‘The World to Come’ is Romance in Dangerous Setting

‘The World to Come’ is Romance in Dangerous Setting

By Alex McPherson
The film unfolds during the late 1850s, somewhere along the East Coast of the US. In the midst of a harsh winter, Abigail (Katherine Waterston) lives on a farm with her emotionally distant husband, Dyer (Casey Affleck). They’re gradually drifting apart, trapped by circumstance and grieving the death of their young daughter. They depend on each other but avoid addressing the underlying problems in their relationship. Abigail, an intelligent, highly literate individual, finds some solace through writing in her diary, where she can freely express herself.

Abigail eventually falls for Tallie (Vanessa Kirby), an alluring woman moving in nearby. Tallie lives with her husband, Finney (Christopher Abbott), a cold-hearted farmer who insists that she remain his subordinate. As Abigail and Tallie’s friendship grows into something more, the two must persevere through extreme adversity within a world seemingly operating against them.

Although “The World to Come” provides few surprises, it does an admirable job at establishing Abigail and Tallie as three-dimensional individuals imprisoned by the norms that are forced upon them. The film’s patient, deliberate pacing also belies a searing anger at the ways they are treated by society at large.

“The World to Come” initially feels like a horror film, as viewers observe a bleak, snow-covered landscape matched by a fractured household. Narration from Abigail’s diary, which continues somewhat repetitively throughout the film, establishes her mourning for her previous life with her husband and child. This is combined with a clarinet-based score that ebbs and flows in keeping with her turbulent emotions and unpredictable environment.

Tallie, also enduring a troubled relationship, is more courageous in the face of others’ standards. Abigail and Tallie’s bond —  convincingly portrayed by Waterston and Kirby with meaningful glances and sharp enough dialogue —  offers them both an opportunity to chart a new path forward. Tallie provides Abigail a chance to symbolically fight back against what’s expected of her, putting her written thoughts into action. The moments they share, satisfying each other both sexually and intellectually, lend the proceedings a wistful tone, contrasted by moments of brutality in their surroundings. 

 Abigail and Tallie are enveloped in passion, even if their romance was doomed from the start. Like the place they inhabit — winter turning into spring, captured with painterly cinematography by André Chemetoff — their bond is fraught with danger, but also offers enticing possibilities for, if I may, their world to come.

The acting is exceptional across the board, with Waterston and Kirby giving standout performances. From the moment they lay eyes on each other, their chemistry is palpable. The dialogue they’re saddled with, on the other hand, is often lyrical but sometimes heavy-handed, eliciting eye rolls rather than swoons on several occasions.

Affleck gives a strong performance as Dyer, bringing him additional depth that earns him sympathy down the road. Abbott’s character, Finney, is portrayed in a bluntly toxic fashion —  his religiously charged dialogue hits viewers over the head and renders his character detestable, yet sadly recognizable.

The film’s conclusion leaves too much up in the air, however, and misses an opportunity to distinguish itself from other similar narratives. Like the future that Abigail envisions in her diary, though, the film ultimately encourages us to believe in one where justice is served, and where individuals have the freedom to chase their desires. Art has the power to convey deeply felt emotions and preserve them — Abigail’s diary becoming more than a simple journal, and the film itself open to interpretation. 

While I wish “The World to Come” had subverted genre expectations to a greater extent, the film remains worth watching for its performances, atmospheric cinematography, and overall poignant storyline.

“The World to Come” is a 2020 drama, directed by Mona Fastvold and starring Katherine Waterston, Vanessa Kirby, Casey Affleck and Christopher Abbott. Rated R for some sexuality/nudity, the run time is 1 hour, 38 minutes. The movie premiered at the 2021 Sundance Film Festival and will be in theatres on Feb. 12. Alex’s Rating: B+ 

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‘Judas and the Black Messiah’ Is Intense, Heartbreaking Ode to Activism

‘Judas and the Black Messiah’ Is Intense, Heartbreaking Ode to Activism

By Alex McPherson
Director Shaka King’s new film, “Judas and the Black Messiah,” is a visceral exploration of resistance, sacrifice, betrayal, and legacy.

The film takes place in late 1960s Chicago, where tensions are high between the Illinois Black Panther party and law enforcement. Amid the aftermath of recent political assassinations, Panther Deputy Chairman Fred Hampton (Daniel Kaluuya) is growing increasingly influential. Hampton, only 21 years old, is a passionate leader who seeks to advance the self-determination of black people to rebel against injustice, calling for cultural revolution. He establishes programs providing food, education, and medical care to local communities. He also unites disparate groups across Chicago under shared fury at the powers that be, including an all-white group called the Young Patriots.

