Cinema St. Louis (CSL) is thrilled to announce plans to acquire the Hi-Pointe Theatre as their new base of operations and programming beginning in January 2023.
Opening in 1922, the Hi-Pointe Theatre has been a cherished landmark for multiple generations of film lovers, and CSL plans to continue that tradition for years to come.
The Hi-Pointe Theatre is the oldest locally owned and continuously-operating arthouse theater in St. Louis. In 1977 the James family acquired the theater, and under their stewardship, the theater has become an iconic St. Louis landmark.
The James family shared: “After 45 years of owning the beloved Hi-Pointe Theatre, we have decided that it is time to end our run. We have been blessed to share this theater with 3 generations of our family and have had the privilege of helping it reach the magical age of 100 years. We know that Cinema St Louis is the perfect sequel to our story. They share the same passion and vision, and we are confident that they will be able to carry on our family’s legacy for the next 100 years. We thank you for your continued patronage, dedication, and support through the years. We will miss you all.”
Hi-Pointe Theatre
Cinema St. Louis’ vision is to create cinematic experiences that enrich, educate, entertain, and build community. The organization has presented programming for more than 30 years when they’ve been able to secure venues.
This acquisition would allow the organization to offer diverse, year-round programming and affordable experiences in the most continual and sustainable manner possible.
CSL’s Executive Director, Bree Maniscalco, stated that “Cinema St. Louis is grateful for this opportunity to not only preserve the last remaining arthouse cinema in St. Louis but also to finally create a permanent home for the organization and make film accessible for the entire St. Louis community. CSL will host its annual film festivals, educational programming, and filmmaker seminars at the Hi-Pointe Theatre. The organization will also offer repertory film series throughout the year as well as screenings of first-run films.”
This acquisition will:
Use film festivals and special events to establish the Hi-Pointe as a unique regional destination to draw visitors to St. Louis.
Increase access to film and filmmaking for underrepresented audiences.
Showcase local talent and bring global, well-recognized films to St. Louis.
Expand free educational and enrichment opportunities to K-12 students through filmmaking camps and screenings throughout the year.
For more than 30 years, Cinema St. Louis (CSL) has served as the region’s go-to arts nonprofit for educating and inspiring audiences of all ages through film. Annually, the organization hosts the St. Louis International Film Festival (SLIFF) — included among USA Today’s 10 Best “Film Festivals Worth Traveling To” — as well as the St. Louis Filmmakers Showcase, QFest St. Louis, Classic French Film Festival, and Golden Anniversaries. In addition, Cinema St. Louis seeks to engage younger audiences, exposing them to the possibilities of becoming filmmakers, through free hands-on filmmaking camps and screenings through Cinema for Students.
Los Angeles, CA – December 14, 2022) – The Critics Choice Association (CCA) announced Wednesday the film category nominees for the 28th Annual Critics Choice Awards. The winners will be revealed at the star-studded Critics Choice Awards gala hosted by Chelsea Handler, which will broadcast LIVE on The CW from the Fairmont Century Plaza in Los Angeles on Sunday, January 15, 2023 (7:00 – 10:00 pm ET, delayed PT – check local listings).
“Everything Everywhere All at Once” leads this year’s film contenders, earning fourteen nominations overall. In addition to Best Picture and Best Comedy nods, the film racked up several acting nominations including Best Actress for Michelle Yeoh and Best Supporting Actor for Ke Huy Quan. Both Jamie Lee Curtis and Stephanie Hsu are up for Best Supporting Actress, and the cast garnered a Best Acting Ensemble nomination. Daniel Kwan and Daniel Scheinert earned nods in both the Best Director and Best Original Screenplay categories, while Jason Kisvarday and Kelsi Ephraim were nominated for Best Production Design, along with Paul Rogers for Best Editing, and Shirley Kurata for Best Costume Design. The film was also nominated for Best Hair and Makeup and Best Visual Effects.
Steven Spielberg once again received a Best Director nomination, this time for Best Picture nominee “The Fabelmans,” plus a nod for Best Original Screenplay alongside Tony Kushner. In addition to receiving a Best Acting Ensemble nomination, several cast members were recognized for their standout performances including Best Actress nominee Michelle Williams, Best Supporting Actor nominees Paul Dano and Judd Hirsch, and Best Young Actor/Actress contender Gabriel LaBelle. Rounding out the project’s impressive eleven nominations, Janusz Kaminski earned a nod for Best Cinematography, while Rick Carter and Karen O’Hara are up for Best Production Design, and John Williams could take home the trophy for Best Score.
The list of Best Picture contenders also includes “Babylon” and “The Banshees of Inisherin,” which garnered an outstanding nine nominations each, along with “Elvis” and “Tár,” which collected seven nominations each. Rounding out the Best Picture nominees are “Avatar: The Way of Water,” “Glass Onion: A Knives Out Mystery,” “RRR,” “Top Gun: Maverick,” and “Women Talking.” There are eleven Best Picture nominees this year due to an exact tie. Additionally, the CCA expanded the Best Director category to include ten nominees.
“We are so proud to be recognizing this incredible group of films and the people who made them possible,” said Critics Choice Association CEO Joey Berlin. “This recognition comes from a diverse group of more than 600 critics and entertainment reporters who share their opinions about film and television with millions of people every day, all year long. Our collective opinion about the year’s finest achievements is truly meaningful to the creative community.”
As previously announced, “Abbott Elementary” leads the TV contenders for the 28th annual Critics Choice Awards, collecting nods in six categories. In addition to Best Comedy Series, the show earned several acting nominations including Best Actress in a Comedy Series for Quinta Brunson. Chris Perfetti and Tyler James Williams were both nominated for Best Supporting Actor in a Comedy Series, while Janelle James and Sheryl Lee Ralph both earned nods for Best Supporting Actress in a Comedy Series. “Better Call Saul” followed with an impressive five nominations overall, while “Gaslit”, “Reservation Dogs”, and “The Good Fight” tied with four nominations each.
It was also announced that Hollywood icon Jeff Bridges will receive the Critics Choice Lifetime Achievement Award at this year’s show.
The Critics Choice Awards are bestowed annually by the Critics Choice Association to honor the finest in cinematic and television achievement. Historically, they are the most accurate predictor of Academy Award® nominations.
