David Lowery’s ‘The Green Knight’ is Hallucinatory Spectacle to Behold

David Lowery’s ‘The Green Knight’ is Hallucinatory Spectacle to Behold

By Alex McPherson
Based on the 14th-century Arthurian tale “Sir Gawain and the Green Knight,” director David Lowery’s film, aptly titled “The Green Knight,” is an impeccably constructed fantasy epic with bizarre imagery and dense themes begging to be mulled over for years to come. 

The story begins in Camelot, with Gawain (Dev Patel), an aimless young warrior and nephew to King Arthur himself (Sean Harris), getting the chance to finally give his life purpose beyond drinking and cavorting his days away. During a Christmas gathering, the aging King and his wife, Queen Guinnevere (Kate Dickie), draw attention to the fact that Gawain doesn’t have any stories to tell — not yet, at least — and a mysterious, bark-covered giant shows up, calling himself the Green Knight (voiced by Ralph Ineson with imposing gusto).

The gritty medieval Groot offers a challenge to the Round Table — he will allow anyone brave enough to strike a blow against him, so long as they agree to receive the same treatment in one year. Gawain, careless as ever and wanting to impress his company and his suspicious mother, Morgan Le Fay (Sarita Choudhury), agrees to the challenge when nobody else will, promptly decapitating the Knight. He immediately regrets his decision, as the Knight, holding his severed head, gallops away on his horse laughing maniacally. In one year, Gawain must complete his end of the agreement. Oops. 

The clock begins ticking, and once the year passes, Gawain sets out on his journey across a fantastical land to reach the Green Chapel and fulfill his pact. Unsurprisingly, the quest is grueling, and the self-doubting Gawain encounters a variety of strange entities — mischievous themes, a mournful spirit, and a fox companion, among others — that require him to confront his supposedly heroic ideals and his own mortality in the pursuit of becoming a legend. 

Absolutely brimming with cinematic artistry and featuring a magnificent performance from Dev Patel, “The Green Knight” won’t appeal to viewers seeking a more traditional, action-packed epic that spoon-feeds them what to think or how to feel. Rather, Lowery’s masterpiece embraces all the sensory qualities of the film medium to fully transport viewers into Gawain’s journey, which winds up being far more existential than some viewers may be prepared for. There are certainly physical threats to be found along the way, but “The Green Knight” renders most of Gawain’s conflicts internal, as he grapples with his self-imposed burden and slowly but surely grows not only as a warrior, but as a human being, with imperfection to match his courage.

From its opening frames, “The Green Knight” is devoted to walking its own path and being undeniably weird while doing so. There’s tons to feast on stylistically — evocative, period-accurate costuming, lighting that evolves from decorated interiors to fog-drenched forests and blood red lakes, deliciously tactile sound design, and mystical yet lived-in environments, with a score by Daniel Hart fitting for a horror film in its off-kilter, slightly crazed rhythms. All of this is complemented by sweeping, at-times mind-boggling cinematography that flows through the royal interiors and vast landscapes that Gawain traverses, becoming ever-stupefying as Gawain treks onwards, further into his own soul. This is a film that demands to be watched on the biggest screen possible and with limited distractions. 

Of course, Lowery’s film isn’t pure style over substance, and there’s plenty to contemplate in terms of storytelling and characters here. Gawain is a naive and reckless individual who isn’t initially easy to care about but develops in a significant fashion by the end. He’s forced to consider the sacrifices necessary for greatness, the notion of honor itself, and the fallibility of human nature despite illusions of superiority. Like Lowery’s other films, especially “A Ghost Story,” “The Green Knight” is focused on the concept of death, mortality, and Nature’s grip over us all. Indeed, the proceedings are depicted so ambiguously that some viewers may become frustrated with the film’s opaqueness. For this critic, however, the events — especially a nightmarish, darkly poetic sequence late in the film — haven’t left my mind, and keep revealing additional thematic layers the more I ponder them.

Lending “The Green Knight” an emotionally grounded core despite its vagueness, though, is Patel. A subversive casting choice for a story typically dominated by white men, he portrays the warrior’s growing insecurities in a subtle fashion that endears us to him from his first appearance onwards. Alicia Vikander also does excellent work playing dual roles, as Gawain’s lower-class girlfriend, Essel, and as a seductive temptress later on. Ineson, as the Green Knight, is intimidating, but has an aura of warmth and amusing self-awareness nevertheless. Barry Keoghan and Joel Edgerton give memorable turns as a creepy brigand and an uneasily jovial lad that Gawain encounters near the finale. 

