The First Annual Haunted Garage Horror Festival will take place Friday, Oct. 22, and Saturday, Oct. 23 at The Gaslight Theatre in the Central West End, 358 N. Boyle Ave., St. Louis
On Friday night, two experts on horror films will present “Dead Talk” at 7 p.m. Coltan Schrivner, an expert on morbid curiosity and horror, will talk about “The Psychological Benefits of Horror.” Antonio Pantoja will speak on directing horror and the horrors of life after post production.
It will be followed by “One Must Fall,” a 2018 horror-comedy slasher set in the 80s about a woman wrongfully fired from her office job and forced to take on a temporary job on a crime scene cleanup crew.
The film festival program will begin at 10:30 a.m. Saturday, Oct. 23, and conclude with awards presentation at 8:45 p.m. A short horror film, “Face Mask,” which is not in competition, will be shown at 7:22 p.m. Saturday.
Face Mask will be shown Saturday night
Micro Shorts Under !0 Minutes Selected: Video Man by Peter Lundholm . SMASHING by Kent Flaagan Spin to Win Samantha Steinle Intruder by Adam Mick Laughlin Elegy for Unfinished Lives by Adam E. Stone The Stop by Tom and Scott Hipp One Nice Thing by Cory Byers Chimera by Christian Wood Short Films Under 59 Minutes Safe Ride by Randy Rambeau And The Darkness by Andrew Huggins You Made Me by Ruben A. Sanchez Cook with the Heart by Mike Hayhurst
Feature Films Valentine Crush by Jamie Michael Wede Mary by Khiray Richards FRESH HELL by Ryan Imhoff and Matt Neal A Savannah Haunting by William Mark McCullough Massacre Academy by Mark Cantu Student Film Selections Last Bite by Ashley Seering Abducted by Vincent Augusto Packed Lunch by John W. Iwanonkiw
“The Last Bite”
ABOUT THE FESTIVAL The 100 mile stretch to the west of the Mississippi has been a place of interest in horror film history. Unforgettable films such as Escape from NY, White Palace, and Up in the Air all have been filmed in this great midwestern state – Missouri. To honor a burning ember tradition of horror film’s place in our community, the guys from the Haunted Garage Podcast will be hosting Saint Louis’s first Haunted Garage Horror Film Festival this October!
The goal of this first year of our fest is to create a place where filmmakers of all levels can merge in a mutual love of the art of horror. Whether you are a film student or a seasoned industry professional, this festival is for you. In addition to screening student films and high budget, feature films, we have also recruited various film and horror experts to share their knowledge and stories of the trade. Among those in attendance will be Antonio Pantoja, the director of “One Must Fall,” who will share his experience on directing horror films, how to distribute your film, and post production costs. We will also be welcoming researcher and writer Coltan Scrivner, the leading expert in the science of Morbid Curiosity, to speak about the psychological benefits of horror and scary play.
Lastly, we are devoted to promoting diversity in filmmaking. We have selected trained judges from various parts of the country to provide a selection process that is fair and consistent for all film submissions. It will be our pleasure to welcome filmmakers of all races and genders so that we may all gain insight into horror filmmaking from all perspectives of human life.
We desire to turn Saint Louis and its surrounding counties into a safe, scary space where a diverse pool of horror content creators can meet, network, and learn – together.
May the best horror story win!
Awards & Prizes
Best of Horror “The Vincent Price” $500.00 & Trophy * (Only Feature Films are eligible )
Best Horror of Missouri/Illinois $250 & Trophy * (Illinois / Missouri Residents Only) All categories are eligible for this Award
$250 & Trophy * Best Student Film
Best Horror Short * $100 & Trophy
Individual Awards: Best Director Best Actor (Male & Female Role) Best Editing Best Sound Design Best Practical Effects Best Special Effects Best Original Music Best Cinematography Best Writer/Screenplay (Jason C. Klefisch Award)
*Must be in attendance to accept cash prizes. Trophy’s will be sent at shipping cost to winners if not in attendance.Rules & Terms
• Short Films must be shorter than 50 minutes and longer than 10 minutes. Feature films must be 50 minutes or longer • We accept all foreign films as long as english subtitles are present, so long as they were created in the United States of America. • Selected films will be screened in front of a Live audience • We are not responsible for copyright infringement on your materials • All submitters agree to the terms and conditions and to receiving marketing emails and
For more information, visit: https://shiftfilms.net
Unrelenting and riveting, director Fran Kranz’s directorial debut, “Mass,” provides a complex meditation on grief and healing, as well as a mesmerizing showcase of acting talent.
The story largely takes place within a rural Episcopalian church, where the parents of two children gather to have a discussion concerning an incident that’s haunted them for six years. One of these children, named Evan, was slain in a school shooting by the other, named Hayden, who then killed himself. The parents attempt to gain greater insight and reach emotional catharsis after their lives were permanently changed.
Following an opening where church employees Judy (Breeda Wool) and Anthony (Kagen Albright) anxiously prepare the sterile room for the meeting, all the while supervised by social worker Kendra (Michelle N. Carter) and a large crucifix on the wall, parents Jay (Jason Isaacs) and Gail (Martha Plimpton) arrive. Jay puts up a veneer of strength and stability, but there’s a simmering anger bubbling within that threatens to break loose at any moment. Gail is nearly monosyllabic and often requires Jay to speak for her, only growing more cagey when Hayden’s parents — uptight, sharply dressed Richard (Reed Birney) and deeply earnest Linda (Ann Dowd) — show up. As the conversation shifts from awkward pleasantries to burning anger, rage, sorrow, and compassion, we’re forced to sit with these people in their raw exchanges, authentic in their relatable contradictions.
Indeed, “Mass” is a harrowing, bleak, and profoundly real story, unfolding at an almost real-time pace. Kranz’s first feature plays like a horror film. It leaves viewers with the ideas that grief can’t always be overcome, that fighting for clear-cut answers can itself victimize, that communicating anguish is a messy and unpredictable task, and that true empathy is all-but-required to make peace with a world that refuses to make sense.
Needless to say, “Mass” isn’t an easy watch, but it’s impossible to avert your eyes from the screen once it begins. We feel the parents’ claustrophobia and vulnerability in being molded from the horrific act of violence all these years later. There’s no tidy resolution to this meeting of four broken souls, presented with the best acting I’ve seen all year so far. Each of them approaches the situation with different attitudes and perspectives, which gradually erode and evolve as their conversation carries on.