The 28th annual Critics Choice Awards show will be executive-produced by Bob Bain Productions and Berlin Entertainment. The CCA is represented by Dan Black of Greenberg Traurig.
Follow the 28th annual Critics Choice Awards on Twitter and Instagram @CriticsChoice and on Facebook/CriticsChoiceAwards. Join the conversation using #CriticsChoiceAwards.
About the Critics Choice Association (CCA) The Critics Choice Association is the largest critics organization in the United States and Canada, representing more than 600 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.
Naatu Naatu in “RRR”
FILM NOMINATIONS FOR THE 28TH ANNUAL CRITICS CHOICE AWARDS
BEST PICTURE Avatar: The Way of Water Babylon The Banshees of Inisherin Elvis Everything Everywhere All at Once The Fabelmans Glass Onion: A Knives Out Mystery RRR Tár Top Gun: Maverick Women Talking
BEST ACTOR Austin Butler – Elvis Tom Cruise – Top Gun: Maverick Colin Farrell – The Banshees of Inisherin Brendan Fraser – The Whale Paul Mescal – Aftersun Bill Nighy – Living
Danielle Deadwyler in “Till”
BEST ACTRESS Cate Blanchett – Tár Viola Davis – The Woman King Danielle Deadwyler – Till Margot Robbie – Babylon Michelle Williams – The Fabelmans Michelle Yeoh – Everything Everywhere All at Once
BEST SUPPORTING ACTOR Paul Dano – The Fabelmans Brendan Gleeson – The Banshees of Inisherin Judd Hirsch – The Fabelmans Barry Keoghan – The Banshees of Inisherin Ke Huy Quan – Everything Everywhere All at Once Brian Tyree Henry – Causeway
BEST SUPPORTING ACTRESS Angela Bassett – Black Panther: Wakanda Forever Jessie Buckley – Women Talking Kerry Condon – The Banshees of Inisherin Jamie Lee Curtis – Everything Everywhere All at Once Stephanie Hsu – Everything Everywhere All at Once Janelle Monáe – Glass Onion: A Knives Out Mystery
Paul Mescal, Frankie Corio “Aftersun”
BEST YOUNG ACTOR/ACTRESS Frankie Corio – Aftersun Jalyn Hall – Till Gabriel LaBelle – The Fabelmans Bella Ramsey – Catherine Called Birdy Banks Repeta – Armageddon Time Sadie Sink – The Whale
BEST ACTING ENSEMBLE The Banshees of Inisherin Everything Everywhere All at Once The Fabelmans Glass Onion: A Knives Out Mystery The Woman King Women Talking
BEST DIRECTOR James Cameron – Avatar: The Way of Water Damien Chazelle – Babylon Todd Field – Tár Baz Luhrmann – Elvis Daniel Kwan, Daniel Scheinert – Everything Everywhere All at Once Martin McDonagh – The Banshees of Inisherin Sarah Polley – Women Talking Gina Prince-Bythewood – The Woman King S. S. Rajamouli – RRR Steven Spielberg – The Fabelmans
Gabrielle LaBelle, Steven Spielberg in “The Fabelmans”
BEST ORIGINAL SCREENPLAY Todd Field – Tár Daniel Kwan, Daniel Scheinert – Everything Everywhere All at Once Martin McDonagh – The Banshees of Inisherin Steven Spielberg, Tony Kushner – The Fabelmans Charlotte Wells – Aftersun
BEST ADAPTED SCREENPLAY Samuel D. Hunter – The Whale Kazuo Ishiguro – Living Rian Johnson – Glass Onion: A Knives Out Mystery Rebecca Lenkiewicz – She Said Sarah Polley – Women Talking
BEST CINEMATOGRAPHY Russell Carpenter – Avatar: The Way of Water Roger Deakins – Empire of Light Florian Hoffmeister – Tár Janusz Kaminski – The Fabelmans Claudio Miranda – Top Gun: Maverick Linus Sandgren – Babylon
BEST PRODUCTION DESIGN Hannah Beachler, Lisa K. Sessions – Black Panther: Wakanda Forever Rick Carter, Karen O’Hara – The Fabelmans Dylan Cole, Ben Procter, Vanessa Cole – Avatar: The Way of Water Jason Kisvarday, Kelsi Ephraim – Everything Everywhere All at Once Catherine Martin, Karen Murphy, Bev Dunn – Elvis Florencia Martin, Anthony Carlino – Babylon
BEST EDITING Tom Cross – Babylon Eddie Hamilton – Top Gun: Maverick Stephen Rivkin, David Brenner, John Refoua, James Cameron – Avatar: The Way of Water Paul Rogers – Everything Everywhere All at Once Matt Villa, Jonathan Redmond – Elvis Monika Willi – Tár
Tom Cruise plays Capt. Pete “Maverick” Mitchell in Top Gun: Maverick from Paramount Pictures, Skydance and Jerry Bruckheimer Films.
BEST COSTUME DESIGN Ruth E. Carter – Black Panther: Wakanda Forever Jenny Eagan – Glass Onion: A Knives Out Mystery Shirley Kurata – Everything Everywhere All at Once Catherine Martin – Elvis Gersha Phillips – The Woman King Mary Zophres – Babylon
BEST HAIR AND MAKEUP Babylon The Batman Black Panther: Wakanda Forever Elvis Everything Everywhere All at Once The Whale
BEST VISUAL EFFECTS Avatar: The Way of Water The Batman Black Panther: Wakanda Forever Everything Everywhere All at Once RRR Top Gun: Maverick
BEST COMEDY The Banshees of Inisherin Bros Everything Everywhere All at Once Glass Onion: A Knives Out Mystery Triangle of Sadness The Unbearable Weight of Massive Talent
BEST ANIMATED FEATURE Guillermo del Toro’s Pinocchio Marcel the Shell with Shoes On Puss in Boots: The Last Wish Turning Red Wendell & Wild
BEST FOREIGN LANGUAGE FILM All Quiet on the Western Front Argentina, 1985 Bardo, False Chronicle of a Handful of Truths Close Decision to Leave RRR
BEST SONG Carolina – Where the Crawdads Sing Ciao Papa – Guillermo del Toro’s Pinocchio Hold My Hand – Top Gun: Maverick Lift Me Up – Black Panther: Wakanda Forever Naatu Naatu – RRR New Body Rhumba – White Noise
BEST SCORE Alexandre Desplat – Guillermo del Toro’s Pinocchio Michael Giacchino – The Batman Hildur Guðnadóttir – Tár Hildur Guðnadóttir – Women Talking Justin Hurwitz – Babylon John Williams – The Fabelmans
WOMEN TALKING (2022)
Rooney Mara, Claire Foy, and Jessie Buckley
CR: Michael Gibson/United Artists Releasing
Looks 10, story 3. Regardless of its visual splendor from state-of-the-art effects, “Avatar: The Way of Water” is a bloated, confusing mess of a story.