There’s a lot to digest once the credits roll — make sure to stay through them —  that I’m eager to dive back into this wondrous, often frightening world to decipher all the symbolism and peculiar characters to unearth more meaning. I haven’t felt this way about many other films released in 2021 so far, but “The Green Knight” stands head and shoulders above most of them in terms of pure intellectual engagement and eye-popping creativity. Cinephiles shouldn’t expect anything less from A24, and viewers should go in knowing that “The Green Knight” engages the mind just as much as the senses, even if multiple viewings are all but required to fully appreciate it.

“The Green Knight” is a 2021 historical drama directed by David Lowery and starring Dev Patel, Joel Edgerton and Alicia Vikander. Rated R for violence, some sexuality and graphic nudity, it has a runtime of 2 hours, 10 minutes. The movie opened in theaters on July 30. Alex’s Grade: A+ 

Facebook Comments

Johnson and Blunt Elevate the Silly Escapist Disney ‘Jungle Cruise’

Johnson and Blunt Elevate the Silly Escapist Disney ‘Jungle Cruise’

By Lynn Venhaus
“Jungle Cruise” is junk, as plastic as those animatronic animals and plants that are part of theme park rides.

This big-budget movie, based on Disneyland’s theme park ride where a small riverboat takes a group of travelers through a jungle filled with dangerous animals and reptiles, adding a supernatural element, has been in development and turn-around for years, so what audiences are getting is a movie patched together and written by a committee.

A hodgepodge of other – and better – movies, this Disney action-adventure really wants to be “Raiders of the Lost Ark.” Throw in nods to “Pirates of the Caribbean,” another movie based on a Disney ride, “Lost City of Z” and “The Mummy,” and the experience is derivative, not special.

The film’s saving grace is its two leads, Dwayne Johnson, aka “The Rock,” as Frank Wolff, a con artist riverboat captain with a penchant for puns and a hardened heart, and Emily Blunt as headstrong botanist Dr. Lily Houghton, whose altruistic nature leads her on a search through the Amazon to find “Tears of the Moon,” a plant cure-all so that she can heal the sick.

The story is part of a larger mythology that involves Spanish conquistadors and a whole lot of snakes, with cartoonish melodramatic villains eager to wreak havoc as they lust for world domination.

Likeable and charming on their own, Johnson and Blunt have an easy chemistry paired together, although it appears more platonic than romantic. As ordained in this opposites-attract framework, they tussle and the snappy banter is comical – he calls her “Pants” and she calls him “Skippy.”

Their feisty-but-familiar relationship is reminiscent of Michael Douglas and Kathleen Turner in “Romancing the Stone” (1984 — really fun, check it out) and the Oscar-winning classic “The African Queen” featuring Humphrey Bogart and Katharine Hepburn (1951 – magical).

The plucky Lily has brought along her dandy brother, MacGregor, well-played by Jack Whitehall. In a stunning development, although played for laughs, this gay character comes out to the cynical Frank.

In a bit of odd casting, Jesse Plemons plays the obnoxious and lethal Prince Joachim (refer back to the Nazis in “Raiders.” Connected to Kaiser Wilhelm, for it is set at the start of World War I, the evil German progeny is maniacal and hell-bent on power.

Another head-scratcher is barely-in-it Paul Giamatti as a greedy boss, using a thick Italian stereotype accent that’s rather offensive.

The characters are broadly written. Three screenwriters, Michael Green, Glenn Ficarra and John Requa, cobbled together this throwback caper, with the stars injecting some heart and humor, along with the requisite derring-do and danger.

Other than briefly pointing out the obvious misogyny and homophobia of that early 20th century era in King George V England, the film shies away from anything deeper. It does, after all, have roots in a Disneyland tourist excursion. But at least it shows the haughtiness of the male-dominated scientific establishment at that time.

There is a supernatural element that might not be suitable for young children, hence the PG-13 rating. Dark and frightening sequences involve reptiles, ghosts, poison darts and grotesque deaths.

The movie’s focus is on action, and while it zips along once you get past the ancient set-up, 2 hours, 7 minutes seems far too long for this excursion.

Director Jaume Collet-Serra, who made the generic Liam Neeson action movies “The Commuter,” “Non-Stop” and “Run All Night,” knows how to blow things up. He favors quick cuts, which can be traced to his music video-TV commercials background.

