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9 min read

Tesseract’s Leap of Faith Musical ‘Ordinary Days’ Is a Memorable Journey

By Lynn Venhaus

What a pleasant surprise the leap of faith “Ordinary Days” is – as the inaugural musical presentation of Tesseract Theatre Company, as an original musical by Adam Gwon, as a coda to this year and as a reflective piece for our third winter of a pandemic.

An intimate, affecting sung-through musical that intersects the lives of four young New Yorkers, “Ordinary Days” resonates with its struggles, search for fulfillment and the palpable sense of yearning from the new-to-me quartet.

Discovering the vocal talents and comedic timing of Brittani O’Connell, Jacob Schmidt, Micheal Lowe, and Lauren Tenenbaum is also part of the fresh-and-fun experience.

As directed by veteran Elisabeth Wurm, the cast maneuvers like the New Yorkers they portray. There’s a certain rhythm to moving around the city, and the four performers nail the aptitude and the attitude. (Full disclosure: my youngest son has lived there since 2011, so I have visited over the years, and have observed the natives, transplants, and tourists.)

When navigating the hustle and bustle, I am often reminded of Stephen Sondheim’s lyrics to “Another Hundred People” in “Company”: “It’s a city of strangers, Some come to work, some to play… Some come to stare, some to stay And every day The ones who stay
Can find each other in the crowded streets and the guarded parks…”

Worried about their futures while still clinging to their hopes and dreams, these two pairs have found each other in a city misrepresented by a cold-hearted perception. It’s not, but you must learn survival — “If I can make it there, I can make it anywhere” is pretty much true.

Tenenbaum is Deb, a small-town girl with dreams of more, who is in grad school and misplaces a notebook crucial to her thesis. It’s found by Warren, a guileless goofy guy played by Schmidt, who is too pleasant and agreeable for his own good, for he’s one of those random guys passing out flyers on the street who is repeatedly ignored. His job is cat-sitting but he’s the proverbial struggling artist. He’s desperate to fit in – can he still be chipper when trying not to get swallowed whole by the city?

Frazzled high-strung Deb is always in a hurry, and will eventually learn to be in the moment, or else the treasured little things in life will pass her by. She thinks Warren is weird, but eventually they become good friends.

The other couple is romantically linked. They have been together for a while but mulling over taking it to the next level, as Jason moves his things in to Claire’s. But something isn’t quite right. O’Connell plays Claire, whose backstory includes a 9-11 casualty, and Lowe is Jason, whose journey leads to commitment, but is Claire ready?

Learning to appreciate the simple things of life – while feeling lonely, isolated, and out of sorts – has been a common theme during the coronavirus pandemic, which has brought a gamut of emotions to the surface since March 2020.

So, Adam Gwon’s play, written in 2008, takes place in 2005, which is important for the actions and transitions. It is a marvel of relatable key moments – Oh, youth! The 30s! – and somehow, reverberates with the same contemplations we’ve had during this pandemic era of uncertainty.

Gwon is a noteworthy talent, included in Dramatists Magazine’s “50 to Watch,” and “Ordinary Days” put him on the map. His lyrics are sharp and vibrant, have an everyman quality and universal appeal. (He also wrote the revue “Old Jews Telling Jokes,” which was presented by New Jewish Theatre in 2014.)

Tesseract’s presentation of “Ordinary Days” is a fine introduction to his music, and Music Director Zach Neumann deftly plays the keyboards and keeps the pace brisk for the singers, whose strong enunciations and interpretations really make the vivid lyrics hit home.

Schmidt sets a convivial tone with “One By One By One,” then shades his character’s personality through “Life Story” – his heart and his humor apparent.

Tenenbaum, also quirky but bursting with possibilities, explains her life to date in “Don’t Wanna Be Here” and her mojo in “Dear Professor Thompson, Part I” – continuing her funny bundle of nerves.

Deb and Warren’s meet-cute at The Metropolitan Museum of Art turns into a sweet duet “Sort of Fairy Tale” – ‘violent punctuation”! And continues with “Big Picture.”

The Met figures into Claire and Jason’s relationship, but not as positive as the other pair’s.

While moving in, gifted vocalists O’Connell and Lowe explore their next-step feelings in “Let Things Go” and “The Space Between,” and go through their stuff in “I’m Trying.” They succinctly sum up a couple’s argument with a lighter humorous touch in “Fine.”

Among the most poignant is O’Connell’s “I’ll Be Here” – which should elicit leaky eyes from nearly everyone – and Lowe’s simple but so eloquent “Favorite Places.”

The hits just keep on coming — “Hundred-Story City” captures the love-hate relationship that New Yorkers have with the concrete jungle. And “Rooftop Duet/Falling” ties the show together.

Claire has realized she must let go of the past before she can move on, and O’Connell’s character arc is the deepest felt, but all performances are warm and captivating. They harmoniously come together in the stirring finale “Beautiful.”

With the focus squarely on the individuals and how they factor in with others, the set design is simple, and relies on photographs projected on the large screen – sights of living in New York City. (NYC always feels familiar because we’ve seen it so many times in entertainment.)

If you feel that you have taken away from our recent 21^st century life-and-death experience the importance of connection, like I have, then this timely and charming reminder to appreciate beauty and joy in our lives, no matter how small or fleeting, delivers its heartfelt message as only live theater can.

This may be Tesseract’s first musical, but it won’t be their last, as they are planning to present the two-hander “The Last Five Years” by Jason Robert Brown in February and the Tony Award winner for Best Musical in 2013, “Kinky Boots,” later this year.

I’m liking this leap of faith Taylor Gruenloh has set his company on – and the first step is a knockout, a memorable musical for our times. Dare I say “optimistic”?

Tesseract Theatre Company presents “Ordinary Days” Nov. 18-27 on Friday at 8 p.m., Saturday at 8 p.m., and Sunday at 4 p.m. at the. Zack Theatre, 3224 Locust. Tickets are available at MetroTix.com or at the box office before the performance. $25 for general audience and $20 for students. For more information, visit www.tesseracttheatre.com

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Featured Movies Reviews
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8 min read

‘The Fabelmans’ Lacks That Special Spark of Most Top-Shelf Spielberg Movies

By Lynn Venhaus

Dear Mr. Spielberg,
Your movies have given my family and I so much joy over the years. I was away at college the summer of 1975 when one warm July night, my roommates and I went to see “Jaws” at the local movie theater. You invented the summer blockbuster, and ever since, all your movies have been an event.