Cinematographer extraordinaire Russell Christopher, who did “Titanic” and “Ant-Man,” and a team of hundreds of animators. motion-capture artists and graphics wizards make this sci-fi world fantastical, but a pedestrian plot can’t muster enough excitement to sit through 192 minutes of a curiously uninvolving scenario.
In a fierce battle to protect their home, the Na’vi must face a familiar threat on the extrasolar moon Pandora. Big bad military = evil territorial bullies, noble blue people = at one with nature.
With some nods to his previous mega-hits “Titanic,” “Aliens” and “The Terminator” franchise, director James Cameron has built a stunning panorama of flora, fauna, and water, lots of water. He’s also showing off in 3D and high-definition rate.
For all his excess, the man knows how to corral a team to create magic. However, his self-indulgences hamper smooth sailing in storytelling. He could have trimmed the film by half, and it would be far more engrossing with less repetition. (Four editors!).
A tribal plot involving family and loss offers nothing new – and five people came up with this unremarkable story that seems to have recycled some familiar “Lion King” beats (Come on! “Circle of Life”? Really?).
The monotonous video-game like screenplay, by Cameron and the husband-and-wife team of Rick Jaffa and Amanda Silver, whose work includes “Jurassic World” and the “Planet of the Apes” reboots, has this smug self-important air, and lacks even a smidgeon of wit.
Even superhero movies in the Marvel Cinematic Universe have some chuckles, and I’ve seen cartoons that are far more entertaining. Why so serious?
While we weren’t exactly waiting for a sequel to the highest grossing film of all time, it’s been a long time in coming – 11 years. Since 2009, technology has created even more worlds of wonder, and real-world problems of climate change and political colonialism have been added for relevance.
“King of the World” Cameron has planned three more sequels, with principal photography already completed for “Avatar 3,” which may happen in 2024, and others expected in 2026 and 2028. Whether it will be a global phenomenon like the first remains to be seen, but if they are as insipid and interminable as this one, don’t bother.
With the wow factor, this sequel seems headed to only earn Academy Awards nominations in the technical fields. The original won Oscars for art direction, cinematography, and visual effects out of nine nominations. The intricate makeup and hair work is also award worthy.
If you can’t remember much of the first one, here’s the condensed version: It’s the 22nd century and humans are colonizing Pandora, a moon in the Alpha Centauri star system, because they want to mine unobtanium, a valuable mineral. That threatens a local tribe’s existence – the Na’vi is a humanoid species.
Here, an avatar is a genetically engineered Na’vi body operated from a human brain in a remote location, which interacts with the natives.
Is this making your head hurt? Second one recaps how protagonist Jake Sully (Sam Worthington) fell in love with a Na’vi woman Neytiri (Zoe Saldana), and converted to that culture. They went on to live a blissful sparkly life and have four children – two boys and two girls.
Because he crossed the line, from being one of the military ‘sky people’ to a sympathetic outsider, his former Marine commander, Miles Quaritch (Stephen Lang), seeks revenge, but the motivation is murky. With a target on his back, Sully has endangered the Na’vi, and the Metkayina clan leader, Tonowari (Cliff Curtis), is not too happy about this turn of events. And neither is his snarling pregnant wife, Ronal (Kate Winslet). (Before you think, Kate Winslet is in this? It’s merely a voice-over).
Yet, an army of mighty warriors are ready to double-down, riding on some primordial-looking sea creatures. Only Quaritch has brought a force that look like the Na’vi. Good luck figuring out who are the good and bad guys, for it’s not always clear.
Clan leader Tonowari
The kids get in all sorts of scrapes, but telling them apart is tough, too, especially the two sons—Neteyam (Jamie Flatters) and Lo’ak (Britain Dalton). Kiri is the offspring of Sigourney Weaver, and they are her guardian. The youngest daughter named Tuk is designed to be the cute little charmer (Trinity Jo-Li Bliss). And then there is Miles, aka Spider (Jack Champion), a human who was left behind, and is like an adopted son.
Lots o’ macho posturing, women fretting, outsiders vs. natural-born, and kids being scolded for putting themselves in harm’s way. For three hours and 12 minutes, no intermission.
It is only epic is scope, not in any captivating way, for the imagination seems to have stopped at the art direction. Pretty pictures of ethereal thingamajigs floating in the water, and creatures plugging into energy sources that light them up for some reason are dazzling, so are the skies full of stars, and wavy tendrils that wrap themselves around various shapes, with different results.
Things blow up in spectacular fashion and gigantic whale-shark-looking hybrids, feared for their viciousness and sheer magnitude, wreak major havoc. The battle scenes, with Down Under-accented enemies, are well-executed – wait, did I just see New Zealand comic treasure Jemaine Clement?
With the avatars and Na’vi appearing so similar in looks and expressions, performances fail to register. The characters are one-note without much depth. Outstanding actress Edie Falco is wasted as a general and I’m not sure who ace character actress CCH Pounder plays.
New age-y dialogue is cringe-worthy, sounds like something from blacklight posters in the ‘70s. “The way of water connects all things. Before your birth, and after your death,” one son says. Whatever that means.
For all its posturing as an event film, “Avatar: The Way of Water” is unnecessary. It’s a gussied-up mash-up of ahead-of-his-time genius Jules Verne’s “Twenty Thousand Leagues Under the Sea” and “Journey to the Center of the Earth.” And I would like four hours of my life back.