Isaacs brilliantly depicts Jay’s internal battle of impatience, lending the film considerable tension as tempers escalate. Plimpton shines as a mother who has experienced irreparable loss and who enters the conversation unsure of what exactly she wants to get out of it — retribution or forgiveness? Richard and Linda, the parents of the shooter, are just as layered. Richard’s initial defensiveness belies the guilt he harbors, blaming himself for Hayden’s decisions. Linda, gestures of goodwill notwithstanding, is also self-loathing — torn between her motherly love for Hayden and the act that forever harms his memory. Portrayed by Dowd with heartbreaking power, Linda at one point states that she continues to mourn her son even as her community doesn’t.
Kranz, who wrote the screenplay in addition to directing, excels in giving his subjects naturalistic dialogue that never once loses its authenticity. Hot button topics are brought up briefly, but the film doesn’t jam them into the narrative. Rather, by focusing on a small group of individuals confronting a deeply personal disaster, “Mass” handles its sensitive subject matter in a respectful manner without talking down to viewers. Additionally, religious aspects of the plot are used for subversive means. The difficulty of confronting the unspeakable and practicing forgiveness can’t be done through belief alone, after all, but through individual determination and perseverance.
Although “Mass” would likely work equally as well as a stage production, Kranz and editor Yang Hua Hu deploy cinematic stylings that, for the most part, amplify the proceedings. The editing gives Isaacs, Plimpton, Birney, and Dowd each their time in the spotlight, while the camera work progresses from static to handheld, and the aspect ratio condenses with new revelations. Kranz also brings the camera outside the church at brief intervals, emphasizing critical moments while not always feeling totally necessary.
Jason Isaacs and Martha Plimpton appear in Mass by Fran Kranz, an official selection of the Premieres section at the 2021 Sundance Film Festival. Courtesy of Sundance Institute | photo by Ryan Jackson-Healy.
In the end, “Mass” is tough to recommend to general audiences, but a film that’s difficult to fault in any particular area. It’s a near-perfectly constructed drama, one that refuses to sugarcoat life’s uncompromising reality, and that remains all the better for it.
“Mass” is a 2021 drama written and directed by Fran Kranz. It stars Ann Dowd, Martha Plimpton, Reed Birney and Jason Isaacs. It is rated PG-13 for thematic content and brief strong language, and the runtime is 1 hour, 50 minutes. In theaters Oct. 22. Alex’s Grade: A
Cinema St. Louis is delighted to again offer in-person screenings during the 30th Annual Whitaker St. Louis International Film Festival (SLIFF), held Nov. 4-21, 2021.
Because the effects of the pandemic continue, this year’s fest will be a hybrid — with a significant number of virtual screenings also available — but in-person screenings will be held on all three screens of the Tivoli Theatre from Nov. 4-14 and Nov. 18-21.
Other in-person screenings will take place at Washington University’s Brown Hall Auditorium (on the weekends of Nov. 5-6, 12-14, and 19-21) and Webster University’s Winifred Moore Auditorium (on the evenings of Nov. 5-14).
In addition, the St. Louis Public Library’s Central Library Auditorium will serve as the in-person venue for six Golden Anniversaries screenings of films from 1971. Those screenings will be held on the afternoons of Nov. 6-7, 13-14, and 20-21.
Finally, the Contemporary Art Museum St. Louis will partner with SLIFF on two in-person screenings on the evenings of Nov. 4 and 11.
For those who prefer to view from home, many (though not all) of the films that receive in-person screenings will be available virtually through our partner Eventive from Nov. 4-21. SLIFF will also feature a substantial number of films, shorts programs, and livestreams that can only be accessed virtually.
To protect the safety and health of patrons, SLIFF will require masks and proof of vaccination at in-person screenings. No concessions will be available at any of the venues, including the Tivoli, to ensure audience members remain masked throughout films. Full information on the festival’s Covid-19 policies appear below.
Program Overview
The 30th Annual Whitaker St. Louis International Film Festival, a presentation of the nonprofit Cinema St. Louis (CSL), continues to provide the opportunity for St. Louis filmgoers to view the finest in world cinema — international films, documentaries, American indies, and shorts that can only be seen at the festival.
This year, after an all-virtual festival in 2020, SLIFF is pleased to offer a large selection of in-person events, including at all three screens of the Tivoli Theatre, which has been shuttered since the onset of the pandemic. For those who prefer to watch at home, we’ll still provide plenty of options, with nearly 100 virtual programs and livestreams.
Robert Greene
SLIFF begins on Nov. 4 with a powerful new Missouri-based documentary, “Procession,” which is directed by Robert Greene, the filmmaker-in-chief at the Murray Center for Documentary Journalism at the University of Missouri. In the film, six men from Kansas City, Mo. — all survivors of childhood sexual assault at the hands of Catholic priests and clergy — come together to direct a drama-therapy-inspired experiment designed to collectively work through their trauma. Greene, who will receive SLIFF’s Contemporary Cinema Award, and many of the film’s subjects will attend the screening to participate in a compelling post-film Q&A.
On the festival’s final day, SLIFF offers a Tribute to Mary Strauss, which includes a screening of Mary’s favorite film, “Sunset Boulevard.” Mary has played an absolutely essential role in Cinema St. Louis’ evolution, and we’re delighted to honor her with a Lifetime Achievement Award during our 30th edition.
We’ll also honor two other filmmakers: Documentarian and native St. Louis Nina Gilden Seavey, who will present a free special-event program called “My Fugitive” at the fest, will receive the Charles Guggenheim Cinema St. Louis Award; and documentarian Deborah Riley Draper, whose film “Twenty Pearls: The Story of Alpha Kappa Alpha Sorority” screens at SLIFF, will receive the Women in Film Award.
The festival will screen more than 400 shorts and features, and the 2021 SLIFF offers an especially impressive array of the year’s most heralded films, including selections from such destination fests as Sundance, Berlin, SXSW, Hot Docs, Tribeca, Cannes, Venice, Telluride, Toronto, and New York.
Among the most enticing English-language studio films are Kenneth Branagh’s “Belfast” (winner of the People’s Choice Award at Toronto), Mike Mills’ “C’mon C’mon” (with Joaquin Phoenix), Michael Pearce’s “Encounter” (with Riz Ahmed and Octavia Spencer), Stephen Karam’s “The Humans” (with Richard Jenkins, Beanie Feldstein, Stephen Yeun, and Amy Schumer), Clint Bentley’s “Jockey” (with Clifton Collins and Molly Parker), Reinaldo Marcus Green’s “King Richard” (with Will Smith), and Eva Husson’s “Mothering Sunday” (with Colin Firth and Olivia Colman).