Like most summer blockbuster escapism, the film’s main purpose is to string together explosions and other big stunt pieces on land and water.

And the caves. waterfalls and lush landscapes are gorgeously shot by cinematographer Flavio Martínez Labiano. He has imbued an old-fashioned look, not unlike early “Tarzan” movies and Saturday morning serials.

The production design carries that through as well. Designer Jean-Vincent Puzos, who did “The Lost City of Z,” knows his way around dusty museums and mysterious civilizations. Most impressive is a massive stone structure rising out of the water.

But the CGI is so obvious. I can’t get past the fake-looking bees and not-real pet leopard.

Composer James Newton Howard has ramped up the dramatic swells of music in the manner of the Indiana Jones franchise.

(L-R): Dwayne Johnson as Frank Wolff, Emily Blunt as Lily Houghton and Jack Whitehall as MacGregor Houghton in Disney’s JUNGLE CRUISE. Photo courtesy of Disney. © 2021 Disney Enterprises, Inc. All Rights Reserved.

Without the jolly fun of watching Blunt and Johnson wriggle out of tough situations and give some spark to their green-screen acting, the slick “Jungle Cruise” would be just another visual effects-heavy escapade that we have seen many times before.

“Jungle Cruise” is a 2021 action adventure fantasy romantic comedy directed by Jaume Collet-Serra and starring Dwayne Johnson, Emily Blunt, Édgar Ramírez, Jack Whitehall, Jesse Plemons, Paul Giamatti and Veronica Falcón. It has a 2 hour, 7 minute runtime and is rated PG-13 for sequences of adventure violence. It opened in theaters and streaming on Disney Plus (premium access) on July 30. Lynn’s Grade: C+

Facebook Comments

Despite Damon’s Efforts, Vague and Implausible ‘Stillwater’ Runs Dry

Despite Damon’s Efforts, Vague and Implausible ‘Stillwater’ Runs Dry

By Lynn Venhaus
A blatant rip-off of the sensational Amanda Knox student exchange murder case, the morally ambiguous “Stillwater” wants us to care about people not worth the investment.

That’s the biggest problem that this film can’t recover from – and a lack of redemption will leave an audience dissatisfied.  Because of a misleading trailer, this 2-hour and 20-minute film is not what one expects and when it falls apart in the third act, a huge letdown.

A father, unemployed oil rig worker Bill Baker (Matt Damon), travels from Oklahoma to France to help his estranged daughter, Allison (Abigail Breslin), a student who is in prison for a murder she claims she didn’t commit. This is intense, but not action-driven like “Taken,” and while the romance is reminiscent of Robert Duvall’s Oscar winner, “Tender Mercies,” it begins to overshadow the central storyline.

“Life is brutal” is the disingenuous daughter’s deep thought about going through tough times. Well, duh. Doesn’t take Jean-Paul Sartre to figure that out.

At odds are the two main storylines – writer-director Tom McCarthy can’t decide on the focus, so it winds up feeling unfinished and lacks cohesiveness. Pick a lane – is this a vigilante hunt for the real killer thriller or is it a late-in-life romance and daddy do-over for a good old boy?

Three other screenwriters – Marcus Hinchey, Thomas Bidegain, who wrote the gripping French prison drama “A Prophet,” and Noe Debre – are credited, so no wonder it’s uneven.

Is the resemblance to the Knox case intentional? To refresh, the murder of her roommate took place in Italy in 2007 and the Italian Supreme Court overturned her conviction in 2015.

The French setting adds other layers besides the language barrier, which are interesting points to include. McCarthy, responsible for two exceptional fish-out-of-water films, “The Visitor” in 2008 and “The Station Agent” in 2003, knows how to craft an endearing character study featuring disparate individuals that fate has brought together.

This doesn’t measure up, which is so disappointing because McCarthy won an Oscar for writing “Spotlight,” which deservedly won Best Picture in 2016, one of the most important films of the decade.

Absent the sheen of a noble cause, “Stillwater” is a frustrating effort without a point.

Abigail Breslin, Oscar nominee for “Little Miss Sunshine,” is not convincing as the smart American lesbian who wanted to get far away from her troubled life in Stillwater, Okla., and wound up in a student exchange program in Marseille, a port city is southern France. She fell in love with Lina, a French-Arab student, and they moved in together.

However, Lina cheated on Allison with other people, and one night, she is found stabbed to death. Neither the press nor the courts had any sympathy for Allison, now serving her fourth year of a nine-year sentence.