I introduced my children to “E.T.” first, and I still tear up every time I watch it. “Jurassic Park,” “Saving Private Ryan,” “Schindler’s List,” “Raiders of the Lost Ark” and “Lincoln” — you’ve made some of the best films of all-time.

“Bridge of Spies,” “Catch Me If You Can,” and “The Post” are personal favorites, and your adaptation of “West Side Story” was at the top of my Ten Best List last year.

So, I had very high expectations for “The Fabelmans,” especially after viewing the “Spielberg” documentary on HBO. I know it’s “loosely based on your childhood, from age 7 to 18, and it explores the power of how movies help us see the truth about each other and ourselves.

Maybe that adage, “Never meet your heroes” applies here.

Because, while I find the performances exceptional and the production elements superb, your retelling of your ‘semi-autobiographical’ coming-of-age story isn’t as magical as your other films.

THE FABELMANS, from left: Paul Dano, Michelle Williams, Seth Rogen, 2022. ph: Merie Weismiller Wallace / © Universal Pictures / Courtesy Everett Collection

Yes, you followed your dream, but turns out your childhood isn’t all that extraordinary. Except for the reason your parents’ marriage broke up, your early life was like many other kids – divorced parents, dad moving because of work, an artistic kid being bullied and for Jews, antisemitism.

Basically, you had a rather “Leave It to Beaver” childhood, not as vanilla as many a WASP, but fairly typical — your parents loved you and your sisters, attempted to give you a wonderful life, and your dad was a genius engineer.

As a filmmaker, you were too close to the subject matter, and needed to get out of your own way.

When you concentrate on discovering your passion for filmmaking and finding ways to tell a story, now that’s fascinating.

But all that high school drama with the mean jocks, yawn. Except for the Ditch Day film, which really highlighted your gifts and how people are revealed upon observation.

But — two and a half hours? And the best scene is at the end! You stuck the landing beautifully – and that little nod to Charlie Chaplin’s The Tramp before the credits roll, chef’s kiss.

That final encounter on the studio lot gives the film the zest that was missing – and it was the spark that propelled your drive to be in the business.

It’s the best cameo of the year, no spoiler from me!

Your life as a golden boy of cinema has introduced you – and us — to worlds of wonder, and we feel like we know you.

The film is heartfelt and shows how much love you have for your family and the movie-making process. Artists must create and you have been able to make an impact on a global scale. Truly remarkable.

You will be remembered as one of the greatest directors of all time, and we see the effort.

I will wait for the sequel that discloses your early career milestones, breaking through in Hollywood, and the people that shaped you along the way. Now, that story may be the extraordinary one that I was expecting here.

Sincerely, an unabashed fan whose favorite thing is discussing entertainment, and thinks that all of life’s riddles are answered in the movies.

Back to the nuts and bolts for review purposes — Gabriel LaBelle makes quite an introduction as gawky young Sammy Fabelman, who makes movies using his Boy Scout troop as cast and crew.

Paul Dano and Michelle Williams are well-suited to play parents Burt and Mitzi, who bring up four children born during the post-World War II Baby Boom and moved the family from New Jersey to Arizona to Southern California before finally divorcing.

Williams has flashes of brilliance as the mercurial mom, a classically trained pianist whose concert days are past, but the longing isn’t. She’s in love with Bennie (Seth Rogen), Burt’s best friend, and they are eventually together.

When Sammy’s keen eye discovers a little too intimate interaction between the pair during a family camping trip, he’s devastated, resulting in viewing his mother differently. It’s a powerful scene when he shows, not tells, her what he saw.

That conflict is a major focus of the original screenplay co-penned by Spielberg and collaborator Tony Kushner.

A smaller one is his computer whiz dad thinking filmmaking is a hobby and that Sammy needs a more stable career pursuit, but that is a standard trope between artists and scientists. Dano’s quiet demeanor effectively contrasts with Williams’ more flamboyant personality.

Appearing briefly in a slight but showy role that screams supporting actor nomination, Judd Hirsch is an eccentric uncle who used to be in the circus and recognizes a kindred spirit in Sammy.

Young Sammy, who must react to his first film, “The Greatest Show on Earth,” in 1952, is played by standout Mateo Zoryan.

Janusz Kaminski’s cinematography is splendid, so is Rick Carter’s production design, and John Williams has produced a fine score.

But, there is just something nagging about a film that I wanted to be great, but is just good.

“The Fabelmans” is a 2022 drama directed by Steven Spielberg and stars Gabriel LaBelle, Michelle Williams, Paul Dano, Judd Hirsch and Seth Rogen. Rated PG-13 for some strong language, thematic elements, brief violence, and drug use, and run time is 2 hours, 31 minutes. In theaters Nov. 23. Lynn’s Grade: B

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Featured Movies Reviews
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7 min read

‘Guillermo del Toro’s Pinocchio’ Is A Beautiful, Wise Retelling of a Classic Story

By Alex McPherson
Visually spectacular and thematically rich, “Guillermo del Toro’s Pinocchio” is a feast for the senses, a rallying cry for rebellion, and a reminder to cherish those we hold dear.

Utilizing stop-motion animation and updating Carlo Collodi’s 1883 story to 1930s Italy — during a scourge of fascism, with the threat of violence ever-looming — the film zooms in on an elderly carpenter named Gepetto (voiced by David Bradley, with ample tenderness), who tragically loses his young son Carlo (Gregory Mann) in a bombing.

Drunk, furious, and at the end of his rope, Gepetto chops down the tree growing from Carlo’s tombstone — which turns out to be the home of the erudite, self-absorbed Sebastian J. Cricket (Ewan McGregor) — and crudely fashions together our titular Pinocchio (also voiced by Mann) as a stand-in for his lost child.

A vibrant, yet ominous Wood Sprite (Tilda Swinton, as cooly off-putting as always), with dozens of eyes peppering its wings, takes pity on Gepetto and brings his hurried creation to life, entrusting Sebastian to be Pinocchio’s moral guide. Suffice to say, Pinocchio’s first moments don’t go entirely smoothly. He careens across Gepetto’s cottage with gleeful abandon — destroying practically anything that gets in his way — as Gepetto watches, horrified, dodging incoming projectiles.

Pinocchio’s a lively, rambunctious, and curious soul, but Gepetto’s constant need to make him behave and fit certain roles — most notably, that of Carlo — only ends up backfiring. Townsfolk, most of whom are religious, immediately label Pinocchio as an Other to be ostracized. A fascist official named Podesta (a menacing Ron Perelman) takes a keen interest in Pinocchio’s peculiarities, as does the slimy owner of a traveling carnival, Count Volpe (Christoph Waltz), and his abused “assistant,” Spazzatura (Cate Blanchett, convincingly imitating a monkey).