Kiri, under water
“Avatar: The Way of Water” is a 2022 action fantasy film directed by James Cameron and starring Sam Worthington, Zoe Saldana, Stephen Lang, Sigourney Weaver, Cliff Curtis, Kate Winslet, CCH Pounder, Jack Champion, Britain Dalton, and Jamie Flatters. It is rated PG-13 for sequences of strong violence and intense action, partial nudity and some strong language and runtime is 192 minutes. It opens in theaters Dec. 16. Lynn’s Grade: C-.
‘The Banshees of Inisherin’ leads with 11 nominations, followed by ‘Everything Everywhere All at Once’ with 10; ‘Women Talking’ and ‘The Fabelmans’ earn 8 each
Special Merit recognition to Jafar Panahi, Ashley Judd and David Bowie
The St. Louis Film Critics Association have announced nominations for its annual awards, to be presented on Dec. 18.
In addition to determining nominations in 23 categories, the regional critics’ group recognized three people for special merit: imprisoned Iranian director Jafar Panahi, whistleblower actress Ashley Judd and posthumously, influential musician-actor David Bowie.
“The Banshees of Inisherin,” Martin McDonagh’s dark comedy about two lifelong friends at an impasse, was nominated for film, director, actor, supporting actor and actress, ensemble cast, original screenplay, cinematography, editing, music score and production design.
The multiverse mind-bender, “Everything Everywhere All at Once,” garnered nominations for film, directors, actress, supporting actor, ensemble, original screenplay, editing, visual effects, comedy, and action film.
Two dramas, “Women Talking” and “The Fabelmans,” were recognized with eight nominations apiece, while the “Elvis” biopic had seven, and sequels “Top Gun: Maverick” and “Glass Onion: A Knives Out Mystery” earned six.
See below for a complete list of nominations.
Regarding the Special Merit nods, SLFCA President Jim Tudor said the group wanted to recognize filmmaker Jafar Panahi, who was sentenced to six years in prison by the Iranian government for inquiring about the arrests of his fellow filmmakers Mohammad Rasoulof and Mostafa Al-Ahmad.
The international film community has denounced his imprisonment as unjust. His latest work, “No Bears,” was shown at the Venice Film Festival and New York Film Festival this fall.
The SLFCA statements on the three Special Merits:
Jafar Panahi
“In recognition of the courage of imprisoned Iranian director Jafar Panahi and all those film professionals confronting political oppression in the pursuit of free speech, human rights, and artistic expression.”
Ashley Judd
“We recognize Ashley Judd for the bravery and courage she demonstrated in portraying herself in ‘She Said.’”
David Bowie
“After nominating the experimental documentary “Moonage Daydream,” we want to also honor the expansive and continuing cinematic presence of singer-songwriter and actor David Bowie, whose life and music continues to permeate and enrich the cinema landscape.”
Founded in 2004, the St. Louis Film Critics Association is a nonprofit organization of professional film reviewers who regularly publish current and timely film criticism, support local productions and festivals, and enhance public education, awareness, and appreciation of films. Vetted members are affiliated with qualifying media outlets in the St. Louis metropolitan region.
For the awards, eligible films are those that opened in the greater St. Louis area or had an online premiere during the 2022 calendar year – including those film that were given awards-qualifying runs in 2021 but were not available to all SLFCA members until 2022. Films slated for release in early in 2023 are also eligible if a press screening, DVD screener, or screening link was provided to all SLFCA members.
The Banshees of Inisherin Elvis Everything Everywhere All at Once She Said Women Talking
BEST DIRECTOR
The Daniels (Daniel Kwan & Daniel Scheinert) – Everything Everywhere All at Once Baz Luhrmann – Elvis Martin McDonagh – The Banshees of Inisherin Sarah Polley – Women Talking Steven Spielberg – The Fabelmans
BEST ACTOR
Austin Butler – Elvis Daniel Craig – Glass Onion: A Knives Out Mystery Colin Farrell – The Banshees of Inisherin Brendan Fraser – The Whale Paul Mescal – Aftersun
BEST ACTRESS
Cate Blanchett – Tár Danielle Deadwyler – Till Mia Goth – Pearl Emma Thompson – Good Luck to You, Leo Grande Michelle Williams – The Fabelmans Michelle Yeoh – Everything Everywhere All at Once
BEST SUPPORTING ACTOR
Andre Braugher – She Said Brendan Gleeson – The Banshees of Inisherin Judd Hirsch – The Fabelmans Ke Huy Quan – Everything Everywhere All at Once Ben Whishaw – Women Talking
BEST SUPPORTING ACTRESS
Angela Bassett – Black Panther: Wakanda Forever Kerry Condon – The Banshees of Inisherin Claire Foy – Women Talking
Janelle Monae – Glass Onion: A Knives Out Mystery Carey Mulligan – She Said
Glass Onion
BEST ENSEMBLE CAST
The Banshees of Inisherin Everything Everywhere All at Once The Fabelmans Glass Onion: A Knives Out Mystery Women Talking
BEST ADAPTED SCREENPLAY
Glass Onion: A Knives Out Mystery – Rian Johnson; based on characters created by him
Guillermo del Toro’s Pinocchio – Guillermo del Toro and Patrick McHale; Guillermo del Toro and Matthew Robbins (story); based on the novel by Carlo Collodi
She Said – Rebecca Lenkiewicz; based on the book She Said by Jodi Cantor and Megan Twohey, and on the New York Times investigation by Jodi Kantor, Megan Twohey, and Rebecca Corbett
White Noise – Noah Baumbach; based on the novel by Don DeLillo
Women Talking – Sarah Polley and Miriam Toews; based on the novel by Miriam Toews
BEST ORIGINAL SCREENPLAY
The Banshees of Inisherin – Martin McDonagh Decision to Leave – Park Chan-wook and Gong Seo-kyeong Everything Everywhere All at Once – The Daniels (Daniel Kwan & Daniel Scheinert) The Fabelmans – Steven Spielberg & Tony Kushner The Menu – Seth Reiss & Will Tracy Tár – Todd Field
The Menu
BEST EDITING
The Banshees of Inisherin – Mikkel E.G. Nielsen Elvis – Jonathan Redmond and Matt Villa Everywhere Everywhere All at Once – Paul Rogers Tár – Monika Willi Top Gun: Maverick – Eddie Hamilton