Despite all that Hampton does for the community, however, FBI director J. Edgar Hoover, monstrously played by Martin Sheen, sees Hampton’s growing impact as a threat and formulates a plot to eliminate him by any means necessary. FBI agent Roy Mitchell, played with surprising nuance by Jesse Plemons, recruits a youthful, petty criminal named William O’Neal (Lakeith Stanfield) to infiltrate the Black Panther Party and become an informant, in exchange for his freedom from jail time. As O’Neal starts ascending through the ranks — eventually becoming Hampton’s security chief — he starts to question what he’s doing and whose side he’s really on.

The following events are often enraging and sobering. Indeed, “Judas and the Black Messiah” is a deeply moving film, depicting its subjects with depth while spotlighting historical events that remain scarily relevant today.

Through focusing on a condensed period of time, King’s film isn’t a mere biopic of Hampton or O’Neal. Rather, viewers are thrown into a warzone twisted by prejudice and misinformation. This was a volatile period in Chicago’s history, as well as a formative time for several of the film’s subjects. As Hampton’s political prowess grows, so do the malevolent machinations operating behind the scenes. Through the film’s crisp cinematography, expressive score, and harrowing scenarios, we can practically taste the danger in the air. The suspense is palpable, both of cultural change and of violence looming on the horizon.

It’s a bold decision to frame the proceedings through O’Neal’s perspective. Though his actions are often reprehensible, “Judas and the Black Messiah” paints him in an empathetic fashion, where we can see his inner turmoil. Trapped in a precarious situation, both the manipulator and the manipulated, O’Neal is an intriguing enigma throughout the film. “Judas and the Black Messiah” contains several nail-biting scenes where O’Neal escapes by the skin of his teeth — slyly grinning to himself when the coast is clear, but also realizing the constant danger he’s in, and his own growing attachment to the Panther cause. 

Stanfield’s performance is downright incredible, capturing O’Neal’s selfishness and slippery nature, but also his discomfort and mental conflict as the film progresses. Although some viewers may take issue with his lack of clear-cut motivation, King and co-writer Will Berson refuse to simplify him for entertainment purposes. O’Neal is a flawed individual, who we may never truly understand. In the film, he comes across as a tragic figure, battling for a sense of self amid delusion, propaganda, and frontline interaction with the Panthers themselves.

This lends the proceedings an uncomfortable tone, as we simultaneously care about O’Neal, but also reel from the actions he takes to undermine the Panthers’ cause. Although I appreciate his complex portrayal, “Judas and the Black Messiah” misses an opportunity to elaborate on his attachment, or lack thereof, to the Panthers. The film rushes through his time spent in the Party early on, and the film’s emotional core could have been strengthened by showing more of his interactions with Hampton in particular. 

Hampton isn’t portrayed quite as three-dimensionally as O’Neal, but the film effectively establishes his skills as an orator and as someone who truly cares about the people he’s serving. Kaluyya gives a powerful, soaring performance, where Hampton’s bravery as a leader is on full display. His girlfriend, Deborah Johnson (Dominique Fishback), helps him mature over the course of the film, as he reckons with the weight of his responsibilities for his personal life and the legacy he leaves behind. 

We also get several quieter scenes of Hampton reflecting on his life, helping to ground his character in relatable, personable emotions beneath his in-your-face persona. He reckons with how he’s perceived by the FBI, along with the consequences his passionate rhetoric has on his followers. While I wish the film had provided more of these intimate moments, “Judas and the Black Messiah” showcases the tragedy of a groundbreaking life of activism cut short by forces emboldened by racism and lust for power.

Despite the film’s missed potential in exploring the relationship between Hampton and O’Neal, “Judas and the Black Messiah” remains a must-watch cinematic experience — spotlighting a heroic figure, while encouraging viewers to fight for a more equitable world for future generations.

“Judas and the Black Messiah” is a dramatic biopic directed and co-written by Shaka King, starring LaKeith Stanfield, Daniel Kaluuya, Dominique Fishback, Jesse Plemons, Lil Rel Howery, and Martin Sheen. It runs 2 hours 6 minutes. Alex’s Rating: A- Now playing in theaters and on HBOMax Feb. 12

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Justin Timberlake Strong in Heartwarming ‘Palmer’

Justin Timberlake Strong in Heartwarming ‘Palmer’

By Lynn Venhaus
“Palmer” may be predictable, but it’s a heartwarming relatable story about acceptance and second chances.

After 12 years in prison, former high school football star Eddie Palmer (Justin Timberlake) returns home to put his life back together, Living with his grandma (June Squibb), he forms an unlikely bond with neighbor Sam (Ryder Allen), an outcast boy from a troubled home.

This modest film uses the trope of small minds in a small town as its setting in Louisiana, which works for the character of a young nonconformist who doesn’t care about fitting into a gender lane. And leads to the bond he forms with an ex-con starting over.

Cheryl Guerriero’s screenplay has created roles that the cast plays convincingly. Newcomer Ryder Allen delivers a poignant performance as Sam, who is bullied for his feminine-leaning proclivities, like wearing a princess costume for Halloween and playing with dolls.