What follows is a meditation on grief, freedom, childhood, and death that follows the general trajectory of Collodi’s vision and Disney’s 1940 iteration of the story, but with an extra helping of del Toro’s trademark empathy and political fervor.

Indeed, from a visual perspective alone, “Guillermo del Toro’s Pinocchio” is damn-near flawless. From the minute, tactile details poured into each and every character, it’s clear that the film is a labor of love from all involved.

Del Toro and co-director Mark Gustafson (the animation director of Wes Anderson’s brilliant “Fantastic Mr. Fox”) imbue these hand-sculpted figures with expressiveness (both grotesque and enchanting, often simultaneously) that — paired with the impeccable voice cast — beautifully suits this tale of love and compassion amid suffering.

The occasional rough edges only strengthen the characters’ authenticity, each molded from a world that’s beaten them down, in one way or another, in attempts to maintain control and “order.” Frank Passingham’s eye-popping cinematography takes full advantage of the freedom of animation to present numerous shots that won’t leave my mind anytime soon — particularly regarding the freakishly unnerving sea beast.

Pinocchio himself feels right at home in del Toro’s oeuvre — charming, naive, ignorant — thrust into an unfamiliar environment and told to obey. This pressure put on him by Gepetto to be someone he’s not is mirrored by Podesta’s son, Candlewick (Finn Wolfhard), who’s being forced to adopt a vile ideology forced on him by his father and by the larger authority.

Mann brings an expert level of innocence and confidence to the character, delivering both heartwarming and heart wrenching dialogue throughout. Pinocchio’s coming-of-age is as poignant as ever as he fights his way out of heinous situations — including exploitative work conditions, for entertainment and in service of a tyrannical government — to finally be seen as more than the irreplaceable Carlo in Gepetto’s eyes and to be loved for who he actually is. In this regard, Gepetto has just as much to learn about himself as Pinocchio does, and del Toro renders him a flawed, uncertain, yet deeply caring person, capable of growth even at his old age.

On the lighter side, McGregor is often hilarious as the stringent, wiseass cricket, shouldering most of the film’s laughs. Del Toro and Patrick McHale’s script crackles with sly, dark humor, paired with plenty of slapstick comedy at Sebastian’s expense, that never insults viewers’ intelligence. Waltz’s iconic line delivery perfectly suits Count Volpe’s capitalistic deviousness, and Blanchett is incredible without uttering a single line in English — her vocal mannerisms as the poor monkey Spazzatula convey multitudes.

Even though “Guillermo del Toro’s Pinocchio” follows a familiar template, there’s boatloads of creativity on display in terms of storytelling and aesthetic grandeur. Setting the tale during Mussolini’s reign gives Pinocchio’s acts of disobedience even more weight, and the emphasis on mortality (and the afterlife, given a morbidly idiosyncratic spin) adds wrinkles that caught me off-guard in the end, nearly bringing me to tears.

Additionally, it’s, for some reason, a musical, and while Alexandre Desplat’s score is typically sublime, the songs aren’t exactly necessary to keep the plot moving. That minor quibble aside, this is a film full of joy, sadness, danger, and understanding of life’s great challenges — one that will prove to be a timeless achievement.

“Guillermo del Toro’s Pinocchio” is a 2022 stop-motion animated musical fantasy film co-directed by Guillermo del Toro and Mark Gustafson and voice-work is done by David Bradley, Gregory Mann, Ewan McGregor, Ron Perelman, Christoph Waltz, Cate Blanchett, Tilda Swinton, John Turturro, Tim Blake Nelson and Finn Wolfhard. It is rated PG for dark thematic material, violence, peril, some rude humor and brief smoking and the run time is 1 hour, 57 minutes. It was released in select local theaters on Nov. 18 and will be streaming on Netflix Dec. 9. Alex’s Grade: A.

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Take Ten with Jeff Faulkner, ‘Mr. Blue Sky’ Frontman

The ELO Tribute Band will Headline Show at Delmar Hall on Thanksgiving Eve Nov. 23

By Lynn Venhaus

Majestic splendor.

That’s the sight, sound and the vibe of Mr. Blue Sky, the St. Louis-based Electric Light Orchestra tribute band that makes sure every multimedia production is authentic.

With its 10 bandmates and dazzling visual imagery taking the audience both back in time and into the future, their intricate harmonies and musicianship stand out.

When Mr. Blue Sky takes the stage at the Delmar Hall on Nov. 23, the third time’s a charm for they have sold out that venue twice before (Hint: get tickets now, for the night before Thanksgiving is considered the biggest night out of the year. Tickets are available through Ticketmaster (see link at end of article). Doors open at 7 p.m., show starts at 8 p.m. Delmar Hall is at 6133 Delmar Boulevard.

Local legend Steve Ewing from the Urge (and Steve’s Hot Dogs) will open the show with his duo.

This special night will be different from their triumphant appearance at the Chesterfield Amphitheater two months ago (where they drew 1,500 people), for they like to mix it up for every appearance.

Veteran St. Louis musician Jeff Faulkner, who assembled the tribute band three years ago, said the Nov. 23 show will feature two new songs and a different setlist.

“We do all the hits — 22 top ten hits, we always play those,” Faulkner said. “Then we’ll play deeper cuts like ‘Face the Music,’ we play some Traveling Wilburys. We played the ‘Discovery’ album in entirety when we were at The Wildey.”

He enjoys introducing the symphonic rock icons to new fans and reminding longtime fans of their legacy.

“It’s really great music. I think Jeff Lynne is one of the best singer-songwriters in the history of rock ‘n roll,” he said. “He is a musical genius.”

Besides Faulkner on lead guitar and vocals, their all-star line-up includes Dave Watkins on lead guitar and vocals; Anastasia Hamilton, vocals; Abby Stahlschmidt, violin; Jessie Youngblood, violin; Jake Brookman, cello; Stephen Winter, keyboard and vocals; Charlie Brown, keyboard and vocals; Steve Bunck, drums; and Ben Moyer, bass and vocals.

The group’s musicians have performed with local heavyweights Pavlov’s Dog, That 80s Band and the St. Louis Symphony Orchestra. And have toured with The Who and Weird Al Yankovic.

Besides Delmar Hall, they’ve sold out shows at The Pageant, The Wildey Theatre, The Duck Room, and Ballpark Village. They recently performed in the Chicago area, at Impact Fuel Room in Libertyville, to a rocking crowd.