Her estranged father, Bill, Damon in a redneck aw-shucks mode, arrives from France to help.  At first, he is bankrolled by Allison’s maternal grandmother Sharon (Tony Award winner Deanna Dunagan of “The Visit”), whose health won’t allow her to travel, but later, he gets construction work.

Sharon raised Allison after Bill’s wife, her daughter, committed suicide. This is glossed over, and the screenplay suffers from a lack of key information.

Apparently, Bill’s been messing up his whole life. He has served time too, for an undisclosed felony. No longer drinking, he is trying to be the dad he wasn’t while Allison was growing up. He takes it upon himself to investigate the case, arranging to meet locals who may know something.

His daughter has asked her lawyers to re-open the case because someone overheard a guy at a party claiming he did it, and in her letter to attorney Leparq, indicates she doesn’t trust her father. She has a deep resentment – but again, it’s not explored.

Because the main characters are extremely dysfunctional, it would have been nice to have some context.

Which leads us into the story’s secondary plot (or is it?) – Bill bonds with a single mother, Virginie (Camille Cottin), and her 9-year-old daughter, Maya (a wondrous Lilou Siauvand).

The kind, helpful woman, a French stage actress and activist, becomes his interpreter, then savior as a roommate and eventually, lover. Cottin is appealing and Siauvand, as her sweet daughter, is the scene-stealer.

Not unlike Amy Adams in the woefully misguided “Hillbilly Elegy,” Damon tries his mightiest to breathe humanity into a deeply flawed ordinary Joe trying to make up for past mistakes.

Despite Damon’s efforts immersing himself into the role with vigor, Breslin’s limited emotional depth and a wobbly defense propel this film off the rails. The slow pace doesn’t help it either.

Missed opportunities and miscasting make “Stillwater” a disheartening watch. It’s comparable to an extended “Law & Order” episode or a true-crime Lifetime movie, and I expected much more.

“Stillwater” is a 2021 drama directed by Tom McCarthy and starring Matt Damon, Abigail Breslin, Camille Cottin and Lilou Siauvand. Rated R for language, the film’s run time is 2 hours, 20 minutes. It opened in theatres on July 30. Lynn’s Grade: C-.

Facebook Comments

The Muny Keys in on Nostalgic Songbook, Setting in its Joyous Return

The Muny Keys in on Nostalgic Songbook, Setting in its Joyous Return

By Lynn Venhaus
With the nostalgic glow of scrapbook memories, the toe-tapping and hummable “Smokey Joe’s Café” opened The Muny’s eagerly anticipated 103rd season.

In this spirited localized production of the longest-running musical revue in Broadway history, the creative team imagined a soulful stroll down memory lane, intersecting a generation’s familiar soundtrack with Gaslight Square, one of the city’s most iconic neighborhoods.

And just like that, the U.S.’s oldest and largest outdoor theater demonstrated why it’s an essential part of St. Louis summers.

It had been over 700 days since we were last gathered under the stars in Forest Park – at “Matilda,” to be exact, which ran Aug. 5-11, 2019.

Nobody does what the Muny does, and did we miss it! On Monday, warm-and-fuzzy feelings energized the crowd of 5,956, who collectively exhaled and shared a glorious moment, sprinkled with pixie dust, during a pleasant July evening.

“You’re here. You made it through!” exclaimed Mike Isaacson, executive producer and artistic director, with palpable joy.

One glance at that expansive stage and we were home.

Photo by Phillip Hamer

The impressive scenic design by Edward E. Haynes Jr., who was responsible for the bright and playful fantasy world of “The Wiz” in 2019, included realistic facades of Crystal Palace, Jack Carl’s 2¢ Plain (a New York-style deli), Annadel’s Olde-Fashioned Ice Cream Parlor, Smokey Joe’s Grecian Terrace and a Sinclair service station built into the streetscape.

That bygone-era theme continued in Kevan Loney’s video design and Rob Denton’s lighting design, which bathed the nightclub scenes in neon and stardust.

In its heyday, Gaslight Square was the entertainment district in St. Louis – located between Olive and Boyle in the eastern portion of the Central West End. Attracting bohemians, hipsters and the well-heeled, it was known for comedy, dining and dancing. Such rising stars as Barbra Streisand, Lenny Bruce, Woody Allen and The Smothers Brothers appeared in venues there. By the late ‘60s, urban decay took over and people were flocking to the suburbs.