“Belfast”
Major international titles include “A Chiara” from Jonas Carpignano, “Ahed’s Knee” from Nadav Lapid, “France” from Bruno Dumont (“Slack Bay”), “A Hero” from Asghar Farhadi (“A Separation”), “Hit the Road” from Panah Panahi, “Memoria” from Apichatpong Weerasethakul (“Tropical Malady”), “One Second” from Zhang Yimou (“House of Flying Daggers”), “Paris, 13th District” from Jacques Audiard (“A Prophet”), “Petite Maman” from Céline Sciamma (“Portrait of a Lady on Fire”), “Wheel of Fortune and Fantasy” from Ryūsuke Hamaguchi (“Happy Hour”), and “The Worst Person in the World” from Joachim Trier (“Oslo, August 31st”). SLIFF also offers a pair of films from Radu Jude (“Bad Luck Banging or Loony Porn” and “Uppercase Print”) and a trio of works by Hong Sangsoo (“In Front of Your Face,” “Introduction,” and “The Woman Who Ran”).
Significant documentaries include Joshua Altman & Bing Liu’s “All These Sons,” John Maggio’s “A Choice of Weapons: Inspired by Gordon Parks,” Rex Miller & Sam Pollard’s “Citizen Ashe,” Andrea Arnold’s “Cow,” Mobolaji Olambiwonnu’s “Ferguson Rises,” Brandon Kramer’s “The First Step,” Matthew Heineman’s “The First Wave,” Jonas Poher Rasmussen’s “Flee,” Julie Cohen and Betty West’s “Julia,” Peggy Callahan & Louie Psihoyos’ “Mission: Joy,” Max Lowe’s “Torn,” Debbie Lum’s “Try Harder!,” and Emily and Sarah Kunstler’s “Who We Are: A Chronicle of Racism in America.”
And that’s just scratching the surface of the 2021 lineup, which includes nearly 20 American indies, 29 shorts programs, and eight free archival selections. Below are some of the other highlights of this year’s SLIFF:
The Divided City
SLIFF’s The Divided City program focuses on the racial divide in St. Louis and other U.S. cities. The films are supported by The Divided City: An Urban Humanities Initiative, a program of Washington U.’s Center for the Humanities that addresses one of the most persistent and vexing issues in urban studies: segregation.
Sponsored by the Center for the Humanities at Washington University
“The First Wave” documentary
Free and Discounted Programs
SLIFF continues our tradition of offering a large selection of free and discounted events to maximize the fest’s outreach into the community and to make the event affordable to all. In addition, for the 18th year, we present the Georgia Frontiere Cinema for Students Program, which provides free screenings to St. Louis-area schools. This year features 31 free in-person programs, including all screenings at the Contemporary Art Museum, St. Louis Public Library, and Washington University. We’re also offering a pair of free screenings at the Tivoli, a free in-person master class, and six free livestreams. And the fest features 31 virtual programs at the special price of $5.
Georgia Frontiere Cinema for Students Program
SLIFF offers free daytime screenings for children and teens from participating St. Louis-area schools. This year’s selections include shorts, documentary features, narrative features, and shorts programs. See the Cinema for Students section of the SLIFF website for full information.
Sponsored by Chip Rosenbloom and Lucia Rosenbloom (in honor of Georgia Frontiere) and the Hawkins Foundation, with support from the Jane M. & Bruce P. Robert Charitable Foundation
Human Rights Spotlight
This selection of documentaries focuses on human-rights issues in the U.S. and the world.
Sponsored by Sigma Iota Rho Honor Society for International and Area Studies at Washington University and the Whitney R. Harris World Law Institute
Master Classes and Seminars
SLIFF provides four free master classes — one in-person event and three livestreams — and a seminar. See the Special Events section of the SLIFF website for full information.
Sponsored by the Chellappa-Vedavalli Foundation
New Filmmakers Forum
The New Filmmakers Forum (NFF), a juried competition of works by first-time feature filmmakers, is an annual highlight of SLIFF. The featured films this year are “Delicate State,” “Papaw Land,” “Shellfish,” “Walk with Me,” and “We Burn Like This,” and the filmmakers will participate in a free roundtable discussion. The screenings and roundtable are hosted by the Missouri Film Office’s Andrea Sporcic Klund. The NFF Emerging Filmmaker Award — nicknamed the Bobbie in honor of the late Bobbie Lautenschlager, NFF’s longtime curator — is presented at SLIFF’s Closing-Night Awards Presentation.
Sponsored by Barry & Jackie Albrecht and Pat Scallet
Race in America: The Black Experience
Because the events in Ferguson continue to resonate in St. Louis and the country, SLIFF again offers a large number of programs organized under the title Race in America: The Black Experience. To maximize accessibility and promote dialogue, 12 of the 26 programs in Race in America are free.
Sponsored by William A. Kerr Foundation
Show-Me Cinema
Films made in St. Louis and Missouri or by current and former St. Louisans and Missourians are an annual focus of SLIFF. This year’s lineup of Show-Me Cinema is typically strong, featuring 18 feature films, three shorts programs, and four special events.
Sponsored by the Missouri Division of Tourism and Missouri Film Office
SLIFF/Kids Family Films
Cinema St. Louis presents a selection of eight family programs, including two documentaries and two free collections of shorts. Because patrons younger than 12 are not able to attend in-person screenings this year, all SLIFF/Kids programs are offered virtually.
Tivoli Theatre in University City
COVID-19 POLICIES FOR SLIFF IN-PERSON ATTENDANCE
The safety of our patrons, filmmakers, and volunteers is Cinema St. Louis’ top priority. To ensure everyone is protected, SLIFF has instituted a number of policies for the duration of the festival.
These policies will be strictly enforced for the protection of everyone.
Guests must follow the instructions of SLIFF staff members and volunteers. SLIFF reserves the right to deny admission or dismiss any customer for noncompliance.
The following policies will apply during SLIFF:
Proof of full vaccination (at least two weeks after the final dose) of any FDA-approved vaccine is required for all staff members, volunteers, audience members, and filmmakers at each in-person screening and event.
Methods of confirming proof of full vaccination are:
CDC Vaccine Card and valid photo ID.