Justin Timberlake, the Tennessee-born music superstar, is strong as straightened out Eddie Palmer trying to fly right. He’s always been a likeable personality, from his days on “The All-New Mickey Mouse Club” to his boy band popularity to his five times hosting “Saturday Night Live” and his Grammy-winning solo career (10 wins, 39 nominations).

In his few movie appearances, he’s been a natural. Here, he must carry the movie, and he’s believable at every step. He becomes the father figure to Sam, and there isn’t a false move from either of them.

Their bond is genuine. Over time, they become to rely on each other as Sam stays at Palmer’s house – his drug-addict mom Shelly (Juno Temple) has taken off with her boyfriend Jerry (Dean Winters) – and Eddie has been hired as a janitor at Sam’s elementary school. Eddie becomes his watchdog and caretaker.

The supporting cast is strong, too, with Alisha Wainwright as helpful third grade teacher Miss Maggie, who begins dating Eddie, and Juno Temple as Sam’s irresponsible mother.

Ninety-year-old June Squibb, from Vandalia, Ill., is Eddie’s crotchety but loving grandmother Vivian, a devout churchgoer and benevolent neighbor to Sam and his mother.

Actor-director Fisher Stevens directed fluidly, simply letting the story be told.

Once in a while, you discover a sweet story about people struggling to make things right in their world. “Palmer” succeeds in bringing together people who need each other, whose lives are changed because of their association. 

“Palmer” is a drama directed by Fisher Stevens and starring Justin Timberlake, Ryder Allen, June Squibb, Juno Temple, Alisha Wainwright and Dean Winters. Rated R for language, some sexual content and nudity, and brief violence, it runs 1 hour, 50 minutes. Available Jan. 29 on Apple TV+. Lynn’s Grade: B

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Trippy ‘Bliss’ Is Dreadful – Miscast, Misguided and Messy

Trippy ‘Bliss’ Is Dreadful – Miscast, Misguided and Messy

By Lynn Venhaus
A hot mess of a movie, “Bliss” travels between reality and computer simulation, but do we ever know what is real? And more importantly, do we care?
No.

A mysterious woman (Salma Hayek) convinces a troubled man (Owen Wilson) that they are living in a simulated reality, but even with chemical enhancement, their newfound merry world begins to bleed into a cruel ugly world. So, what is real and where do they belong?

Owen Wilson is Greg, a glum, recently divorced guy who goofs off at work and takes pills for an undisclosed ailment. His boss has been trying to get his attention, and certainly does when he fires him.

After a shocking development, he meets Salma Hayek’s difficult Isabel across the street in a bar, Plato’s Dive, and for the next hour and a half, we have philosophical drivel, a nonsensical love story and a bizarro world that alternates between utopian and dystopian.

The writer-director Mike Cahill, whose earlier low-budget movies, “Another Earth” and “I Origins,” put him on the indie map, has crafted what started as an ambitious sci-fi into a complex narrative that spirals out of control.

One can’t keep up with intentions – and why would you keep trying – because at every turn, characters leaps into the rabbit hole. They are on the street, then they are in paradise – it’s jarring and jerky.

“Bliss” is more like an abyss. There is so much confusing “Matrix”-like mumbo-jumbo and the main characters are irritating. Hard-shell Isabel is taxing and selfish, her motivations suspect and very often, cruel. She’s more loathsome than lazy Greg, who is just a tool.

And miscast. Wilson and Hayek do nothing for their careers with these unsympathetic roles. When they play with their powers, people get hurt – and that is painful to watch them derive pleasure from it.

Do we ever know the endgame here? “Bliss” is a superficial movie that aimed high, but its concept could not be executed in any believable way. I want 103 minutes of my life back.

“Bliss” is a sci-fi drama written and directed by Mike Cahill, starring Owen Wilson, Salma Hayek, Nesta Cooper and Ronny Chieng. It’s
rated: R for drug content, language, some sexual material and violence, and runs 1 hour, 43 minutes. An Amazon Original movie, it is available on Prime Feb. 5. Lynn’s Grade: F

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Too Much Navel-Gazing in Stylish ‘Malcolm & Marie’

Too Much Navel-Gazing in Stylish ‘Malcolm & Marie’

By Lynn Venhaus
The long-winded intimate relationship drama “Malcolm & Marie” explores both the public and the private side of a young power couple in Hollywood, as well as the minefield of working together or choosing not to, during one long night.

When a filmmaker (John David Washington) returns to the lush seaside home the studio has rented for him in Malibu, along with his girlfriend (Zendaya), after his successful movie premiere, they wait for the reviews. Their conversation begins to break down the events of the night as they affect their relationship, and some ugly truths are revealed. Their love is tested by forces within and the career paths they have chosen.

The tone and the temperature shift as Malcolm and Marie, rising stars John David Washington, 36, and Zendaya, 24, talk through festering resentments, bruised egos and their personal and career choices for 1 hour and 46 minutes. By mid-film, it feels like one long tedious and repetitive domestic argument, as they roam about the place, venting, defensive and tired, with pent-up passion.