BEST CINEMATOGRAPHY
The Banshees of Inisherin – Ben Davis The Batman – Greig Fraser Nope – Hoyte Van Hoytema Top Gun: Maverick – Claudio Miranda Women Talking – Luck Montpellier
BEST PRODUCTION DESIGN
Avatar: The Way of Water – Dylan Cole and Ben Procter The Banshees of Inisherin – Mark Tinldesley Black Panther: Wakanda Forever – Hannah Beachler Elvis – Catherine Martin and Karen Murphy Glass Onion: A Knives Out Mystery – Rick Heinrichs
BEST COSTUME DESIGN
Black Panther: Wakanda Forever – Ruth E. Carter Elvis – Catherine Martin The Fabelmans – Mark Bridges Mrs. Harris Goes to Paris – Jenny Beavan The Woman King – Gersha Phillips
BEST VISUAL EFFECTS
Avatar: The Way of Water – Joe Letteri, Richard Baneham, Eric Saindon, and Daniel Barrett
Everything Everywhere All at Once – Zak Stoltz (Visual Effects Supervisor); Ethan Feldbau and Benjamin Brewer (Visual Effects Lead Artists); Jeff Desom (Visual Effects Artist)
Nope – Guillaume Rocheron (Visual Effects Supervisor); Jeremy Robert (Visual Effets Supervisor); Sreejith Venugopalan (DFX Supervisor); Scott R. Risher (Special Effects Coordinator)
RRR – V. Srinivas Mohan (VFX Supervisor)
Top Gun: Maverick – Ryan Tudhope (Visual Effects Supevisor); Scott R. Fisher (Special Effects Coordinator); Seth Hill (Visual Effects Supervisor) Bryan Litton (Visual Effects Supervisor)
Babylon
BEST MUSIC SCORE
Babylon – Justin Hurwitz The Banshees of Inisherin – Carter Burwell The Batman – Michael Giacchino The Fabelmans – John Williams Women Talking – Hildur Guðnadóttir
BEST SOUNDTRACK
Black Panther: Wakanda Forever Elvis Moonage Daydream Top Gun: Maverick Weird: The Al Yankovic Story
BEST ACTION FILM
Avatar: The Way of Water Everything Everywhere All at Once RRR Top Gun: Maverick The Woman King
BEST COMEDY FILM
Everything Everywhere All at Once Glass Onion: A Knives Out Mystery Jackass Forever The Unbearable Weight of Massive Talent Weird: The Al Yankovic Story
BEST HORROR FILM
Men Nope Pearl Scream X
Guillermo del Toro’s Pinocchio
BEST ANIMATED FILM
Apollo 10 ½: A Space Age Childhood Guillermo del Toro’s Pinocchio Marcel the Shell with Shoes On Turning Red Wendell and Wild
BEST DOCUMENTARY FILM
All the Beauty and the Bloodshed Fire of Love Good Night Oppy Moonage Daydream Sr.
BEST INTERNATIONAL FILM
All Quiet on the Western Front Close Decision to Leave Happening RRR
BEST SCENE
The Fabelmans – Sam meets one of his idols on the studio lot. Marcel the Shell with Shoes On – Marcel on 60 Minutes. Nope – A tragic day on the set of Gordy’s Home. RRR – Piggyback prison escape. Tár – Lydia bullies a Julliard student. Top Gun: Maverick – Iceman visits with Maverick.
The Critics Choice Association (CCA) Women’s Committee is pleased to announce “Women Talking” (United Artists Releasing) and “The Sex Lives of College Girls” (HBO Max) will receive the 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.
“Women Talking” focuses on a group of Mennonite women who gather to determine what action to take after rampant sexual abuse is condoned by the male leaders of the community. Written, directed, and produced by Sarah Polley from the novel by Miriam Toews, the drama explores the themes of sisterhood, autonomy, and justice through the eyes of women who have lived their entire lives inside a closed, conservative, rural community.
“I am so thrilled our film has been included amongst the incredible films receiving this honor, and so grateful for this initiative to encourage more films that tell women’s stories,” wrote Polley in a letter to the CCA membership. “Sometimes, when embarking on a project like this one, it’s easy to feel lost and unsure. Especially when you are telling a story about a community that has never been told. You must break and remake yourself in the process of finding your true voice. Thank you for creating this seal which helps a lot of us who have been lost to feel seen.”
The Sex Lives of College Girls
“The Sex Lives of College Girls” is a female-led scripted comedy series following four very different freshman girls at a prestigious college in Vermont. Led by a diverse cast that stars Pauline Chalamet, Amrit Kaur, Alyah Chanelle Scott, and Reneé Rapp, these young women juggle their educational aspirations with their newfound freedom and burgeoning sex lives. Created and written by Mindy Kaling and Justin Noble, and with a majority of female writers and directors, the series showcases young women navigating the beginning of adulthood through diverse, relatable and witty stories.
“With diverse female representation behind and in front of the camera, ‘The Sex Lives of College Girls’ is the perfect example of what we are looking for when awarding the SOFEE,” said Tara McNamara, Chair of the CCA Women’s Committee. “Women write and produce the series, and their point of view shines through in the sometimes relatable, always hilarious stories that may bring back cringey memories for many women. The show’s sex positive message is reflected differently for each of the four main characters, allowing women from all walks of life to see elements of their own journeys represented on-screen.”
Both “Women Talking” and “The Sex Lives of College Girls” received perfect scores in the numerical formula that is used to determine if new titles, 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.
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, Jamie Broadnax, 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.
WOMEN TALKING (2022)
Rooney Mara, Claire Foy, and Jessie Buckley
CR: Michael Gibson/United Artists Releasing
About the Critics Choice Association (CCA)
The Critics Choice Association is the largest critics organization in the United States and Canada, representing more than 600 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.
By Lynn Venhaus Playwright Lucas Hnath doesn’t ever flinch, and neither does his lead character, Pastor Paul in “The Christians,” an examination of faith and influence in a 21st century megachurch.