A photo of a CDC Vaccine Card and valid photo ID.
Guests should arrive no earlier than 30 minutes before the scheduled screening time. Any guests arriving earlier will be asked to wait outside in line until the theaters are prepared for seating.
Only guests age 12 or older will be permitted to attend.
Masks are required for everyone at all times in indoor spaces, and the face coverings must be consistent with the current CDC guidelines.
Paper masks, scarves, neck gaiters, shirts pulled up, masks with holes/filters/breathing valves, and makeshift masks are not acceptable.
New disposable surgical masks are available to all audience members.
Masks must completely cover the mouth and nose and must be replaced if wet or soiled.
PPE may be inspected for compliance or issued as needed.
No concessions will be available at any venue, and no eating or drinking will be permitted in the theaters. Outside food or drink will also not be permitted.
Guests should stay home if not feeling well or exhibiting symptoms of Covid-19 in the past 10 days.
Guests who have tested positive for Covid-19 within the past 10 days must stay home.
Guests are asked to wash hands as often as possible, use hand-sanitizing stations, and cover nose and mouth when sneezing or coughing.
Gloria Swanson and William Holden in “Sunset Boulevard”
TICKET AND PASS INFORMATION
TICKET PRICES
Individual tickets, for either in-person or virtual screenings, are $15 for general admission, $11 for Cinema St. Louis members and students with valid and current photo IDs. Prices are all-inclusive; no additional fees will be added.
The Tribute to Mary Strauss (held on Nov. 21) is $25 and includes a screening of “Sunset Boulevard,” which follows the event.
SLIFF also offers 31 free in-person screenings, six free livestreams, and 31 virtual programs for a special $5 price. Complete information can be found in the Free Events and Discounted Events sections of the festival website.
Free in-person screenings do not require a ticket.
PASS PRICES
Passes can be used for either in-person or virtual screenings and can be used to purchase multiple tickets for an in-person event. Three forms of passes are available:
Sustaining Sponsors: Albrecht Family Foundation, Chellappa-Vedavalli Foundation, Hawkins Foundation, Jane M. & Bruce P. Robert Charitable Foundation, Ward & Carol Klein, Nancy & Ken Kranzberg, Missouri Arts Council, Missouri Division of Tourism, National Endowment for the Arts, Regional Arts Commission, Chip Rosenbloom & Lucia Rosenbloom, Mary Strauss, Trio Foundation of St. Louis, TV5Monde, William A. Kerr Foundation
Presenting Partners: Center for the Humanities at Washington University, Contemporary Art Museum St. Louis, The Divided City, Eventive, Film & Media Archive at Washington University Libraries, Film & Media Studies Program at Washington University, Simple DCP, St. Louis Public Library, St. Louis Public Radio, Webster University Film Series
Oh, what a night! Any time you can be joyfully swept up by the catchy hooks and upbeat sounds of the Four Seasons catalog is a good day.
Although the music is the big draw, the personal stories of bandmates Frankie Valli, Nick Massi, Bob Gaudio and Tommy DeVito combine for the irresistible musical “Jersey Boys.” The four lads from New Jersey’s rough-and-tumble journey through the music business is a fascinating rags-to-riches story, the quintessential American Dream tale.
In its Stages St. Louis premiere, the Tony Award winner comes alive in the Kirkwood Performing Arts Center’s intimate staging in the Ross Family Theater. The show runs through Oct. 24.
This can’t-miss combination overflows with energy and charm – and 30 songs, including their chart-topping hits “Sherry” in 1962, “Big Girls Don’t Cry,” “Who Loves You” and their last number one from 1976, “December 1963: Oh! What a Night!” The group sold 175 million records.
Directed with verve by Stages’ mainstay Michael Hamilton, with input from associate director Gayle Seay and assistant director Christopher Kale Jones, each number is vibrantly staged. Dana Lewis’ choreography is snappy and stylized.
The addition of live music at Stages, with the band perched atop of James Wolk’s grid set design, is a major plus. Music director Jeremy Jacobs kept up a peppy infectious beat with a tight band.
Wolk has efficiently used the space to set up different nooks conveying time and place, from recording studios to Las Vegas, with Sean M. Savoie’s savvy lighting choices expertly enhancing the designs, starting with streetlamps, and moving on to glitzy showbiz venues.
After it opened on Broadway in 2005, the musical became a juggernaut, winning four Tony Awards, including Best Musical, Actor, Featured Actor and Lighting Design in 2006, and ran until 2017, with multiple resident companies in the U.S. and abroad, in addition to several national tours pleasing crowds for years.
“Jersey Boys” is currently the 12th longest-running Broadway show (4,642 performances in 11 years).
Stages has assembled a very capable quartet of smooth operators who mesh as a group –singing actors Christopher Kale Jones, Brent Michael DiRoma, Jason Michael Evans and Ryan Jesse are funny, appealing, good singers whose harmonizing brings a strong dynamic to the show.
Jones, as indefatigable lead singer Frankie Valli, pours his heart and soul into the role, with a comfortable falsetto and a passionate delivery. His rendition of “Can’t Take My Eyes Off You,” one of the show’s biggest moments, will give you goosebumps. He played Frankie on the first national tour.
Jason Michael Evans is an amusing Nick Massi, the quirky bass player, and he pulls off the deadpan delivery and crisp comic timing required of the role. Brent Michael DiRoma, who was so strong as Jerry in Stages’ “The Full Monty,” brings out the complexities of the swaggering troublemaker guitarist Tommy DeVito. He also had national tour experience, but in other roles.
The songwriting talents and keyboard prowess of young musical genius Bob Gaudio is charismatically portrayed by Ryan Jesse, who performed the role on Broadway and on tour.
Stages’ ensemble adroitly fills in the supporting roles: Edward Juvier is Bob Crewe and others, while Dereis Lambert, Jenna Coker-Jones, Nic Thompson, Brady Miller, Sarah Ellis, Donna Louden, Steve Isom, John Flack, Dena Digiacinto, Trevor James Berger, and Erik Keiser fluidly move the story along. The entire production has a close-knit feel.
They journey through backstage drama, in-fighting, inside show-business wheeling and dealing, and unsavory parts of personal and professional relationships.
Clever book writers Rick Elice and Oscar-winning screenwriter Marshall Brickman presented different points of view and broke the Fourth Wall, where characters talk directly to the audience. It’s a masterful touch.