How much you buy into their union will depend on whose side you’re on, and I’m on Team Marie.

The pair – who also produced – have an interesting dynamic together, but as the relationship is the definition of complicated – and frustrating, it’s hard to understand the commitment. There is plenty of navel-gazing. What happens when daylight breaks can be anyone’s guess.

Zendaya is a natural force destined for a huge career, and she is relentless here, displaying anger, pain and exasperation. Marie is not just going to be the girl on his arm, demanding that she not be ignored.

She is mad because Malcolm – self-absorbed, vain – forgot to thank her and appropriated her life story for the film. But didn’t cast her. Oh, does she have some questions. He is very reliant on her as a partner who attends to his needs and has a short lease. But does that translate to appreciating her?

John David Washington, who exploded onto the scene with “BlacKkKlansman” but was miscast in “Tenet,” has a tougher time gaining our sympathy here as he tries to explain/excuse his behavior. Their delivery is rat-a-tat-tat, so hang on, because the dialogue can leave little time for coming up for air, and at times, is exhausting.

Writer-director Sam Levinson, creator of HBO series “Euphoria,” which stars Emmy-winning Zendaya, took pen to paper during the pandemic. He is the son of Oscar-winning director Barry Levinson, so he’s been around the business his entire life. This script is very inside Hollywood – and in a good way, tackles systemic racism in showbiz. Malcolm takes issue with a certain white female critic, who actually fawned over his brilliance.

One of the drawbacks here is that Malcolm is supposed to be this hotshot phenom, but we can’t see if his work is any good – we can only take the opinions of critics (wink).

And why does he treat Marie in an unequal manner while professing his love?

Shooting in a stylish contemporary home in Carmel, Calif., in black-and-white, cinematographer Marvell Rev’s silky work is exquisite. The black-and-white aspect keeps our focus on the couple, not the accoutrements.

The self-indulgent script needed more context for the characters. I wanted characters with some gravitas. Malcolm’s character never struggled.

“Malcolm & Marie” succeeds as a showcase for two young talents but the overstuffed script is hard to get behind.

“Malcolm & Marie” is a drama directed and written by Sam Levinson, and stars John David Washington and Zendaya. Rated R for pervasive language and sexual content, the movie runs 1 hour and 46 minutes. In theaters now and on Netflix beginning Feb. 5. Lynn’s Grade is C+.

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‘Assassins’ Expose Is a Journalistic Achievement

‘Assassins’ Expose Is a Journalistic Achievement

By Alex McPherson
Director Ryan White’s “Assassins” is a scathing indictment of North Korean politics and a timely reminder of the lengths that some people will go to retain power.

On February 13, 2017, Kim Jong-nam, the half-brother of Kim Jong-un, was fatally poisoned in broad daylight at Kuala Lumpur International Airport in Malaysia. Security cameras recorded two young women, the Indonesian-born Siti Aisyah and Vietnamese-born Doan Thi Huong, carrying out the deed, rinsing the poison off their hands, and leaving the airport. Siti and Doan were arrested a couple days later, seemingly oblivious to the gravity of what they had just done. Per the Malaysian legal system, they both faced the death penalty if found guilty of the murder. Are Siti and Doan highly skilled assassins, or are they mere pawns being controlled by larger forces?

White’s film, composed of interviews with those involved in the events themselves and the investigation, seeks to uncover these answers. As the larger plot is unearthed, “Assassins” becomes a persuasive ode to journalism and empathy for those marginalized, arguing for justice in a world plagued by selfishness and brutality. The film often proves heartbreaking, upsetting, and downright infuriating. We witness the truth being obscured by power hungry individuals only interested in protecting themselves, no matter the cost. 

Through relying on plain-spoken interviewees, this increasingly complex tale is presented in an accessible fashion, ensuring that practically anyone can get wrapped up in the proceedings. Expectations might be subverted, and previous notions of culpability and victimhood may be upended — all through the film’s empathetic eye and outlining of cold, hard evidence.

While White’s filmmaking lacks a distinctive style, the central events and subsequent investigation are more than enough to keep viewers engaged. In a way, though, the film doesn’t need additional cinematic flourishes to render it compelling. Feelings of dread and suspense are palpable, and it’s easy to become enthralled by the film’s drama based on the subjects alone. White’s film is a no-frills affair, embracing the journalistic process and taking time to explore the backgrounds of Siti and Doan, as well as North Korea generally, with strong attention to detail.

Indeed, as we learn more about Siti and Doan — who had no previous connections to North Korea — we see two individuals being exploited by larger pressures operating behind the scenes, leading them down a path that, unbeknownst to them, involved political assassination. Siti and Doan’s portrayals aren’t simplified for dramatic purposes, and “Assassins” quickly establishes them as sympathetic individuals, coming from loving families and humble origins, with their own hopes and dreams, but remaining vulnerable and naive amid a world drenched in ambiguity.