Astute observers will be able to pick out “Easter eggs,” those clever nuggets from the past that mean something to fans — and a major find is shopping bags with the Stix, Baer and Fuller logo. There’s a Sealtest Dairy ad on a back cover – and more blasts from the past.

Never underestimate the emotional connection shared by a live audience, listening to a talented mix of performers sing their hearts out.

As we are all aware of how a global coronavirus pandemic disrupted our lives during the past 16 months, The Muny had been forced to cancel its 102nd season in 2020 – for the first-time ever – and moved five shows to this year, which received the green light when it was deemed safe to do so. Isaacson noted that the performers hadn’t been able to “do what they do” either.

Enter an eclectic cast of nine (five guys, four women), who could be classified as “acting singers” – and their strong interpretations created easily identifiable vignettes during musical numbers. All but three were making their Muny debut.

Photo by Phillip Hamer

Robust ovations began early, even before they harmonized in the first number “Neighborhood,” and continued through the enduring catalogue of prolific lyricist Jerry Leiber and composer Mike Stoller, for a total of 39 songs, mostly hits from the 1950s and 1960s.

Mutual fans of rhythm-and-blues, Leiber and Stoller collaborated on a pop-rock sound known as “crossover” music back in the day. Their catchy melodies and tender ballads are thread together without a storyline or a chronological order.

From the dance party that is “Baby, that is Rock and Roll” to the classic Drifters’ chart-climber “On Broadway,” the songs vary in mood and tempo.

For the most part, they reflect a more innocent time, especially the amusing novelty songs heard on transistor radios — golden oldies “Charlie Brown,” “Yakety Yak,” “Poison Ivy” and “Love Potion No. 9.”

The assembled artists are a balanced group of pros with Broadway and national tour credits. By the time they united for a moving finale of “Stand by Me,” each performer had a knockout rendition.

First-timer Charl Brown. who was nominated for a Tony for his portrayal of Smokey Robinson in “Motown: The Musical,” showcased his smooth style and wide register with “There Goes My Baby” and “Young Blood.”

Immediately, the audience reacted to Christopher Sam’s rich, deep baritone, and his silky delivery wowed on “Spanish Harlem,” “Loving You” and “Dance with Me.” It’s easy to picture him as Mufasa in “The Lion King” on Broadway.

Photo by Phillip Hamer

Belter Tiffany Mann was sensational with “Fools Fall in Love” and “Hound Dog,” soaring with the gospel tinged “Saved,” which closed the first act with a flourish. Mann, quickly a favorite, was in “Be More Chill” and “Waitress” on Broadway.

The charismatic Mykal Kilgore brought the house down with a passionate “I (Who Have Nothing).” He was Annas in the Muny’s 2018 “Jesus Christ Superstar” and part of the NBC live television concert version earlier that Easter, and also in the network’s live “The Wiz.”  

Excellent dancers Hayley Podschun and Michael Campayno stood out with “Teach Me How to Shimmy.” Podschun, the dance captain, starred as Dainty June in the Muny’s 2018 “Gypsy,” and touched with her sweet solo “Falling.”

Campayno, who played opposite Tony winner Stephanie J. Block in “The Cher Show,” channeled his inner Elvis Presley to lead a peppy “Jailhouse Rock,” and charmed with “Ruby Baby.”

Podschun teamed with Nasia Thomas on a sassy “Trouble.” Thomas, who was in the 2015 “Hairspray” Muny ensemble and played Little Eva in “Beautiful: The Carole King Musical” on Broadway, sang “Don Juan” solo.

In a take-note debut, Dee Roscioli, a long-running Elphaba in “Wicked,” showed versatility in “I Keep Forgettin’” and “Pearl’s a Singer.”. The females all have frisky fun in “I’m a Woman.”

A Smokey Joe’s veteran, expressive Jason Veasey paired with Thomas on “You’re the Boss,” and lead the men in the burlesque homage, “Little Egypt.”

Mykal Gilmore sings “I (Who Have Nothing)” — Photo by Phillip Hamer



Many of the lyrics, being from a different time decades ago, feature sexual innuendo and set society roles. That means it is preferable for more mature audiences, not the wee ones.

Music Director Abdul Hamid Royal, a Tony Award nominee and NAACP Image Award winner for “Five Guys Named Moe,” nimbly conducted the skilled musicians placed on stage, initially behind a storefront and then in plain view during the second act.