The vintage outfits from several decades are crafted with flair by resident costume designer Brad Musgrove, who knows how to go way back into the time machine of early rock ‘n roll and sharply dress performers.
Because it resonates so well, “Jersey Boys” remains a blissful experience, a delightful jukebox musical with a smartly constructed book that features humor and heartache – not to mention it’s based on a remarkable true story. And those songs!
It was thrilling to be back together in a theater where you could feel the electric jolt on stage – and in the audience. I’ve seen this show, I think, seven times, and it is always a home run. Performers may be better than others, but such pizzazz. It never gets old.
Show features adult content, so viewer discretion. “Jersey Boys” runs from Sept. 24 to Oct. 24. For information and tickets, visit www.stagesstlouis.org or call 314-821-2407.
The daring rescue of 12 boys and their soccer coach from deep inside a flooded cave in Northern Thailand captured the headlines in 2018, and now in an enthralling and inspiring documentary, “The Rescue,” our hearts as well.
Filmmakers Jimmy Chin and Elizabeth Chai Vasarhelyi, Oscar winners for “Free Solo” accessed never-before-seen material and included exclusive interviews to spotlight the risky world of cave diving and to convey the enormous outpouring of caring and compassion from the international community.
Even though we know the outcome, dubbed the “Miracle in the Cave” by the global news media, this documentary is a remarkable story of survival, determination, and ingenuity in the face of daunting odds and natural elements.
It’s a story we knew from the news, but not so much the harrowing details, which unfold like an edge-of-your-seat thriller. It’s a race against time that took two weeks to complete, and we feel the clock ticking and the mounting danger, especially as monsoon season nears.
To refresh, after a soccer practice, the boys went on an outing to explore a nearby elaborate system of caves and became trapped. While anxious parents awaited their rescue and fate, the Thai Navy, U.S. Navy Seals, and renowned cave divers combined their know-how for a daring rescue. Along with the Thai government and international leaders, we see the teamwork and plans in this life-or-death scenario.
Many people helped save the boys, and the courage they showed in such a perilous journey is astounding. But the two cave divers who first spotted the boys after 10 days, Rick Stanton and John Volanthen, are true heroes, as they give first-hand accounts of what happened.
It’s a lump-in-your-throat moment when the gaunt-looking youngsters say heartfelt “Thank you” and attempt to keep their spirits up, even though they are hungry and scared.
The film recently won the People’s Choice Award at the Toronto International Film Festival.
It’s certain to make an impact as a contender we near the annual awards season. But more importantly, it’s a rare success story and an extraordinary account of what humans are capable of in the face of overwhelming adversity.
“The Rescue” is a 2021 documentary directed by Jimmy Chin and Elizabeth Chai Vasarhelyi. It is rated PG for thematic material involving peril and some language, and the run time is 1 hour, 47 minutes. In select theaters Oct. 15 and will eventually be on the National Geographic Channel (Disney Plus).
By Lynn Venhaus Typically, movies about time travel make my head hurt because I overthink things and raise too many questions as I try to figure out the logic.
No need to waste precious brain cells on determining what’s going on in “Needle in a Timestack” because most of it doesn’t make any sense anyway.
In the ‘near future,’ time “jaunting” has become a luxury afforded the wealthy in this sci-fi romance, where architect Nick (Leslie Odom Jr.) is worried that his soulmate wife Janine (Cynthia Erivo) won’t be in his memories because of her ex-husband and his former friend Tommy (Orlando Bloom) messing with altering events in time, which is called “phasing,” and is disruptive in multiple facets of life. Can he stop it or manipulate time to make sure she is in his life?
And that’s a shame because the cast is full of likable performers that you usually want to root for, but their characters are vapid and spout ridiculous psychobabble about love. The two couples are such ciphers lacking much personality and possess all the trappings of comfortable modern life, so what’s the problem? Or, for that matter, the point?
Based on a short story by Robert Silverberg that was first published in the June 1983 issue of Playboy, he had previously published a collection of ten short stories under the same title in 1966 and decided to reuse the title for this story.
Let’s count the ways this project screams ‘misguided.’ For starters, John Ridley, Oscar winner for the adapted screenplay of “12 Years a Slave,” squandered energy on rewriting a story that does not translate well nearly 40 years later, given how there is such a gap between the 1 percenters and the “have-nots” – it smacks of privilege and one more thing to resent the “haves” about.
Surprisingly tone-deaf, the script is superficial in its portrait of married couple Nick and Janine as well as their prior significant others Tommy (Orlando Bloom) and Alex (Freida Pinto).
For all the talk of forever love, Nick and Janine sure don’t look happy. He’s an architect and she’s a photographer, and they live in an airy, ultra-modern home straight out of Architectural Digest.
Nick is consumed by thinking Tommy is trying to snare Janine, but Nick is quite a glum malcontent – and we get generic shots of him not looking happy.
And when a big phasing happens, whoa – he’s back with his beautiful girlfriend Alex – and she seems miserable because he’s such a mopey guy.
Tony winners Leslie Odom Jr. and Cynthia Erivo – he for “Hamilton” and she for “The Color Purple,” are much in demand after Oscar nominations – he for “One Night in Miami” and she for “Harriet.”
However, two premier vocalists do not even team up for a song post credits.
Orlando Bloom’s character is underwritten and puzzling. One phase has him behaving like an entitled rich guy and the second wave turning him to benevolent best bud following his bliss by pursuing his dream, being with the girl of his dreams and concern about his pal Nick.
And wouldn’t these phasings that alter people’s lives cause tremendous chaos in the real world?
Nick’s sister Zoey – a marvelous turn by Jadyn Wong, a bright spot, pays a lot of money to tamper by switching a friend’s tragic loss, but consequences, while threatened, appear to be random or non-existent.
And where are we? We are in a never-mentioned big city, and as the film was made in British Columbia, I assume it is Vancouver, but why assume? It just seems to be plastic and slick without a reason to stay engaged.
Trying to explain this is indeed a head-scratcher. Love is a circle. Let’s move on.
“Needle in a Timestack” is a 2021 science-fiction romance directed by John Ridley and starring Leslie Odom Jr., Cynthia Erivo, Orlando Bloom and Freida Pinto. It is rated R for some language and its run time is 1 hour, 51 minutes. It opened in theaters and was available on digital Oct. 15; and on DVD, Oct. 19. Lynn’s Grade: D.