In an innovative move, the West End Players Guild is presenting this thought-provoking drama in the Union Avenue Christian Church, not their usual stage in the basement.
It’s just one of director Ellie Schwetye’s smart moves, and the setting adds an authenticity for this examination of faith and doctrine.
It’s not a typical megachurch plot, where there is often reason to deride piety. The characters are sincere, which makes it more powerful.
Pastor Paul has discarded his church’s traditional fundamentalist Christianity in favor of a more inclusive and universal Christianity. When he announces to his congregation that he has come to doubt a core belief – well, this does not go over well.
He thinks other religions have valid points. Oh, the horror. This rocks everyone to their core. Chaos will ensue.
Ten years ago, his church was a modest storefront, but now it houses thousands, with all sorts of amenities. It’s paid for, and all seems to be going well. How does one man unite a church – and then, suddenly, divide it? Can internal politics tear down things built up with love?
As Pastor Paul, Joel Moses digs deep, showing us his pain over his flock’s revulsion, and how those closest to him turn on him. He’s aghast, for while he expected this sermon to be controversial, the reaction stuns him. Their foundation – and relationships – will crumble before our very eyes.
As this unsettling drama unfolds, the cast is pitch-perfect, making sure each character is not black-or-white, but many shades of grey. Each has a crisis of faith, and this creates thought-provoking content. And interesting confrontations as they all seem at different crossroads.
Joseph Garner is impressive as the associate pastor Joshua, who must stay true to his values. Rachel Hanks is strong as Pastor Paul’s faithful wife Elizabeth — but begins to doubt so much about their relationship and work. And then loyal parishioner Jenny, played by a fiery Chrissie Watkins, must speak her truth. Michael Byrd has a small role as Elder Jay.
Hnath, a favorite of West End Players Guild, first produced “The Christians” at the Humana Festival of New American Plays in Louisville, Ky., in 2014. It premiered off-Broadway at Playwrights Horizons in 2015, and then had its Chicago premiere at Steppenwholf Theatre Company in 2016. He is the son of a minister.
Among its accolades – “The Christians” was nominated for two 2016 Drama Desk Awards, for Outstanding Play and Outstanding Actor in a Play, and then nominated for the 2016 Lortel Award for Outstanding Play and Outstanding Lead Actor in a Play. It won the 2016 Outer Critics Circle Award as Outstanding New Off-Broadway Play
This production is a St. Louis premiere, and is one of the strongest dramas of the year.
West End Players Guild presents Lucas Hnath’s The Christians Dec. 2-11 at Union Avenue Christian Church, 733 Union in the Central West End. For more information: westendplayers.org.
On the same first weekend of December 2022, the New Yorker magazine published a cartoon depicting a couple in a theater, clutching programs as others around them departed. The husband says to the wife, “Whose idea is it to start with the ‘Hallelujah’ Chorus?” This coincided with the St. Louis Symphony Orchestra and Chorus’s performances of one of George Frideric Handel’s masterworks, his oratorio “Messiah.”
I generally do not “review” an audience’s engagement with a performance, but with the New Yorker cartoon in mind, I’m safe stating that the respectful and enthusiastic audience would have stayed for all of score’s 57 numbers, even if rearranged with an opening “Hallelujah.”
Although originally intended for the Christian season of Lent, “Messiah” has morphed into a staple of high culture Christmas entertainments, along with Tchaikovsky’s “Nutcracker” and Dickens’s “A Christmas Carol.”
But seasonal ubiquity shouldn’t diminish the sheer beauty of this music experience, which Handel feverishly composed in just 24 days in 1742. I have no proof, but I am convinced that the compressed composition process contributes to the cohesive, “of a piece” nature of “Messiah.” Artistic constraint often enhances creativity.
Laurence Cummings
The SLSO’s performance on Dec. 4, under the baton of guest conductor Laurence Cummings proved that “Messiah” when well-performed continues to deserve its place as one of the most famous, canonical and widely shared pieces of music – classical or otherwise. Cummings is a British conductor and specialist in historical performance, especially the Baroque era. At Powell Hall, he led the orchestra and chorus from one of two center stage harpsichords. The other was played by Mark Shuldiner. The excellent-as-always chorus was led by the also-excellent guest choral director, Patrick Dupré Quigley.
There’s room in Handel’s score for plenty of interpretation and emphasis. Cummings chose to elevate the score’s reverential Passion theme, which proved a welcome antidote to the holiday season’s usual predilection for exuberant celebrations. There was still plenty of that celebratory spirit during the stand up for the “Hallelujah” chorus and the robust final ovations.
The reverential was also evident in the way the four soloists, seated two to a side, approached the front of the stage with deliberate gravitas. The cadre of soloists were soprano Amanda Forsythe, countertenor Key’mon Murrah, tenor John Matthew Myers and baritone Jonathon Adams. All were well-matched and well-attenuated with the orchestra and chorus. Of the four, Forsythe and Murrah were the most stylish and powerful, though this might partly be because of their respective parts. The voice of baritone Adams’s voice was muddled and lost a couple of times during his solos, especially at their beginnings, but this was not off-putting.
The SLSO’s 2022 interpretation of “Messiah” was the total package for a fulfilling performance that bundled the sheer beauty of the music, Handel’s incredible skill as a c composer, a well-aligned symphony and chorus and confident soloists. To borrow a phrase from another, Grinchier annual holiday treat, “Welcome Christmas. Bring your cheer.”
Another year, another Handel’s Messiah at Powell Hall
Remember that commercial from the late 80s with the tagline, “This is not your father’s Oldsmobile?” The Repertory Theatre of St Louis’s production of “A Christmas Carol” is kinda like that. This is not your father’s, or grandmother’s (or your crazy Aunt Millie’s) adaptation of this Dickensian tale of Ebenezer Scrooge’s war on Christmas. As you survey St. Louis’s rich assortment of holiday offerings (and there truly is a cornucopia that runneth over), this production entices with a shiny, progressive reboot of this Christmas chestnut.