Choreographer Josh Walden designed the movements based on original choreography by director Marcia Milgrom Dodge, with whom he has worked before. He wove in the buoyant Muny Teen youth ensemble with aplomb.

Dodge, a frequent Muny collaborator, had helmed “Smokey Joe’s Café” in Chicago, winning a Jefferson Award. Her vision here added oomph to the characters’ stories, and the ensemble seamlessly slipped into specific archetypes.

Costume designer Sully Ratke created characters’ backstories with a keen eye for vintage wardrobes, and the retro apparel captured their personas, especially snazzy hats. Their looks were accented with spot-on wig design by Kelley Jordan.

The sound design by John Shivers and David Patridge was crisp and did not have any noticeable issues.

At an estimated run time of two hours, 11 minutes, the Tony-nominated musical from 1995 zipped along in swift fashion.

Those who like a beefier story with their musical interludes will not be satisfied by the structure, but if you expect a concert-type experience, then you know what is in store.

What is surprising is how the elements all came together to elevate a conventional revue into a more layered theatrical experience. By expanding on what’s considered routine entertainment, the show — directed and performed with verve — is a cut above the ordinary.

Projecting genuine affection for the material and each other, this cheerful cast and splendid creative team achieved its shining moment. And voila! A community was reborn and welcomed back.

I will never take this tradition for granted ever again.

A Muny premiere, “Smokey Joe’s Café” opened July 26 and runs through Sunday, Aug. 1 at 8:15 p.m. on the outdoor stage in Forest Park. Emerson is the 2021 season sponsor.

For more information, visit www.muny.org. For tickets, visit muny.org or call (314) 361-1900 ext. 1550.

To stay connected virtually and to receive the latest updates, please follow The Muny on their social media channels, including Facebook, Instagram and Twitter.

Jack Carl’s vintage postcard of Gaslight Square.

Muny Photos by Phillip Hamer.

Facebook Comments

Cinema St. Louis to Host 13th Annual Robert Classic French Film Festival

Cinema St. Louis to Host 13th Annual Robert Classic French Film Festival

Aug. 20-22 and 27-29: Webster University’s Winifred Moore Auditorium in Webster Hall, 470 E. Lockwood Ave.

Tickets/Passes: Tickets are $14 for general admission; $11 for students and Cinema St. Louis members. Two types of passes are available: Five-Film Passes are $60, $45 for CSL members; All-Access Passes are $100, $80 for CSL members. Passes and advance tickets can be purchased through the Cinema St. Louis website. More Info: 314-289-4150, cinemastlouis.org

The 13th Annual Robert Classic French Film Festival — presented by TV5MONDE, sponsored by the Jane M. & Bruce P. Robert Charitable Foundation, and produced by Cinema St. Louis (CSL) — celebrates St. Louis’ Gallic heritage and France’s extraordinary cinematic legacy, offering a revealing overview of French cinema.

The Robert Classic French Film Festival is the first CSL in-person event since the Covid-19 pandemic. The host venues — Washington University on Aug. 13-15 and Webster University on Aug. 20-22 and 27-29 — have not yet determined whether capacity limits or masks will be required. Details will be announced on the CSL website when available.

The fest annually includes significant restorations, and this year features a quintet of such works: Melvin Van Peebles’ “The Story of a Three-Day Pass,” Diane Kurys’ “Entre Nous,” Joseph Losey’s “Mr. Klein,” Jacques Deray’s “La piscine,” and the extended director’s cut of Jean-Jacques Beineix’s “Betty Blue.”

The fest also provides one of the few opportunities available in St. Louis to see films projected the old-school, time-honored way, with Agnes Varda’s “Vagabond” screening from a 35mm print.

As part of CSL’s year-long Golden Anniversaries programming, which features films celebrating their 50th anniversaries, the fest includes a pair of films from 1971: François Truffaut’s “Two English Girls” and Claude Jutra’s French-Canadian “Mon oncle Antoine.”

Completing the fest is a pandemic-delayed tribute to the late Anna Karina, who died in December 2019: Jean-Luc Godard’s essential “Vivre sa vie.”

Every program features introductions and discussions by film or French scholars and critics.

All films are in French with English subtitles (“The Story of a Three-Day Pass” is in both English & French).

TV5MONDE serves as the fest’s presenting sponsor, and the Jane M. & Bruce P. Robert Charitable Foundation is the event’s title sponsor.