An ambitious historical epic with powerful performances, hard-hitting action sequences, and an intelligent condemnation of systemic injustice, director Ridley Scott’s “The Last Duel” approaches glory, but falls slightly short of achieving it.
Based on actual events and taking place in 14th century France, the film, broken into three sections, begins with Jean de Carrouges (Matt Damon, sporting an unfortunate hairdo), a valiant fighter serving under the cuckoo Count Pierre d’Alençon (Ben Affleck). De Carrouges, having lost his first wife and child from the plague, sees an opportunity to father an heir and inherit a large dowry, which includes a huge swathe of land. He weds Marguerite de Thibouville (Jodie Comer), the daughter of a wealthy-yet-disgraced nobleman. However, through a series of political maneuvers, longtime friend Jacques Le Gris (Adam Driver) ends up possessing a large portion of de Carrouges’ new land, gets promoted to captaincy over him, and rapes Marguerite when she’s alone at home. De Carrouges files lawsuit after lawsuit, eventually requesting a last duel to the death. Retribution for Marguerite’s rape isn’t de Carrouge’s primary motivation — it’s his own pride and “honor” that’s at stake.
We then see the same events from Le Gris’ point of view: he observes as the handsome, fun-loving squire who parties with the Count and helps him improve his fortunes (Le Gris can read and handle basic accountancy). He betters his own lot in life by currying favors. In this version, de Carrouges isn’t a brave warrior, but a bumbling fool. It’s all rather smooth sailing for Le Gris who, after the assault, is reassured from the Count and the clergy that there’s no way that Marguerite’s claims will be taken seriously.
Jump to section three, the most resonant of them all, and we watch the happenings unfold from Marguerite’s vantage point, getting a more intimate look at the horrible situation she’s become stuck in. She’s left feeling dehumanized and at the mercy of arrogant men whose final battle risks not only their lives, but her own as well.
Suffice to say, there’s plenty of anxious tension headed into the climactic confrontation, a bloody brawl that’s undoubtedly one of the best scenes of 2021. Beforehand, “The Last Duel” takes a creative approach to storytelling that fully fleshes out its subjects — the courageous Marguerite in particular. While Scott’s film isn’t especially profound in revealing that 14th century France was, in fact, horrendously unjust towards women, it slyly demonstrates how shifts in perspective can alter how we perceive the world, and the self-serving ways in which we might perceive ourselves.
Indeed, “The Last Duel” invites viewers to compare and contrast each party’s accounts of what took place, illustrating pertinent differences between them. Alterations in music, camera angles, and dialogue reveal the truth layer by layer, depending on who’s telling it, both serving to fill in narrative gaps and make the film feel decidedly stretched-out by the sword-clashing finale. The costuming and production design are incredibly detailed and period accurate, to be expected. The screenplay — co-written by Damon, Affleck, and Nicole Holofcener — highlights the egomania of de Carrouges and Le Gris, while occasionally throwing subtlety to the wind.
This episodic structure wouldn’t work if the actors weren’t in top form, and luckily, the whole cast delivers. Comer, bringing to life Marguerite’s kindness, trauma, and steadfast bravery in facing a system designed to subordinate her, is wholly deserving of accolades come awards season. Until the final act, she’s mostly relegated to the sidelines, but she conveys Marguerite’s weathered fearlessness through her facial expressions alone, infusing the film’s final stretch with true emotional gravitas.
Damon and Driver are similarly effective, albeit portraying more straightforward characters. There’s little redeeming either of them, no matter if we’re seeing through their eyes or not, but “The Last Duel” takes great lengths to show the patriarchal structures that inform their worldviews. Affleck almost seems like he’s in a different film, but it’s entertaining watching him embrace a demented frat boy persona as the Count, drunk on power along with alcohol.
Where the film stumbles involves Scott’s lack of restraint. Witnessing Marguerite’s assault — twice — comes across as exploitative rather than necessary. On one hand, “The Last Duel” paints similarities of Le Gris’ monstrous actions to the “playful” nights he enjoys with women in the Count’s chambers. On the other hand, when shown again through Marguerite’s frame of reference, it serves little purpose beyond shock value, fueling our anger leading into the titular showdown. In this case,“The Last Duel” uses her violation to artificially amplify dramatic stakes.
Although the film is ultimately uneven in execution, there’s still enough compelling characters to carry it through to its squirm-inducing conclusion. “The Last Duel” succeeds in demonstrating how the past informs the present, and the importance of recognizing how a core issue of the time — viewing women as property rather than human beings — continues in various insidious forms today. It’s also just a bone-crushing, suspenseful medieval thriller that prizes at least some brains over pure brawn.
Jodie Comer in “The Last Duel”
“The Last Duel” is a 2021 drama directed by Ridley Scott and starring Matt Damon, Ben Affleck, Adam Driver and Jodie Comer. The run time is 2 hours, 32 minutes, and it is Rated R for strong violence including sexual assault, sexual content, some graphic nudity, and language. Alex’s Grade: B+
By Lynn Venhaus An enticing sense of wonder and palpable joy in nature can be felt in “Beyond Van Gogh: The Immersive Experience,” now available in St. Louis.
Irresistible and imaginative, it is: “magnificent.”
Art lovers will swoon looking at the walls with a 22-foot ceiling, technology enthusiasts will marvel at the cutting-edge three-dimensional world, and all will be exhilarated by the moving digital light show that breathes new life into Vincent van Gogh’s life work.
One must experience this unique multimedia presentation first-hand to understand just what the ‘immersive’ aspect truly means.
The limited engagement which opened Oct. 1, runs through Nov. 21 and is open from 10 a.m. to 10 p.m. Sundays through Thursdays and 10 a.m. to 11 p.m. Fridays and Saturdays. Four entry times are available each hour and tickets are sold online at www.vangoghstlouis.com
The installation is in the Starry Night Pavilion on the grounds of the Saint Louis Galleria, near the Macy’s side. Upon entry of the gigantic white tent, you will be educated about the legendary Dutch painter – his thoughts recorded in letters to his brother Theo, his dreams and own words about his life and work.
After the introduction, a second room, referred to as a “portal,” prepares visitors for the visuals by having them get used to the moving images – comparing it a dreamlike experience.
The work comes alive in the ‘immersion’ room, the third – and largest – space. then we become acclimated to the visuals of his works, through wall projections and finally, able to partake in stunning colors that swirl, dance and refocus into flowers, cafes and landscapes that operate on a 30-minute loop.
