Blu-Ray. It is also available for rental or purchase on streaming platforms.

“Bad Education” is nominated for two Emmy Awards — Best Television Movie and Hugh Jackman for Lead Actor in a Limited Series or Movie. The Emmy Awards are Sunday, Sept. 20.

The film, based on a true story, focuses on the popular superintendent of New York’s Roslyn school district as well as his staff, friends and relatives who become the prime suspects as the single largest public school embezzlement scandal in American history unfolds. Former Roslyn student Mike Makowsky wrote the screenplay based on the New York Magazine article “The Bad Superintendent” by Robert Kolker.

Finley said he was drawn to the script for several reasons.

“I thought the script had a really unique tone, a complex character at its center, and themes about greed, institutional failure and systemic corruption that spoke to me,” he said.

And working with the cast was a positive experience.

Jackman played Frank Tassone, who was sentenced to 4 to 12 years for the $11.2 million embezzling scheme, and Alison Janney played Pam Gluckin, an assistant superintendent who took part in the scheme.

“I was enormously lucky that my A-list cast all had the work ethic and humility of actors just starting off: particularly Hugh and Alison made my job incredibly easy and were intensely collaborative and open, as well as super-prepared,” Finley said.

He said he is not at liberty to divulge his next project just yet..

How has he been coping with the pandemic in New York?

“My partner is a medical resident who got pulled into the COVID ward right at the height of the pandemic, so I had a very intense view of the worst of it through her. But she’s now back home doing tele-health and things are much more normal,” he said. “I’m fortunate to have a job that I can do from home — the writing and prep parts of my job at least — and so I’m far less affected than many New Yorkers have been.”

What has he learned during this time of quarantine?

“It’s a total cliche, but I’ve learned how important a sense of social community is, and how badly we all need it back,” he said.

Cory FInley at Film Independent Spirit Awards. Photo by Kevin Mazur.

Q&A QUESTIONS FOR “TAKE TEN”
1. Why did you choose your profession? 
I always loved creating and managing made-up worlds: first pretend games, then Dungeons and Dragons, then school plays, then  directing film. 

2. How would your friends describe you?
Tall, polite, bad at remembering things, dad jokes, no sense of direction. 

3. How do you like to spend your spare time?
Playing basketball with great enthusiasm and minimal ability. 

4. What is your current obsession? 
Youtube chiropractic adjustment videos. Also, archived Firing Line videos of William F. Buckley debating prominent leftists of the 60s — Noam Chomsky, James Baldwin, Huey Newton. They show at once how far our politics have come and how little our discourse has changed. 

5. Who do you admire most?
In no particular order: Caryl Churchill, Alexandria Ocasio-Cortez, Lebron James. 

6. What is your favorite thing to do in the St. Louis Metropolitan Area?
Ted Drewes and the Tivoli Theatre.  

More to Know:
Name: Cory Finley
Age: 31
Birthplace: St. Louis, MO (Clayton, specifically)
Current location: Manhattan
Day job: Many years SAT/ACT tutoring
Favorite movies: Brief Encounter, There Will Be Blood

Facebook Comments