“Assassins” also provides a blunt crash course on North Korean history, detailing the rivalry between Kim Jong-un and Kim Jong-nam. The film makes a strong argument that, well, Kim Jong-un is an unstable, murderous leader, as if that wasn’t already obvious — all the more nauseating that former President Donald Trump cuddled up to him.

By the film’s conclusion, I was shaken, and surprised at how emotionally invested I had become in Siti and Doan’s struggles. I’m grateful that films like “Assassins” exist to help spotlight individuals and truths previously silenced — depicting human stories with universal appeal and sobering repercussions for modern society. This gripping documentary, in particular, remains among the most effective I’ve ever seen, and is unquestionably worth seeking out. 

“Assassins” is a documentary directed by Ryan White. It is 104 minutes. It is available Video on Demand on multiple platforms. Alex Rating: A .

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Metro Theatre Company’s ‘Jacked!’ Continues Virtually Through March 31

Metro Theatre Company’s ‘Jacked!’ Continues Virtually Through March 31

St. Louis’s premiere professional theater for youth and families, continues its refreshed 2020-21 season with the virtual production of Jacked! (available January 21 – March 31, 2021 at metroplays.org). Written by award-winning playwright Idris Goodwin (Ghost, And In This Corner: Cassius Clay) and inspired by the fairytale Jack and the Beanstalk, Metro Theater Company reworked what was initially planned as an in-person touring production into an imaginative, fully virtual experience that combines hand-drawn animation, spoken word poetry, and behind-the-scenes studio footage. Jacked! is set to a fresh, energetic hip-hop score by Jackie “Jackpot” Sharp, featuring vocals and rap by the popular St. Louis punk pop duo, The Knuckles. Actor Jarris L. Williams, who recently played the lead character in Metro Theater Company’s production of Ghost, takes on the role of Jack. 

Jacked! is Jack and the Beanstalk with a modern-day twist. In this reimagined world, Jack and his mother struggle to live happily ever after. When his farm, which was once green and fertile, can no longer feed him; when his community can no longer support him; and when his mother can’t take care of him, Jack takes matters into his own hands. After climbing the beanstalk and stealing the giant’s goose, Jack flees home and discovers the goose’s golden eggs have a mysterious, intoxicating power that turns his world upside down. How can something so good make everything bad? Can Jack turn things around to save his village? 

Created and developed for children ages 5-11, Jacked! fuses storytelling and poetry with hip hop and break-beat music in a multisensory virtual production designed to engage the audience on multiple levels, coming as close as possible to the active engagement of a live performance. It’s also an allegory that uses the familiar story of Jack and the Beanstalk as a launching point to explore the impact of substance abuse for very young audiences, encouraging a gentle dialogue about its effects on our communities.

Directed by Jamie McKittrick (The Girl Who Swallowed a Cactus, Wonderland: Alice’s Rock & Roll Adventure), Jacked! features hand-drawn animation using artwork by visual artist and theatre veteran Nicholas Kryah, who previously served as MTC’s resident artist for 37 years. Kryah crafted abstract visuals using watercolor, pen and ink drawing, and textured collage designs to make Jacked! feel viscerally touchable despite its two-dimensional delivery method. Editor Michael Tran, inspired by flip books, stop-action animation and early animation techniques, brought Kryah’s designs to life along with Jackie “Jackpot” Sharp’s rich hip-hop score. Costume designer Dorathy Lee Johnston rounds out the creative team. 

Jarris L Williams

WHEN:     January 21 – March 31, 2021

WHERE:    Virtual event at https://www.metroplays.org/jacked

TICKETS:    Tickets begin at $16. Registration is required to receive the link for view. 

Jacked! is available to view for free (or pay-what-you-can) during the opening weekend, January 21-24. 
MTC is committed to ensure that economic barriers do not prevent families from experiencing its programs. For all winter/spring productions, MTC will offer a four-day pay-what-you-can viewing period to enable those families who may need to register for free to do so.
To purchase tickets, register to view for free during the opening weekend, or for more information, please visit https://www.metroplays.org/jacked. 
NOTES:    Jacked! is a 40-minute production with no intermission. The production is recommended for ages 5-11. Support for Jacked! is provided by Children’s Theatre Foundation of America. 

2020-21 Refreshed Season
After the opening of Jacked!, Metro Theater Company continues its refreshed winter/spring 2021 season with the following productions—virtual and in-person. Tickets go on sale January 28. To reserve and/or purchase tickets please visit metroplays.org.

And In This Corner: Cassius Clay
(Virtual/Online)
March 22 – April 30, 2021 
Tickets start at $16 / Pay-what-you-can window March 22 – 25
Streaming at metroplays.org/virtual-field-trips
Tickets go on sale January 28.