“A fair percentage of people that we’re playing for are familiar with ELO’s music – even if they don’t realize it. Probably 90% of them know ‘Mr. Blue Sky,’ Faulkner said. “They’re used in so many movies, so many commercials. Even if you don’t think you know ELO, you know ELO.”

Faulkner fell in love with the English rock band at an early age. Their fusion of modern rock and pop with classical overtones intrigued him.

ELO was formed in 1970 by songwriters and multi-instrumentalists Jeff Lynne and Roy Wood with drummer Bev Bevan, and following Wood’s departure in 1972, Lynne became the sole leader, arranging and producing every album – and wrote nearly all their original material.

Lynne disbanded the group in 1986, but Bevan formed his own, ELO Part II, which later became the Orchestra. Apart from a brief reunion in the early 2000s, ELO wasn’t active again until 2014, when Lynne reunited with Richard Tandy as Jeff Lynne’s ELO.

During their original 13 years of active recording and touring, they sold more than 50 million records, and had 15 Top 20 songs on the Billboard Hot 100. Their most successful album, the double album “Out of the Blue” in 1977, was among their top 10 albums in the ‘70s and ‘80s. They had a disco-inspired album “Discovery” in 1979 and a science-fiction themed “Time” in 1981.

In 2017, Bevan, Lynne, Tandy, and Wood were inducted into the Rock and Roll Hall of Fame.

Faulkner discovered that there wasn’t a tribute band in St. Louis, so he decided to go in that direction.

“It hadn’t been done before. With the strings and the orchestral sound, ELO is just different. That’s what makes it unique. We have a three-piece string section,” he said.

He is very proud of the work that the band has put into capturing “the majestic splendor.” “It’s taken a lot of work to get it there, but we have gotten it there,” he said.

To hear our PopLifeSTL.com podcast with guest Jeff Faulkner, co-hosted by Carl “The Intern” Middleman and Lynn Venhaus on March 11, here is the link:

Take Ten Q&A with Jeff Faulkner:

1. Why did you choose your profession?

“It’s what I’ve been most passionate about since I was 11 years old.”

2. How would your friends describe you?

“Outgoing, and a big sense of humor.”

3. What do you like to do in your spare time?

Traveling, seeing live music and theatre

4. What is your current obsession?

Rufus Wainwright

5. What would people be surprised to find out about you?

“I’m 9-1/2 years sober.”

6. Can you share one of your most defining moments in life?

“When my son was born.”

7. What do you admire most?

“Kindness, and humility.”

8. What is at the top of your bucket list?

“Going back to Europe and visiting Germany and Italy.”

9. How were you affected by the current pandemic years, and anything you would like to share about what got you through the pre-vaccine part?

“It shut down my industry completely for three months. I spent a lot of time hiking various trails, and binge-watching sit coms.

10. What is your favorite thing to do in St. Louis?

Hanging out in the Loop, Forest Park, and going to Blues hockey games

11. What’s next?

Mr. Blue Sky has great shows coming in 2023!

More to Know About Jeff Faulkner:

Age: 47
Birthplace: St. Louis
Current: Brentwood, Mo
Education: 2 years of college
Day job: Musician
First job: Dishwasher
What you like about what you do: I love everything about being a musician
Dream job: I have it
Awards/Honors/Achievements: Mr. Blue Sky has finished as a finalist for best cover band in St Louis Mag the last two years
Favorite quote/words to live by: Carpe Diem
A song that makes you happy: “Mr. Blue Sky”

For tickets, go to this link: https://www.ticketmaster.com/event/06005D3DCE0A667B?mibextid=Zxz2cZ&fbclid=IwAR37gHyVqGUviR-F-nx6R9f9nCr40MeDqWa73uNgxAjygW_PKglN4Yls_lM

For more on the band, visit: www.mrblueskymusic.com

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Featured Movies Reviews
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6 min read

‘She Said’ Is an Absorbing Historical Record With Lasting Impact

By Lynn Venhaus
“She Said” is a brilliant chronicle of a watershed moment in American society — an important tipping point that helped launch the #MeToo movement and gave voice to countless victims.

In October 2017, two New York Times reporters Megan Twohey (Carey Mulligan) and Jodi Kantor (Jodi Kantor) broke the shocking story about sexual assault in Hollywood, able to get women on the record about powerful producer Harvey Weinstein’s three decades of abuse, shattering years of silence and altered American culture forever.

Framed as a scrupulous workplace account of two driven working mothers juggling their journalism careers and their young families, filmmakers infer that they helped make the world a better place for their daughters.

The absorbing narrative is as accurate as possible about journalism and the need to tell such important stories. Through vivid revelations, they show how much courage it took for people to come forward, risking their reputations and livelihoods.

With laser focus, director Maria Schrader has meticulously built a riveting drama from a sharp, incisive script by Rebecca Lenkiewicz, who adapted the 2019 nonfiction bestseller “She Said: Breaking the Sexual Harassment Story That Helped Ignite a Movement” by New York Times reporters Megan Twohey and Jodi Kantor.

The filmmakers’ skill and concern detailing a reporter’s process and a newspaper’s commitment to seeking the truth without any sensationalism or exploitation has resulted in a historic record that is in the same league as “All the President’s Men” and “Spotlight.”

The cast is stellar across the board, with Zoe Kazan, as persistent Jodi Kantor, and Carey Mulligan, as resilient Megan Twohey, presenting each reporter’s dogged determination, integrity, and professionalism.

As an energetic team, they pound the pavement tracking down sources who worked for Miramax and The Weinstein Company, arrange meetings and convince people to trust them with the evidence. Women who were actresses, production assistants and employees agreed to go on record, and these truth tellers caused an explosion felt from coast to coast once articles were published in 2017.

Kantor and Twohey, who are still at the Times, won Pulitzer Prizes for their work here, along with Ronan Farrow, whose work at the New Yorker was going on at the same time.

But while the aftermath is brought up as the film’s coda, this 129-minute film stresses the diligent meat-and-potatoes work that exposed the insidiousness of rampant sexual harassment in Hollywood, and how broken the system was for women.

Schrader makes sure we hear powerful men shouting at the women, trying to intimidate them, but she also uses real voice transcriptions.

While it may not be as explosive cinematically as superhero adventures, the theme of right vs. might hits hard from people not wearing capes but whose guideposts are truth and justice. Patricia Clarkson plays conscientious Times editor Rebecca Corbett and Andrew Braugher portrays no-nonsense executive editor Dean Baquet as they make crucial decisions in covering the substantial allegations.