It’s a new spin on “A Christmas Carol” that’s perfect for those with short attention spans. This adaptation treats the story of Scrooge’s transformation as the plain evergreen upon which the shiny baubles of scenic design (Tim Mackabee), lighting and projections (Seth Reiser and Hana S. Kim), costumes (Dede Ayite), choreography (Kirven Douthit-Boyd) and hip hop choreography (Robert Crenshaw) are hung. Bringing youthful energy to the production are the Webster University conservatory cast, the Big Muddy Dance Company dancers, whose ghost dancers add much to certain key scenes, and a youth ensemble from the Center of Creative Arts.
By flattening the well-known story line whose lead character has been represented by everyone and everything from Alastair Sim and Michael Caine to Bill Murray and Mr. Magoo, this adaptation by Michael Wilson (the same as last year’s) embellishes the story of Scrooge’s transformation with new characters and scenes not in the Dickens novel.
Upon each of the story’s key moments – Marley’s appearance, visits by the three Spirits, the Cratchit family’s penury, etc. – director Hana S. Sharif hangs contemporary dance numbers, special effects and humorous asides among all the dark, dank Victoriana. The dance is an especially effective component of this adaptation; the inconsistent use of modern colloquialisms – not so much.
The result is a Whitman’s Sampler of a production that tries too hard to provide a little something for every taste. And like that holiday box, there’s all sorts of chocolates, including a rap-infused “O Come All Ye Faithful,” a Marley who flies up from beneath the stage like a spectral Peter Pan, a dance number that includes The Worm, and a Ghost of Christmas Yet to Come that’s part-Mad Max, part-Blade and part-Gimp from “Pulp Fiction.”
The latter makes his NFL-inspired entrance complete with hoverboard and ravers glasses. This ghost’s entrance is certainly impressive but calls too much attention to itself and pulls you out of the story. It also undercuts the emotional impact of Scrooge recognizing his tombstone – the climax of the story.
The same holds true for the final scene (not in Dickens’s original) with Scrooge hosting a party. This is a well-intentioned addition that hopes to highlight the new, improved Scrooge, but which borrows too much from the final scene in the “White Christmas” movie. It also weakens the intent of Dickens to use this story to examine the plight of the disadvantaged. As Scrooge promises the Ghost of Christmas Yet to Come, “I will honor Christmas in my heart, and try to keep it all the year. I will live in the Past, the Present, and the Future. The Spirits of all Three shall strive within me. I will not shut out the lessons that they teach!”
Sharif adds another complexity to this production by double casting of most of the key roles. It was fun (and impressive) to see the way Laakan McHardy played both a doll seller and the Ghost of Christmas Past (the best of the portrayals of the spirits) and Paul Aguirre went from a refreshments vendor to a vampy, over-the-top Christmas Present. Michael James Reed also played double duty as Mrs. Dilber (Scrooge’s housekeeper with shades of “Mrs. Doubtfire”) and the spectral Jacob Marley – how’s that for range!
The roles of Scrooge and Bob Cratchit are played by Guiesseppe Jones and Armando McClain, respectively. McClain provides one of this production’s best and most consistent and balanced portrayals as the long-suffering Cratchit. Ultimately, “A Christmas Carol” hinges on the portrayal of Scrooge. Jones displays an impressive range, which he definitely needs in this adaptation that pivots (sometimes to distraction) from lightheartedly humorous to full-on King Lear-level theatricality. As impressive as Jones was in all his scenes, his performance was often too self-contained and lacked chemistry with the other actors.
Overall, this production is designed with lots of wow-factors to defy you to call it anything but bah-humbug. The success of this approach depends on how you like your Scrooge served up. If you’re seeking the more traditional, ye merry ole England version (I remember one from my youth that included real basset hounds on stage), this isn’t that. To its credit, this adaptation avoids the saccharin Timmy-fell-down-the-well savior sub-narrative of so many other productions. And, it brings a modern sensibility to this timeless, still all-too-relevant story.
The Repertory Theatre of St. Louis presents “A Christmas Carol” November 19–December 30 at the Loretto-Hilton Center, 130 Edgar Road, St. Louis. For tickets or more information, visit: www.repstl.org.
A little bit of horror and a lot of hilarity ensues in the madcap cult musical “Ride the Cyclone: The Musical,” now playing in a festive amusement park-like atmosphere at the Tower Grove Abbey.
For those unfamiliar with this musical comedy by Jacob Richmond and Brooke Maxwell, six peppy performers portray teenagers from a Canadian parochial school chamber choir whose lives are cut short in a freak accident aboard a roller coaster.
And that’s not the only thing freaky in this zany production that has a distinct viewpoint about the universal mysteries of life, death, and the afterlife – mostly funny, but sometimes sad, and surprisingly touching.
After they wind up in Limbo, a mechanical fortune teller, The Amazing Karnak, offers the dead kids a chance to return to life – but only one will be selected in this strange game of survivor. So, each tells their stories of living in Uranium City, Saskatchewan, and of their experiences at St. Cassian High School.
Five are kooky variations of John Hughes-like characters while the sixth, Jane Doe, was decapitated in the calamity and her body wasn’t claimed. Dawn Schmid plays the mysterious and ethereal outlier, showcasing her elegant voice in the opening number “Dream of Life” and later, “The Ballad of Jane Doe,” in which she talks about not knowing her identity.
The other five try to set themselves apart, and they accomplish that. This is a merry band of accomplished performers who make each character their own.
Photo by John Lamb
Eileen Engel, channeling Reese Witherspoon’s Tracy Flick character in “Election,” is the classic annoying over-achiever who is so certain she should be spared – and is snide in her comments to others, her entitlement front and center. Her name Ocean O’Connell Rosenberg. Seriously. Her catch phrase is “Democracy rocks!”
Her number, “What the World Needs,” brings out her personality traits and she leads the ensemble on “Every Story’s Got a Lesson.”
Riley Dunn may be having the most fun on stage as a very angry adopted young man, Mischa Bachinski, from the Ukraine. He’s an aspiring rapper, so of course, he must show off in “This Song is Awesome” and then display his softer side when recalling his internet girlfriend “Talia.”
In death, Stephen Henley’s earnest Ricky Potts, mute with a degenerative disease — catch phrase “Level Up!” — apparently has a new lease on life, as he is no longer disabled, and thrives with his discovered abilities. Part mensch, and pure team player with an overactive imagination, he sure has fun in his fantasies with “Space Age Bachelor Man.”