After an extremely successful pay-per-view run this summer, MTC is pleased to bring back an encore stream of And In This Corner: Cassius Clay, which tells the story of the young man who would become Muhammad Ali and his relationship with a white police officer who introduced him to boxing in Jim Crow-era Louisville. The play was a hit of the 2015-16 theater season and generated numerous accolades for Metro Theater Company, including the Network for Strong Communities’ prestigious Paulie Award for creating positive change through collaborative nonprofit partnerships. Led by Trigney Morgan as Cassius Clay between the ages of 11 and 20, the play was celebrated by the St. Louis American for its “authentic chemistry among the cast” and its potential to encourage audiences “to channel their inner champion and fight for what’s right.” The streaming production was filmed by HEC Media during the play’s original February 2016 run at the Missouri History Museum.


The Very Hungry Caterpillar Show / La Oruga Muy Hambrienta Espectáculo
(In-Person, Outdoor and Socially Distant; Virtual Streaming Option Available)
April 25 – May 16, 2021   
Kirkwood Performing Arts Center, 210 East Monroe Avenue, St. Louis, MO 63122
Tickets are $18-$36 / Pay-what-you-can window April 27 – 30
More information at metroplays.org/hungrycaterpillar 
Tickets go on sale January 28.

He’s enchanted generations of readers since he first began nibbling his way into our hearts in 1969. Now, everyone’s favorite caterpillar takes the outdoor stage in a dazzling, critically acclaimed production – featuring a menagerie of more than 75 larger-than-life, magical puppets. The Very Hungry Caterpillar is joined by friends from three other iconic Eric Carle picture books: Brown Bear, Brown Bear, 10 Little Rubber Ducks, and The Very Lonely Firefly. Revisit these timeless classics with the young people in your life in an outdoor, socially distant setting, keeping you and your family safe while diving into a music-filled, big, bright, colorful world filled with transformation and discovery. The Very Hungry Caterpillar Show is a 60-minute production created by Jonathan Rockefeller and based on the books by Eric Carle. This English-Spanish bilingual production will be a joy for language learners of every age!

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About Metro Theater Company: Since 1973, Metro Theater Company has been creating productions that respect young people’s intelligence, tell compelling stories, stimulate curiosity and provoke thoughtful reflection. The Company has reached a total audience of more than two million and has a national reputation for excellence in the field of professional theater for young audiences. Institutional support for Metro Theater Company is provided Berges Family Foundation, Regional Arts Commission, Emerson, Crawford Taylor Foundation, Shubert Foundation, Whitaker Foundation, Children’s Theater Foundation of America, Missouri Arts Council, National Endowment for the Arts, and the Arts and Education Council. Metro Theater Company has received major honors and awards, both locally and nationally. The company is led by Artistic Director Julia Flood and Managing Director Joe Gfaller. For more information, visit http://metroplays.org. 

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Riveting Historical Drama ‘The Dig’ Makes Archeology and Its Workhorses Compelling

Riveting Historical Drama ‘The Dig’ Makes Archeology and Its Workhorses Compelling

By Lynn Venhaus
Who knew watching people digging in the dirt would be so fascinating? That’s one of the surprising things about “The Dig,” which is based in fact and never dull.

Another revelation is how compelling the characters are – and that’s a credit to the fine performances, but also the script by Moira Buffini, who adapted John Preston’s 2007 book.

Seen through the eyes of the property owner and the modest working-class excavator, this thoroughly engaging film gives us an authentic account of how a 6th century ship is discovered underground and the battles it provokes.

In1938, Edith Pretty (Carey Mulligan) hired local excavator Basil Brown (Ralph Fiennes) to dig into those mysterious mounds of earth on her Sutton Hoo property, near Suffolk. What he discovers is remarkable in its historical significance – an Anglo-Saxon ship, with a burial chamber, from the 6th century. It would become the largest archeological find in England. Museum officials start fighting over it, as do university archeologists. At this same time, the country is on the verge of going to war with Germany after Hitler invades Poland.

Mulligan is terrific as Pretty, the fiercely loyal wealthy widow who won’t allow Brown’s contributions to be minimized, even though the snobby museum professionals demean his lack of training.

Brown is a bit unorthodox. An expert digger, Fiennes convincingly conveys this humble man — his eccentricities, prowess and gratitude over Mrs. Pretty’s kindness.

This much-lauded duo delivers nuanced portraits of the real people who gave the story its heart, and their friendship is one of the story’s best elements. Child actor Archie Barnes is an important component as young Robert Pretty, Edith’s son who forms a strong bond with Brown.

The supporting cast is also strong. Lily James is a bright spot as a capable academic, Peggy Piggott, whose unhappiness with her inattentive husband (Ben Chaplin) grows.

Johnny Flynn, so good in “Emma” and “Beast,” shows his versatility as Rory Lomax, Edith’s relative who preserves the scene with his camera but joins the RAF during the big activity on the grounds. Monica Dolan plays sweet May Brown, Basil’s supportive wife.