Fine actresses portray the brave past Weinstein employees who described his predatory sexual misconduct including Jennifer Ehle as Laura Madden, Samantha Morton as Zelda Perkins, Angela Yeoh as Rowena Chiu. Ashley Judd, who broke the dam by publicly coming forward, plays herself.

Important voice work is done by Mike Houston as Weinstein, Keilly McQuail as Rose McGowan and James Austin Johnson as Donald Trump. Johnson is best known for his interpretations on “Saturday Night Live.”

As the supportive spouses, Tom Pelphrey plays Megan’s literary-agent husband Vadim “Jim” Rutman and Adam Shapiro is Kantor’s fellow Times writer, columnist Jim Lieber. They add the emotional element of how difficult life-work balance is.

Composer Nicholas Britell’s dramatic score heightens the tension as people connected to the Weinstein empire confirm information and a deadline looms.

How many women have been helped or validated because of this story? Truly astounding what happened five years ago, and what continues. After their initial probe, more than 80 women accused Weinstein of crimes. Now a convicted rapist, the disgraced mogul eventually was sentenced to 23 years in prison and is currently on trial in another case.

“She Said” is so well-made and convincingly acted that it can’t help but continue much needed conversations at work and home. It’s an information-packed procedural with lasting impact.

“She Said” is a 2022 biographical drama directed by Maria Schrader and starring Zoe Kazan, Carey Mulligan, Andre Braugher and Patricia Clarkson. Rated R for language and descriptions of sexual assault, its run time is 2 hours, 9 minutes. It is in theaters Nov. 18.
Lynn’s Grade: A

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Critics Choice Association Movies News Press Releases SOFEE Seal
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6 min read

‘Causeway,’ ‘She Said’ and ‘Selena Gomez’ Doc Earn CCA’s SOFEE

The Critics Choice Association Women’s Committee is pleased to announce the third round of recipients of the newly launched Seal of Female Empowerment in Entertainment. Called the “SOFEE,” the Seal recognizes outstanding new films and television series that illuminate the female experience and perspective through authentically told female-driven stories.

The newest titles earning the SOFEE are:
Feature Film: “Causeway” (A24 and Apple TV+)
Feature Film: “She Said” (Universal)
Documentary: “Selena Gomez: My Mind & Me” (Apple TV+)

Starring and produced by Jennifer Lawrence, “Causeway” is an intimate portrait of a soldier struggling to adjust to her life after returning home to New Orleans.

“It’s a tremendous honor for the film to receive this recognition from the Critics Choice Association’s Women’s Committee,” said “Causeway” director Lila Neugebauer. “I’m sending enduring gratitude to the remarkable team who worked tenaciously to bring this movie to fruition.”

“She Said” recounts the tenacity of New York Times reporters Megan Twohey and Jodi Kantor as they expose decades of institutional sexual harassment and assault in Hollywood, and the system built around protecting abusers. Their dedicated reporting led to the #MeToo movement and created meaningful change in how women are treated in and outside the workplace. “She Said” is led by an incredible group of female filmmakers in front of and behind the camera, including director Maria Schrader and screenwriter Rebecca Lenkiewicz, and is based on The New York Times investigation by Jodi Kantor, Megan Twohey and Rebecca Corbett and The New York Times bestseller, She Said: Breaking the Sexual Harassment Story That Helped Ignite a Movement by Jodi Kantor and Megan Twohey. The film is produced by Dede Gardner and Jeremy Kleiner for Plan B Entertainment and is executive produced by Brad Pitt and Lila Yacoub and by Megan Ellison and Sue Naegle for Annapurna Pictures.

‘“She Said” is more than a film, it’s a public record. Filmed so close to the actual events, it’s a visual synopsis that can be revisited in 100 years to show audiences how women ‘jumped together’ to stop a predator, and a predatory system,” said Tara McNamara, Chair of the CCA Women’s Committee. “The drama is exceptional for featuring fully realized female characters who reflect expressions of gender that are rarely seen in film.”

Both “She Said” and “Causeway” received a perfect score in the numerical formula that is used to determine if new titles, which are nominated by CCA Women’s Committee members, are eligible for a SOFEE. Qualifying projects will have a prominent female character arc, give female characters at least equal screen time to male characters, have female leaders behind the scenes, and pass elements highlighted in the Bechdel test. To be considered, new film and television releases must possess an artistic and storytelling value and exceptionality, and score at least 7 out of a possible 10 points in the SOFEE rubric, which can be found at CriticsChoice.com. There are no limits or quotas governing the number of SOFEE seals the CCA may grant.

In the documentary category, “Selena Gomez: My Mind & Me” follows the singer-actress for six years as she opens up to reveal her struggles with anxiety, depression, Lupus, and bipolar disorder. Through her bravery in sharing her diagnoses, and as one of the first internationally known public figures to do so in this way, Gomez finds purpose in her effort to destigmatize mental illness and demonstrates to viewers that those struggling with their mental health are not alone. Directed and co-written by Alek Keshishian, the film clearly expresses Gomez’s voice and point-of-view.

“Our desire is that female writers and directors are given more opportunities to tell women’s stories, however, at this moment, more than 80 percent of working directors are men,” said McNamara. “‘Selena Gomez: My Mind & Me’ is a fantastic example of male filmmakers collaborating with a female subject to tell her unique experience with honesty and accuracy.”

The Seal of Female Empowerment in Entertainment is issued by the CCA Women’s Committee. Members include Tara McNamara (Chair), Hillary Atkin, Semira Ben-Amor, Christina Birro, Lauren Bradshaw, TJ Callahan, Natasha Gargiulo, Toni Gonzales, Teri Hart, Laura Hurley, Susan Kamyab, Louisa Moore, Gayl Murphy, Mary Murphy, Patricia Puentes, Christina Radish, Amanda Salas, Rachel Smith, Sammi Turano, and Lynn Venhaus, as well as CCA board member Paulette Cohn.

About the Critics Choice Association (CCA)
The Critics Choice Association is the largest critics organization in the United States and Canada, representing more than 580 media critics and entertainment journalists. It was established in 2019 with the formal merger of the Broadcast Film Critics Association and the Broadcast Television Journalists Association, recognizing the intersection between film, television, and streaming content. For more information, visit: www.CriticsChoice.com.

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Local Air Force Band Announces Annual Holiday Concert

Emmy Award-winning US Air Force Band of Mid-America to Perform “Spirit of the Season” at Touhill December 2

The US Air Force Band of Mid-America will present its annual “Spirit of the Season” holiday concert at the Touhill Performing Arts Center’s Anheuser-Busch Performance Hall (1 University Blvd, St Louis, MO) on Friday, December 2nd at 7:00pm.