Overall, there are about 300 paintings representing his vast body of work. He had a fondness for portraits of peasants and still life of nature settings, and is known for a multitude of self-portraits.
His instantly recognizable masterpieces “The Starry Night,” “Sunflowers” and “Café Terrace at Night” come to life, no longer in frames, and you can see the details. The numerous shades of blue he used to depict night skies is remarkable – and vibrant.
The music score is symphonic and cinematic, and yes, you can hear snippets of Don McLean, along with Paul Simon, Miles Davis and other modern composers.
Whether you are familiar about the tortured artist or not, you can’t help but have a new appreciation for his work and understanding of the 19th century world he attempted to cope with in his all-too-brief, difficult life.
Sadly, he was more famous in death than in life. He was born in 1853 in Zundert, Netherlands. He didn’t take up painting until he was 28 years old. After bouts with depression, cutting off nearly his entire ear, confined to an asylum for a year – he painted nearly a work a day – he shot himself in the chest in 1890 and died two years later of infection in Auvers-sur-Oise, France. He was 37 years old.
His brother, Theo, an art dealer, died of syphilis six months later, and his widow, Jo, is credited for getting the word out about Vincent, and his paintings into the public eye.
In later years, medical experts have concluded that he likely had depression, bipolar disorder and a borderline personality disorder. Because of his poverty, poor diet, sleeping habits, drinking and smoking, he did not help his health either.
Immersion Room. Provided Photo.
For those interested in exploring more about Van Gogh, four of his paintings are on display at the St. Louis Art Museum in Forest Park, including “Stairway at Auvers” and “Head of a Peasant Woman,” seen in the immersive projections.
For those wondering where others are, “Arles Sunflowers” and “Wheat Fields with Cypresses” are at the Metropolitan Museum of Art in New York City, “The Starry Night” is at the Museum of Modern Art in New York City, and “Starry Night Over the Rhone” is in the Musee D’Orsay in Paris.
“Café Terrace at Night” is at the Kröller-Müller Museum in Otterlo, the Netherlands. For that work, he set up an easel in the Place du Forum, a public square in Arles, and painted it en plein air.
“Irises” is at the J. Paul Getty Museum in Los Angeles and “Haystacks” is at the Philadelphia Museum of Art.
At the Van Gogh Museum in Amsterdam, you will find “Bedroom in Arles,” “The Yellow House,” and “The Potato Eaters.”
The Normal Studio, which has accomplished these shows with other artists, too, is known for pushing the boundaries of performing arts, entertainment, and public installations. Founded in 2009, they fuse physical and technological elements to transform spaces into multimedia magic, telling stories in new and different ways.
It is indeed a one-of-a-kind triumph in the St. Louis region, an experience not to be missed.
The St. Louis exhibit also has a gift shop. For a special, Schlafly has introduced a beer, Swirling Sky IPA, at its various locations.
Provided photo.
The exhibition is open from 10 a.m. to 10 p.m. Sundays through Thursdays and 10 a.m. to 11 p.m. Fridays and Saturdays in the Starry Night Pavilion on the grounds of the Saint Louis Galleria, Richmond Heights. Four entry times will be available each hour. They recommend that the exhibit takes one hour to view.
Prices start at $36.99 for adults, with VIP and premium passes available up to $93, and $24.99 for children ages 5 to 15, with children under 5 are free. Tickets are sold online at www.vangoghstlouis.com
Beyond Van Gogh is following all St. Louis County Health Department guidelines in place during the exhibition’s run. Parking is free at the Saint Louis Galleria. Group tickets are available for eight or more.
For more information, visit www.vangoghstlouis.com.
“No Time to Die” is everything you want in a Bond movie, a super-spy thrill ride elevated by director Cary Joji Fukunaga’s flair for assembling dynamic action sequences and his attention to details.
And in a welcome surprise – assertive women show up in an impressive triumvirate of Ana de Armas, Lashana Lynch and Lea Seydoux.
For the fifth and final entry in the Daniel Craig era as the suave James Bond, our very human hero has left active service at M16 and is enjoying a tranquil life of retirement in Jamaica. However, his peace is short-lived when his old friend Felix Leiter (Jeffrey Wright) from the CIA asks for help in rescuing a kidnapped scientist. The mission turns out to be far more treacherous than expected and leads Bond onto the trail of a mysterious villain (Rami Malek) armed with dangerous new technology.
Fukunaga’s keen eye is well-documented in his unflinching 2015 film “Beasts of No Nation,” in which he was also cinematographer, and his masterful first season of the dark, hypnotic “True Detective” in 2014, for which he won an Emmy Award for directing.
He excels at moving this intriguing spy story along and the globe-trotting camerawork by Linus Sandgren, Oscar winner for “La La Land,” is dazzling. Even at 2 hours and 43 minutes, this slick yet gritty adventure keeps our attention, and satisfyingly wraps up Craig’s story arc as the British icon.
While most other Bond films can stand on their own, some 25 and counting over six decades, the five in the Daniel Craig era are connected. “No Time to Die” relies on viewers knowing that Vesper Lind was Bond’s first wife in the 2006 “Casino Royale” reboot and that tragic backstory, as well as familiarity with what happened in the last one, “Spectre” in 2015 – especially about his girlfriend Dr. Madeleine Swann, daughter of nemesis Mr. White, and sinister mastermind Blofeld (Christoph Waltz), Swann’s dad’s boss.
The script by Neal Purvis and Robert Wade, as well as Fukunaga, is noticeably impacted by the contributions of screenwriter Phoebe Waller-Bridge (heralded creator of “Fleabag”), who brings a refreshing female perspective to the well-documented male patriarchy of the Bond franchise.
This entry is far more female-forward than previous Bond installments – and there is a new 007, Nomi, and she is a feisty, ferocious machine, with Lashana Lynch in a dandy performance, the first black British agent in the film’s 58-year history. No, he may be legendary, but they did not retire Bond’s number, 007.
The iconic ID has been around since Ian Fleming’s first novel, “Casino Royale,” in 1953, and he went on to write 11 novels and two short story collections. Other authors have carried on Bond’s missions.
What direction the Bond franchise goes after Craig’s swan song is anyone’s guess – but post-credits, producers are emphatic: Bond will return in 2022. Debate rages over the possibility of Idris Elba or Rege-Jean Page, or even a female agent. Hmmm…anticipation grows.