Australian director Simon Stone respects both the history and the human nature in telling the story, and lets the atmosphere speak for itself.

The creative work is important in keeping us riveted. Maria Djurkovic’s earthy production design is one of awe and wonder, with cinematographer Michael Eley capturing the stunning landscapes. Costume designer Alice Babidge’s period work is impressive, and Stefan Gregory’s music score punctuates the action well.

In not-so-subtle ways, “The Dig” emphasizes life, death and time in a smart, richly textured and endearing work. Dig in!

THE DIG (L-R): CAREY MULLIGAN as EDITH PRETTY, RALPH FIENNES as BASIL BROWN. Cr. LARRY HORRICKS/NETFLIX © 2021 

“The Dig” is an historical drama directed by Simon Stone and starring Carey Mulligan, Ralph Fiennes, Lily James, Johnny Flynn, Ben Chaplin and Monica Dolan. Rated: PG-13 for brief sensuality and partial nudity, the film runs 1 hour, 52 minutes. Lynn’s Grade: A. In select theaters and on Netflix Jan. 29.

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Heartfelt Performances in ‘Supernova’ Deal with Soul-Crushing Loss

Heartfelt Performances in ‘Supernova’ Deal with Soul-Crushing Loss

By Lynn Venhaus
A hard look at mental health when facing a life-altering course, “Supernova” is a well-meaning, if underdone, love story that features virtuoso performances from Stanley Tucci and Colin Firth.

Sam (Colin Firth) and Tusker (Stanley Tucci) have been a couple for 20 years. They take a road trip through England in their old camper van, visiting friends, family and special places from their past because Tusker has early-onset dementia. He knows that this might be the last time he can absorb the feelings about all things he loves.

Meanwhile, Sam is trying to cope with the decline of his longtime partner and facing an uncertain future.

Tucci, one of the best character actors working today, has only been nominated once for an Oscar (“The Lovely Bones”) but hopefully that will change, because he vaults to frontrunner status with this heartbreaking turn as a man confronting soul-crushing loss – of his identity and health.

As supportive partner Sam, Firth, Oscar winner for “The King’s Speech,” tries to be the rock, but can’t hide his pain or insecurities. The pair will be tested, and it’s gut-wrenching.

Both actors, who are longtime friends, convey an intimacy and history as they believably portray longtime companions.

However, the rather mundane movie isn’t as satisfying as their work.

Writer-director Harry Macqueen has obviously done his research on dementia, which is relatable to any family member dealing with a loved one’s decline. However, he holds back on the hand wringing and panic, which would be real emotional tsunamis, so it’s rather all tastefully represented. What’s felt seems to be bubbling up under the surface, ready to break through but rarely emerging.

A ribbon of melancholy is present throughout, as the film does meander while the men face the unpleasant reality and unknown of the future.

Their journey through the United Kingdom’s Lake District is a lovely drive. Sam’s family homestead is a stop, while Tusker is from America.

One of the more frustrating aspects of the film is its stubborn refusal to parcel out a backstory. Sam is a classical pianist and Tusker apparently has written books, but we don’t know too much about them as individuals or as a couple – except they’ve been together for two decades.

The subject matter is depressing, but the lack of oomph in storytelling doesn’t help in engagement.

A little too plain, ‘Supernova” needed to give us more than a showcase for two outstanding actors.

“Supernova” is a drama written and directed by Harry Macqueen, starring Colin Firth and Stanley Tucci. Rated R for language, the film’s runtime is 1 hour, 33 minutes. Lynn’s Grade: B. Available in theatres Jan. 29 and Video on Demand on Feb. 16.

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Dispatch from the Hills: Condemn or Condone –No Gray Area, Congress!

Dispatch from the Hills: Condemn or Condone –No Gray Area, Congress!

By Lynn Venhaus
Collective amnesia? Not shamed by the hypocrisy?

My mind is blown on a daily basis by the willingness to dismiss the gravity of Jan. 6, when an insurrection tried to take over the Capitol and destroy democracy. Did you not see the videos? The selfies? The news reports?

So far, 164 people have been arrested. Five people died.

There are 140 Capitol police officers with injuries, some severe. One lost his life that day. Two officers took their own lives. One might lose his eye. Beaten, bruised, stabbed — some bad enough to have spinal cord and brain injuries. Look it up if you don’t believe me.

These mindsets of “Stop the Steal” aren’t dangerous?

Despite his lies and protests to the contrary, disgraced Missouri Senator Josh Hawley went on Fox News Jan. 4: When asked if he was saying Trump would still be president Jan. 21, he said (and it’s on tape):

“Well, Bret, that depends on what happens on Wednesday.”

He was a self-righteous prig before his fist pump, now he is just a lying despicable traitor, betraying his oath of office. His former mentor Sen. John Danforth has called him out and said what he’s saying is “Baloney!” Hawley is whining about his views being muzzled but he’s been all over the media saying his revisionist history. KMOV said they have repeatedly asked him for comments and he has declined.