Admission to this holiday performance is free and open to the public, but tickets are required. Please go to https://usafboma.eventbrite.com for ticket and show information.

Presented in partnership with the Touhill Performing Arts Center, this is a family-friendly, all-ages event. This year’s event features a special guest reading of “Hababy’s Christmas Eve” by Santa himself. This is the first year this particular story has been featured in one of their concerts. It is based on the book by Jamie Farr (Klinger from MASH) with music written by Band of Mid-America’s Staff Composer & Arranger, Master Sgt. Jeremy Martin.

After the performance, Santa and Mrs. Claus will be available to meet with young guests.

A recorded version of a previous “Spirit of the Season” concert that has aired on over a dozen TV stations across the Midwest recently won the NATAS Mid-America Regional Emmy for Arts & Entertainment Long Form Content.

The United States Air Force Band of Mid-America represents the professionalism and excellence found every day throughout the United States Air Force. During this concert you will hear many of your holiday favorites played by groups ranging in size and genre from our smaller quintets to our jazz band and concert band. All musicians are stationed at Scott AFB in Illinois.

Small ensembles and Air Force representatives are available for interview related performances to promote the holiday concert. Please contact marla@marqueemediastl.com to make arrangements.

USAF Band of Mid-America

Organizer of Spirit of the Season

The United States Air Force Band of Mid-America is the principal musical ambassador of Headquarters Air Mobility Command. These talented Air Force musicians have had the distinction of performing for Pope John Paul II, Presidents George W. Bush, William J. Clinton, George H.W. Bush, and Jimmy Carter, the Queen of the Netherlands, and hundreds of other US and foreign leaders. The band performs free civic outreach and recruiting concerts for audiences throughout the Midwest, playing more than 400 engagements each year. In its broader travels, the band has performed in New York City, Philadelphia, Seattle, the Gulf Coast, Germany, the Netherlands, Costa Rica, Barbados, Grenada, Guatemala, Venezuela, Bolivia, and the Azores. Whether recording or performing for live, radio, and television audiences, band members reflect Air Force excellence to millions of people each year.

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‘Good Night Oppy,’ ‘Fire of Love’ and ‘Navalny’ Win Top Prizes At Critics Choice Documentary Awards

The Critics Choice Association (CCA) unveiled the winners of the Seventh Annual Critics Choice Documentary Awards at a gala event in New York City. Good Night Oppy took home five trophies in all including the top award of the evening, winning Gold for Best Documentary Feature. The film’s other victories were Ryan White for Best Director, Best Score for Blake Neely, as well as Best Narration (written by Helen Kearns and Ryan White, performed by Angela Bassett), and Best Science/Nature Documentary.

The Critics Choice Documentary Awards recognize 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.

This year, for the first time, the Critics went one step further and recognized the top three finishers in the category of Best Documentary Feature. Fire of Love was the Silver medal winner, while the Bronze medal went to Navalny.

Fire of Love also won Best Archival Documentary and Navalny was named Best Political Documentary.

Katia and Maurice Krafft of “Fire of Love”

The Beatles: Get Back was another of the evening’s double award-winners, with wins for both Best Music Documentary and Best Limited Documentary Series.

The award for Best First Documentary Feature went to David Siev for Bad Axe.

Brett Morgen took home the award for Best Editing for Moonage Daydream.

Descendant was named Best Historical Documentary.

The Best Biographical Documentary award was given to Sidney.

There was a tie for Best Sports Documentary with both Citizen Ashe and Welcome to Wrexham winning in the category.

The Best Short Documentary was awarded to Nuisance Bear.

30 for 30 won the Best Ongoing Documentary Series award.

At the ceremony, the Pennebaker Award was presented to acclaimed documentarian Barbara Kopple. The award, formerly known as the Critics Choice Lifetime Achievement Award, is named in honor of D A Pennebaker, a past winner. It was presented to Kopple by Chris Hegedus, Pennebaker’s long-time collaborator and widow.

Award-winning documentarian Dawn Porter received the prestigious Critics Choice Impact Award which recognizes documentarians whose work has resulted in tangible societal changes, presented by Jacqueline Glover, Head of Documentary at Disney’s Onyx Collective.

Christopher Campbell, Co-President of the Critics Choice Association’s Documentary Branch said, “Tonight was a whole new Doc Awards – hosting the ceremony in a new, bigger venue in Manhattan and streaming it live for the first time. We are thrilled to continue the celebration of so many groundbreaking and thought-provoking films while highlighting the works of so many brilliant filmmakers.”

“This evening was magical and we were once again able to celebrate an amazing talent pool of women like the legendary Barbara Kopple and the ferociously brave Dawn Porter. Both women continue to blaze trails for the many generations poised to follow in their footsteps,” stated Carla Renata, Co-President of the Critics Choice Association’s Documentary Branch. “It has been thrilling to witness and honor such distinguished documentarians. Their impressive art spanned subjects that made us weep or made our hearts swell, proving that documentary film – and its power to educate, inform, and inspire – remains a viable and pliable form of the cinematic landscape.”

Hosted by Wyatt Cenac, the star-studded event featured presenters and attendees including Rob McElhenney, Idina Menzel, Jeremy Sisto, Paul Shaffer, Brett Morgen, Kathy Ireland, Reginald Hudlin, Richard Kind, Reginald Hudlin, Soledad O’Brien, Tonya Lewis Lee, Tamara Tunie, Ryan White, Erich Bergen, Andrew Jarecki, Shoshana Bean, and Willie Colón, among others.

For the second year in a row, the Critics Choice Documentary Awards welcomed National Geographic Documentary Films as the Presenting Sponsor.

The Catalyst Sponsors for the Seventh Annual Critics Choice Documentary Awards were Netflix, Peacock, and Showtime Documentary Films.

Last year at the Sixth Annual Critics Choice Documentary Awards, Summer of Soul (…Or, When the Revolution Could Not Be Televised) received the award for every category in which it was nominated, including the evening’s most prestigious award for Best Documentary Feature, as well as Best Director (TIE), Best First Documentary Feature, Best Editing, Best Archival Documentary, and Best Music Documentary. Subsequently, the film took home the Academy Award for Best Documentary Feature Film.

To stream the ceremony, learn more about the Critics Choice Documentary Awards, and see the full list of winners, visit the Critics Choice Association website.