In the meantime, Craig fans will enjoy his final emotionally charged performance. He’s been a fine Bond, one of the best, displaying an intensity about dedication to duty, a wily intelligence and a tiny chink in his reserved demeanor about feelings, which is endearing. His orphan roots and lovers’ betrayals have exposed his internal wounds.
While he might not be as memorable as some previous villains, Rami Malek is an interesting adversary as mad genius Lyutsifer Safin, warped by his father’s zeal for using chemicals as weapons.
As the other Bond villain, Blofeld, Christoph Waltz is far better here in one confrontation than he was in the entire “Spectre,” which was a disappointing film after the extraordinary “Skyfall” in 2012.
Not everyone is sold about French actress Lea Seydoux playing the love interest, a rare second appearance for a girlfriend, but it deepened the Craig finale.
This foray features a solid cast, with the always-exceptional Ralph Fiennes returning as a conflicted M, Ben Whishaw as tech whiz Q, Naomie Harris as loyal assistant Eve Moneypenny, Rory Kinnear as government wonk Tanner and this time around, Jeffrey Wright compelling as CIA pal Felix.
Besides a take-notice turn by Lynch, Ana de Armas is sensational as a rookie CIA operative helping Bond in Cuba. She is not given as much screen time as she deserved, and her captivating sequence had viewers wanting more, ushering in a new type of “Bond girl” in a changing era.
Bond may be a relic from a distant past, but the fact that filmmakers acknowledge that change is necessary, makes for a fascinating future.
The franchise, known for stylish escapism, may be forced to adapt to keep relevant in a brave new world, but viewers will always want engaging stories of right triumphing over might – no matter if it’s good girls AND guys.
And wow, are those car chases fun to watch.
Daniel Craig as James Bond in “No Time to Die”
“No Time to Die” is an action-adventure directed by Cary Joji Fukunaga and stars Daniel Craig, Rami Malek, Lea Seydoux, Lashana Lynch, Ben Whishaw, Naomi Harris, Christoph Waltz, Ralph Fiennes, Jeffrey Wright, BIlly Magnussen and Ana de Armas. It is Rated: PG-13 for sequences of violence and action, some disturbing images, brief strong language, and some suggestive material. Its run time is 2 hours, 43 minutes. It is in theaters on Oct. 8. Lynn’s Grade: A
Nothing can prepare you for director Julia Ducournau’s “Titane” — a profane, sentimental, horrific work of art. It’s also a film that benefits from viewers knowing as little as possible about going in. Rest assured, this gem is A+ quality, but if you don’t mind some mild spoilers, feel free to continue reading.
Set in Southern France, “Titane” focuses on Alexia (Agathe Rousselle), an erotic dancer with some peculiar kinks and murderous inclinations. As a child, she was in a car accident that required surgery and the doctors implanting a slab of titanium in her skull. This presumably explains her love for automobiles and all things metallic, as well as her aversion to fellow humans. The movie starts with an elaborate sequence leading to Alexia writhing passionately upon the hood of a flame-streaked Cadillac to the sound of “Doing It To Death” by The Kills. Later on, she’s summoned by the vehicle to, well, have unprotected sex. Alexia finds out she’s pregnant, and it’s only a matter of time before the police put her behind bars for some vicious killings.
She impulsively decides to assume the identity of a boy, named Adrien, who has been missing for a decade. She’s unexpectedly picked up by Adrien’s father, Vincent (Vincent Lindon), a fire chief willing to overlook glaring implausibilities to achieve a sense of long-lost comfort. Alexia/Adrien, straining to conceal her identity, finds a purpose missing from her former way of life.
Indeed, “Titane” takes the cake as the boldest, most unforgettable film I’ve watched this year. When you wade through all the blood, guts, and body horror, the central plot winds up strangely wholesome and life-affirming. Just like with “Raw,” Ducournau’s previous masterpiece, shock value is paired with fascinating characters that yield layer upon layer of complexities, even as viewers avert their eyes in disgust.
And there are graphic images aplenty, particularly during the first 30 minutes or so. The film’s relentless introduction immerses viewers into Alexia’s no-holds-barred approach to living with visceral, at times stomach-churning impact. Bathed in vivid neon light and captured with smooth, mesmerizing long takes forcing us to view the brutality up-close-and-personal, “Titane” throws viewers into the muck with zero time to breathe. We don’t completely understand what’s motivating Alexia’s decisions, but Rousselle’s performance is so magnetic — forgive the pun — that she commands viewers’ undivided attention whenever she’s on screen. Her inhumane actions, to put it lightly, are based in a deep sense of discontent with the world at large, as well as with her own body, which the pregnancy impacts day by day.
When she encounters Vincent, though, “Titane” becomes a wholly different beast. We go from observing an abhorrent character in Alexia to spending time with a broken, haunted man. Leading a crew of hyper-masculine men, Vincent puts on the appearance of strength, but remains deeply vulnerable. He will grasp at anything to appease his grief-stricken psyche and is able to suspend his disbelief to feel whole once again. Lindon’s performance is soulful, earning our sympathy from the outset. As they grow closer, and as Alexia/Adrien navigates intense scrutiny from Vincent’s crew and beyond, “Titane” provides some surprisingly warm-hearted, tear-jerking moments — finding humor, beauty, and compassion in the grotesque and uncertain.
Ducournau’s film is anything but static, gliding between genres and tones with such confidence that it’s practically impossible to predict what will happen next. In a sense, this refusal to be categorized extends into the themes Ducournau explores — largely revolving around agency of one’s body, the rigidity of societal norms, the fluidity of gender, and the messy, chaotic lengths some will go to feel love and belonging. The trials Alexia/Adren and Vincent endure strip them down to their base drive for connection, struggling against man-made machinations and preconceptions that seek to control their ways of being.
Add to this a perfect soundtrack and original score on par with “Raw,” along with minimalist dialogue that sparkles with darkly comic wit, and “Titane” emerges as a film that deserves to be cherished by anyone brave enough to weather the storm. Sure, some more insight into Alexia’s backstory could have fostered a greater emotional attachment early on, but by the conclusion, we’ve witnessed something special — brought to life by talented actors and a director in absolute command of her craft.
“Titane” is a drama-sci-fi-thriller in French with English subtitles, directed by Julia Ducournau It stars Agathe Rousselle, Vincent Lindon, Garance Mariller and is rated R for strong violence and disturbing material, graphic nudity, sexual content, and language. Its runtime is 1 hour, 48 minutes. It was released in the United States on Oct. 1 in theaters. Alex’s Grade:: A+.