Grace Langford is eager-to-please Constance Blackwood, who is upset that she’s always labeled “nice,” has a love-hate relationship with her hometown and has a secret to later share. (And it’s a doozy). She belts out “Jawbreaker” and then after she changes her mind, “Sugarcloud.”
Mike Hodges has done double-duty as choreography and performer, and he gets to be outrageous as a gay kid in a small town who has never encountered anyone in his tribe. His saucy “Noel’s Lament” is the bawdiest number.
“The Other Side” is a spirited introduction.
The choreography is a delightful mix of “High School Musical,” “Cabaret,” “La Cage aux Folles,” even shades of “Cats,” and contemporary music videos.
The kids take a break from their “Look at Me!”attitudes to sing the tender “The New Birthday Song” to Jane Doe.
Engel also does double duty, as costume designer, with looks that run the gamut from the drab Catholic school jumpers to Hodges’ more risqué outfits
A well-known local actor voices Karnak, and his narration is superb. The program doesn’t reveal who he is, so I’ll keep that quiet until we’re allowed to share, no spoiler from me.
The musical was first performed in 2008, but did not have its American premiere, in Chicago, until 2015, and then mounted off-Broadway the next year.
It has developed a cult following, somewhat like “The Rocky Horror Show,” and audience members came from several different states, whooping it up, their enthusiasm contagious.
This is a fast-paced show – 90 minutes without an intermission. While it flows smoothly, a tremendous amount of difficulty is apparent because of the level of stage craft, but it’s all handled with aplomb.
Photo by John Lamb
Director Justin Been has cleverly staged the intricate movements, with timing a crucial element, and skillfully coordinated the moving parts – as there are many cues for sound, lights, and special effects. Many video projections are used, too, snapshots from their lives.
Longtime tech creative Tyler Duenow has masterfully taken the lighting design to new heights — a terrific mix of spooky, strange and status quo, while sound designer Jacob Baxley’s crisp work is noteworthy too.
Scenic designer Josh Smith has appointed the small space well, with the Karnak a creepy standout (not confined to a glass case like in “Big.”)
The witty script leans towards the sarcastic, with some laugh-out-loud observations, Been, along with his cast, has enlivened the show with up-to-date references (script allows it)
The band is onstage and appears to be having fun. Led by music director Leah Schultz, who also plays piano and recorder, musicians include Michaela Kuba on bass and cello, Adam Rugo on guitar and Joe Winters on percussion.
A macabre and mirthful show might not evoke the spirit of Christmas, but it sure spread joy to the world in Tower Grove Abbey – a cheering audience, exuberant cast and top-of-their game creative team made it a pleasant holiday-time diversion.
Stray Dog Theatre presents “Ride the Cyclone: The Musical” Thursdays through Saturdays December 1-17, with additional performances on Sunday, Dec. 11, and Wednesday, Dec. 14, both at 8 p.m., at the Tower Grove Abbey, 2336 Tennessee, in Tower Grove East. This show contains mature language, smoke effects, strobing lights, and sudden loud noises. Masks are not required but encouraged. For more information or for tickets, visit www.straydogtheatre.org.
A fascinating piece that combines intricate magic feats with intimate storytelling, “Forget Me Not” is an uncommon presentation.
Illusionist Kyle Marlett engages with an original and autobiographical one-man show that is much more than sleight of hand magic tricks and stunning visuals. As nifty as those inspired bits are, they are part of a bigger picture.
This is not your flashy extravaganza with pulsating music and fancy lighting that you often see as show biz spectacles — nor is it lacking artistry. Quite the contrary. It’s a one-of-a-kind rumination on learning, living, and leaving a mark, done with tender care.
This ambitious production appears to be a solo enterprise, but it’s not, for he has an accomplished cohort. Gunnar Sizemore, an actor who has appeared as Micah in the TV series “Nashville,” is Marlett’s co-creator. He is a director and voice actor, too, known for voicing Bao in the TV series “Kung Fu Panda: The Paws of Destiny,” among others.
The unusual set design – walls of boxes, some opening for effect, was co-designed with Patrick Huber. Several boxes hang from the ceiling, and are timed to drop as part of the show.
Kyle Marlett “Forget-Me-Not”
The subdued atmosphere includes low lighting and smoky effects, and the sound is soft. Huber was the lighting designer, too, and Marlett designed the sound.
Wearing his heart on his sleeve, Marlett shares his life story in a measured tone, with striking visual flourishes along the journey – such as recounting the times he and his brother shared giant bowls of cereal after school.
He has been estranged from that brother because of drugs. His brother’s woes and his father’s alcoholism didn’t make for a happy childhood, and he grew up escaping into his own fantasy world.
Magic enthralled him from the get-go and determined his path. His story’s unique, yet familiar, and that’s the endgame goal here – to engage people in a memorable way.
It’s doubtful that you’ve seen anything like it before. I know I haven’t.
Marlett has more than 1.5 million followers online and has been on such television shows as “The Tonight Show,” “Penn and Teller’s Fool Us,” and “RuPaul’s Drag Race.” He has also produced magic for movies and streaming series. A few years ago, he appeared at The Gaslight Theatre “in a very different show,” he told me.
Now, this show’s purpose is to focus on more meaningful connections. You know, the heavy stuff – Why are we here? What happens after we’re gone – who will tell our stories? What impact can we have? The clock is ticking, so how do we go about being remembered?
Marlett respectfully asked the audience for their thoughts, and to share some details, while he incorporated magic into the structure. Without razzle-dazzle, they were quite impressive – and the audience reacted warmly.
This is a departure from the customary fare at St. Louis Actors’ Studio but follows that theme of connection that’s been ever-present in our post-pandemic (well, post-vaccine) world.
The feeling of a shared experience, like live theater represents, remains.
The St. Louis Actors’ Studio presents “Forget Me Not,” Dec. 3-18, Thursdays through Saturdays at 8 p.m. and Sundays at 3 p.m. in The Gaslight Theatre. It is 75 minutes without an intermission. Box office 314-458-2978 or www.ticketmaster, or one-hour before each show. For more information, visit www.stlas.org or contact [email protected].