Winners of the Seventh Annual Critics Choice Documentary Awards

BEST DOCUMENTARY FEATURE

Gold: Good Night Oppy (Amazon Studios)

Silver: Fire of Love (National Geographic Documentary Films/Neon)

Bronze: Navalny (HBO Max/CNN Films/Warner Bros. Pictures)

BEST DIRECTOR

Ryan White – Good Night Oppy (Amazon Studios)

BEST FIRST DOCUMENTARY FEATURE

David Siev – Bad Axe (IFC Films)

BEST CINEMATOGRAPHY

The Cinematography Team – Our Great National Parks (Netflix)

BEST EDITING

Brett Morgen – Moonage Daydream (Neon/HBO Documentary Films)

BEST SCORE

Blake Neely – Good Night Oppy (Amazon Studios)

BEST NARRATION

Good Night Oppy (Amazon Studios)

Written by Helen Kearns, Ryan White

Performed by Angela Bassett

BEST ARCHIVAL DOCUMENTARY

Fire of Love (National Geographic Documentary Films/Neon)

BEST HISTORICAL DOCUMENTARY

Descendant (Netflix)

BEST BIOGRAPHICAL DOCUMENTARY

Sidney (Apple TV+)

BEST MUSIC DOCUMENTARY

The Beatles: Get Back (Disney+)

BEST POLITICAL DOCUMENTARY

Navalny (HBO Max/CNN Films/Warner Bros. Pictures)

BEST SCIENCE/NATURE DOCUMENTARY

Good Night Oppy (Amazon Studios)

BEST SPORTS DOCUMENTARY (TIE)

Citizen Ashe (HBO Max/CNN Films)

Welcome to Wrexham (FX)

BEST SHORT DOCUMENTARY

Nuisance Bear (The New Yorker Studios)

BEST LIMITED DOCUMENTARY SERIES

The Beatles: Get Back (Disney+)

BEST ONGOING DOCUMENTARY SERIES

30 for 30 (ESPN)

About the Critics Choice Awards

The Critics Choice Documentary Awards are an offshoot of the Critics Choice Awards, which are bestowed annually by the CCA to honor the finest in cinematic and television achievement. Historically, the Critics Choice Awards are the most accurate predictor of Academy Award nominations.

The Critics Choice Awards ceremony will be held on January 15, 2023 at the Fairmont Century Plaza in Century City, CA, and will be broadcast live on the CW.

About the Critics Choice Association (CCA)

The Critics Choice Association is the largest critics organization in the United States and Canada, representing more than 580 media critics and entertainment journalists. It was established in 2019 with the formal merger of the Broadcast Film Critics Association and the Broadcast Television Journalists Association, in recognition of the intersection between film, television, and streaming content. For more information, visit: www.CriticsChoice.com.

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‘Black Panther: Wakanda Forever’ Is Fitting Tribute to Boseman and a So-So MCU Outing

By Alex McPherson

Overstuffed and overlong, yet retaining a strong emotional core, director Ryan Coogler’s “Black Panther: Wakanda Forever” ultimately plays it safe, for better and worse.

“Wakanda Forever” faces the difficult task of paying tribute to the late Chadwick Boseman, while continuing the story of Wakanda and its people (along with, of course, setting up future installments and spinoffs). Indeed, Coogler’s film starts off on a solemn note and maintains a decidedly down-beat tone throughout.

T’Challa’s sister, tech-genius Shuri (Letitia Wright), tries and fails to save him, as he succumbs to an unnamed illness. This infuses her sorrow with a sense of guilt, responsibility, and rage. T’Challa’s sudden death casts a long shadow over Wakanda, catching everyone off-guard and sending their nation into a state of uncertainty. Queen Ramonda (Angela Bassett, in a towering, fiery performance) leads the nation through a period of intense mourning. She navigates her own grief and contends with violent geopolitical pressures to share Wakanda’s precious resource, Vibranium — used to fuel Wakandan technology — with the outside world.

However, Wakanda isn’t the only civilization to possess Vibranium. The CIA and US Navy SEALS utilize a newfangled Vibranium-detector to locate some in the Atlantic Ocean — only to be attacked by a group of blue-skinned Mesoamerican warriors called “the Talokan,” who ride into battle on whales, singing melodies that lure victims to their deaths. They’re led by Namor (a formidable, albeit goofy-looking Tenoch Huerta), bare-chested and with wings on his ankles, who is furious that the surface world encroached on his territory. Wakanda is blamed for the attack, and Namor blames Wakanda for revealing the existence of Vibranium to begin with. He issues Ramonda and Shuri an ultimatum — bring him Riri (an amusing though somewhat one-note Dominique Thorne), the Gen-Z MIT student responsible for creating the Vibranium-detector, or Wakanda will be targeted by the Talokan.

All the while, CIA agent and ally of Wakanda Everett Ross (Martin Freeman) learns that the CIA is planning to seize Vibranium to develop weapons for the US military.

As these various plot threads collide and intersect, the situation gets out of control — leading to plenty of action set pieces, a heavy sprinkling of exposition dumps, and a welcome dollop of melancholic reflection for good measure. “Wakanda Forever” is busy, to say the least, nailing some targets while missing others. Thankfully, Coogler honors Boseman’s memory and his larger cultural impact — foregrounding concepts of loss, acceptance, and hope that shine through otherwise formulaic beats.

Like 2018’s “Black Panther” before it, “Wakanda Forever” establishes a stylistic identity that separates it from other films in the Marvel Cinematic Universe. Wakanda is a vibrant, Afro-futurist metropolis, filmed with clarity and scale by cinematographer Autumn Durald. Inspired by various African cultures, Hannah Beachler’s astounding set design pops off the screen, as do the costumes by Ruth E. Carter, underscoring the characters’ regality and commanding auras, matching the mood of each scene, be it funereal or explosive.

The Talokan’s underwater kingdom is vividly rendered, although heavy on CGI. Still, the Talokan don’t look as formidable as the Wakandan Dora Milaje, led by a fearsome Okoye (Danai Gurira, thankfully given a more defined character arc this time around), who continue to showcase badass weapons and fight choreography like the first film. Ludwig Göransson’s score pulsates with booms and sharp vocals, beautifully complementing the numerous action scenes and lending further gravitas to the powerful, largely women-led ensemble.

The film’s rich tapestry of sights and sounds is matched by effective performances that elevate the proceedings to new dramatic heights. Boseman’s loss is felt acutely here, as viewers can sense the sadness of not only the characters, but also the actors portraying them — particularly Bassett and Wright.