Mr. Two-Face. His victim act is so disingenuous.

Gaslighting is still going on after #45. I can’t believe people who I describe as “lifelong Republicans but never Trumpers” don’t find all of this appalling. Liz Cheney, Mitt Romney and Cindy McCain do, and they were ‘censured’ by the Arizona GOP!?!?Even though he took that once Grand Old Party hostage, the morally bankrupt Trump was never a real Republican nor a Christian (inexplicable Evangelical support).

And speaking of the former president, he will be on trial in the Senate, so a potential juror (Kevin McCarthy) is visiting the defendent/witness today in Mar-a-Lago? WTH?

One of the recently elected lunatic fringe in Congress, QAnon supporter Marjorie Taylor Greene, is being criticized for her astonishing social media posts, calling for violence and being flippant about harming the ‘opposing side,’ such as Speaker of the House Nancy Pelosi. She is saying it doesn’t count because it was before she was elected.

Well, Al Franken was pressured to resign as a senator when a photo of him taken years ago surfaced during his term, when under scrutiny from #MeToo movement. She hasn’t taken anything back, including harassing one of the Parkland kids about her right to conceal and carry. She doesn’t believe the biggest mass shooting tragedy in America happened in Vegas. Oh yeah, give her a seat on the Education Committee when she called school shootings “false flags.”

Other people are held accountable for their views. Public figures should be held to higher standards.

As for people screaming about the First Amendment, it doesn’t give carte blanche to everything. You can’t shout “Fire!” in a crowded movie theatre. Words Matter. Everyone’s parents say so. Why is it different now?

You can’t minimize Jan. 6.

This wasn’t fratboy hijinks! This was weaponized domestic terrorists shouting “Hang Mike Pence!” How can this be rationalized?

And with her outlandish conspiracy theories, MTG is an embarrassment as an elected official. She was too extreme for the Republican Party when she ran in the primary (check out who supported her opponent — one Kevin McCarthy!) But when she won, they were all in, accepting her crazy Q views.

She is not some sassy sitcom sidekick there for comic relief. What do they think? It’s a Ricky-Lucy moment when Desi Arnaz says she has some ‘splaining” to do?

Wake up from this fever dream. People should stand for something good and noble and decent. Call on America to be better, do better. Marjorie wants to carry a gun in the Congressional chamber. She has been OK with inciting violence in Facebook posts. Wouldn’t you be uneasy if she was your co-worker?

People who sometimes say crazy inflammatory things do act on them. Ask people whose workplace was the scene of a disgruntled employee going ballistic.

Yes, we have to bring the temperature of hateful rhetoric down. I think it’s the height of hypocrisy for legislators to say things like “We need to move on because this will further divide people” when you were fully on board with the Bully-in-Chief’s incendiary tweets and attacks for four years.

You cowardly stood by without denouncing Charlottesville. You’re OK with the divide and conquer fascist methods because you are OK with an authoritarian government. You are OK with your voters being white supremists, You need those votes to stay in power, pretending to support your oath when you don’t follow it.

And Mitch McConnell said no impeachment trial until after inauguration but when the Senate starts, the GOP object because he is no longer president! WTH? Trump has had nothing but breaks his whole life — mind-boggling that he believes he is always a ‘victim’– but accused of treason needs to be addressed. You say things that lead to violence and you are NOT at fault? We held Osama bin Laden and Charles Manson responsible even though they were not at the scene of the crime. He and his minions also impeded law enforcement that day. Oh, let’s “FORGET”?

There are not separate rules. Our government is ruled by the U.S. Constitution. You don’t get to cherry-pick it.

After the lack of evidence of fraud in the presidential election, you still sought to overturn a fair and free election because of a massive disinformation campaign. And you were part of the Big Lie. That is a seditionist.

The thing about media is that they can roll the tape, bring up the clip, and show the newspaper clipping of what you said. You can run from reporters, but you can’t hide forever. How do you get out of that?

My life’s mantra is: “When people show you their real selves, believe it.” Thank you, Maya Angelou.

We must believe in the real threat of radicalized domestic terrorists – and it’s not over, oh no. The Department of Homeland Security has issued a warning. Beware public officials.

This is not a TV show. We saw the Capitol breached in real time. We saw the “Camp Auschwitz” T-shirt. We saw Officer Hodge scream in pain as the angry mob tried to crush him. We saw an American flag used as a weapon. We saw proud Americans waving Confederate flags. We saw elected officials and their staff hide under desks and chairs. We can’t “move on.” We need to hold people accountable. As more facts come out, the situation, the planning and the movement become even more frightening. There is cause for alarm — we are not being paranoid or overly dramatic.

We must stop the gaslighting. We saw what we saw. We heard what we heard. As they used to say: “Don’t pee on my leg and tell me it’s raining.”

We need unity and healing, but it won’t happen until people take responsibility for their actions — and their words — that caused harm.

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