Bassett is the standout here, bringing a fierce, tormented energy to Queen Ramonda that emphasizes the character’s bravery and brashness, a leader facing tough decisions pitting her heart against her head. Shuri is coming to terms with T’Challa’s loss, becoming a valiant leader herself, and reckoning with what kind of legacy she wants to leave behind for Wakanda and the larger world — poignantly acted by Wright, who capably shoulders the film’s quieter sequences and the bombastic ones. Winston Duke provides the bulk of the comedic relief as M’Baku, a burly lad with more depth than expected.

Huerta gives Namor his all, bringing charisma and understated menace to the role. It’s too bad, however, that Namor’s backstory is relegated to rushed exposition. His motivations are understandable — colonial forces wronged him and his Mayan culture long ago, and he will do whatever it takes to protect his people and assert dominance — but don’t hit home with much force. By attempting to make him a sympathetic antihero in such a hurried fashion, “Wakanda Forever” sacrifices nuance, but at least Coogler’s trying to add some complexity to the character.

This issue extends to other elements, too. Even with a gargantuan, 2-hour-and-41-minute runtime, Coogler’s film doesn’t give its numerous plot points enough time to breathe — save for scenes dedicated to honoring and remembering Boseman’s portrayal.

The CIA thread involving Freeman lacks any sort of punch, and the film sidelines the more provocative topic of US imperialism in favor of superhero clichés in the deafening finale. Similarly, the action scenes — except for a thrilling vehicular chase — aren’t especially memorable, overusing weightless CGI and slow-motion to sometimes comical effect. This muddled approach makes “Wakanda Forever” exhausting when it should be thrilling.

But this is an MCU film above all else, and “Wakanda Forever” checks every box that its overcrowded genre dictates. There are glimmers of a truly special, meaningful film that isn’t realized, but Coogler succeeds enough where it counts, and provides a satisfying salute to an impressive world of warriors and a cinema icon lost too soon.

“Black Panther: Wakanda Forever” is a 2022 fantasy action-sci-fi-adventure directed by Ryan Coogler and starring Angela Bassett, Letitia Wright, Tenoch Huerta, Lupita Nyong’o, Danai Gurira, Dominique Thorne and Winston Duke. Rated PG-13 for sequences of strong violence, action and some language, it is 2 hours, 41 minutes’ long. It opened in theatres on Nov. 11. Alex’s Grade: B

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‘Black Panther: Wakanda Forever’ Honors Boseman and Girl Power

By Lynn Venhaus
Visually engaging and girl-power savvy, “Black Panther: Wakanda Forever” is at its most heartfelt grieving for its king, and the larger-than-life actor whose absence is deeply felt.

After the untimely death of King T’Challa’s death, Queen Ramonda (Angela Bassett), Shuri (Letitia Wright), M’Baku (Winston Duke), Okoye (Danai Gurira) and the Dora Milaje fight to protect their nation from intervening world powers and a hidden undersea nation. They work on forging a new path for the future of Wakanda.

There is so much goodwill for the cultural phenomenon that is Marvel’s first black superhero and the groundbreaking big, bold spectacle released in 2018 to universal acclaim, that it’s unfortunate the sequel suffers from sensory overload.

Technically, it’s dazzling, and the same elements that were so noteworthy in the first – seamless state-of-the-art visual effects, the cultural rhythms in Ludwig Goransson’s score, breathtaking production design by Hannah Beachler and costume designer Ruth E. Carter’s striking looks retain their grandeur.

New cinematographer Autumn Durald Arkapaw, an Emmy nominee for Marvel’s “Loki,” showcases fictional Wakanda’s natural beauty and makes the panoramic vistas shimmer.

At the 2019 Academy Awards, “Black Panther” won three Oscars – first ever for Marvel Studios — and also made history for Carter becoming the first African American woman to win in costume design, and Beachler, who was the first woman of color to not only win for production design but to be nominated. Goransson won for his score.

With his keen eye for nature and scientific wonder, director Ryan Coogler is also mindful of presenting Wakanda’s customs and heritage as something very special.

Because the original was a game-changer, it was such a joyous experience along with other awed moviegoers. But now, after Chadwick Boseman’s tragic death from colon cancer in August 2020, the void is overwhelming and casts a large shadow over the film.

Coogler, who co-wrote the screenplay (and original) with Joe Robert Cole, offers a fitting tribute to Chadwick as T’Challa throughout the film, using footage of the actor in all his regal glory. That loss is inescapable – and the sadness is conveyed in the film’s characters, the actors playing the roles, and touching the audience.

It’s as if the film has the weight of the world on its shoulders and can’t transcend the reality that they were faced with in making the follow-up.

Then, there is the mammoth plot Coogler and Cole have crafted, turning the sequel into a very busy geopolitical thriller. To preserve their nation’s currency that is Vibranium, the royal family and warriors go to great lengths to protect their country. They must deal with shady U.S. operatives and a hidden under-the-sea nation not unlike the Aquaman lair.

As the enemies and conflicts become very complicated, it’s a chore to watch massive CGI battles with only perfunctory character interaction and only a smidgen of humor, especially for its 2 hours, 41 minutes runtime.

Nevertheless, the cast is strong top to bottom, with the spotlight on the extraordinary women. In fact, it might be the greatest advertisement for women to pursue STEM careers ever, showcasing their big brains using technology to solve problems and advance heroism.

In a much larger role, Angela Bassett is superb as smart and strong Queen Ramonda, with fearless Letitia Wright meeting her moment as brilliant scientist Shuri, a very different kind of princess.

Other forces to be reckoned with include fierce Danai Gurira as Okoye, resilient Lupita Nyong’o as Nakia and the new character, Dominique Thorne as Riri Williams, an MIT math whiz and innovative inventor.

Also impressive is Tenoch Huerta as Namor, the underwater kingdom ruler.

It goes without saying that you must stay for the additional scene after the first batch of credits, and yes, there are some surprising twists revealed throughout.

While the sequel seems to be more of everything, including its overstuffed plot that has three separate storylines colliding in messy fashion, it is still riveting.

Being an action-adventure based on a Marvel comic book has formula limitations, but “Black Panther: Wakanda Forever” surmounted the challenges faced by Boseman’s death as best it could. It’s just facing the harsh reality of T’Challa’s demise that brings it crashing down to earth.

“Black Panther: Wakanda Forever” is a 2022 fantasy action-sci-fi-adventure directed by Ryan Coogler and starring Angela Bassett, Letitia Wright, Tenoch Huerta, Lupita Nyong’o, Danai Gurira, Dominique Thorne and Winston Duke. Rated PG-13 for sequences of strong violence, action and some language, and 2 hours, 41 minutes’ long. It opens in theatres on Nov. 11. Lynn’s Grade: B

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