Schedule

For film synopses,  see the CSL website

7:30 PM FRIDAY, AUG. 13, WASHINGTON U.

Mon oncle Antoine

Claude Jutra, Canada, 1971, 104 min., color, DCP

With an introduction and post-film discussion by Lionel Cuillé, teaching professor in French and director of the cultural center French ConneXions at Washington University.

7:30 PM SATURDAY, AUG. 14, WASHINGTON U.

Entre Nous/Coup de foudre

Diane Kurys, France, 1983, 110 min., color, new restoration, DCP

Entre Nous

With an introduction and post-film discussion by Colin Burnett, associate professor of Film & Media Studies at Washington U. and author of “The Invention of Robert Bresson: The Auteur and His Market.”

7 PM SUNDAY, AUG. 15, WASHINGTON U.

Mr. Klein

Joseph Losey, France, 1976, 123 min., color, new restoration, DCP

With an introduction and post-film discussion by Pier Marton, video artist, self-described “Unlearning Specialist at the School of No Media,” and former instructor at several leading U.S. universities.

7:30 PM FRIDAY, AUG. 20, WEBSTER U.

The Story of a Three-Day Pass/La permission

Melvin van Peebles, France/U.S., 1967, B&W, 86 min., English & French, new restoration, MP4 file

With an introduction and post-film discussion by Diane Carson, professor emerita of film at St. Louis Community College at Meramec and film critic for KDHX (88.1 FM).

7:30 PM SATURDAY, AUG. 21, WEBSTER U.

Vagabond/Sans toit ni loi

Agnès Varda, France, 1985, 105 min., color, 35mm print

With an introduction and post-film discussion by Kathy Corley, documentary filmmaker and professor emerita of film at Webster University.

6:30 PM SUNDAY, AUG. 22, WEBSTER U.

Betty Blue

Jean-Jacques Beineix, France, 1986, 185 min., color, new restoration of extended director’s cut, Blu-ray

With an introduction and post-film discussion by Andrew Wyatt, editor of and film critic for Cinema St. Louis’ The Lens and the Gateway Cinephile film blog.

7:30 PM FRIDAY, AUG. 27, WEBSTER U.

Vivre sa vie/Vivre sa vie: Film en douze tableaux

Jean-Luc Godard, 1962, 83 min., B&W, Blu-ray

With an introduction and post-film discussion by Pete Timmermann, director of the Webster U. Film Series and adjunct professor of film studies at Webster U.

7:30 PM SATURDAY, AUG. 28, WEBSTER U.

La piscine

Jacques Deray, 1969, France, 122 min., color, new restoration, Blu-ray

With an introduction and post-film discussion by Calvin Wilson, theater critic for the St. Louis Post-Dispatch, who also writes on film, dance, and music.

7 PM SUNDAY, AUG. 29, WEBSTER U.

Two English Girls/Les deux Anglaises et le continent

François Truffaut, 1971, France, 130 min., color, Blu-ray

With an introduction and post-film discussion by Robert Garrick, attorney, board member of the French-preservation nonprofit Les Amis, and former contributor to the davekehr.com film blog.

Facebook Comments

‘Val’ An Affectionate Biography on Actor’s Life and Career

‘Val’ An Affectionate Biography on Actor’s Life and Career

By Alex McPherson

Directors Ting Poo and Leo Scott’s new documentary, “Val,” provides a zoomed-in look at actor Val Kilmer’s life that, while somewhat hagiographic, forms an affecting story of perseverance, reinvention, and reaching for the stars. Cutting between personal video recordings narrated by his son, Jack, along with current footage of him contemplating the meaning of life, “Val” spotlights a complicated figure through a career of soaring highs and crippling lows. 

Growing up in Los Angeles to wealthy parents, Kilmer developed an intense passion for filmmaking and acting — creating home movies on Roy Rogers’ Ranch with his brothers, Wesley and Mark, that parodied such classics as “Jaws.” At age 17, Kilmer was the youngest student accepted at Juilliard at the time, but Wesley died in a tragic accident soon before, leaving Kilmer reeling with grief.

Determined to make a name for himself, the talented, handsome Kilmer excelled in his studies and, after graduating, eventually acted in a Broadway production of “Slab Boys.” His acclaim landed him film gigs in the 1980s and ‘90s, including in “Top Gun,” “The Doors,” “Tombstone,” “Heat” and as the Caped Crusader in “Batman Returns.” 

Despite his fame, Kilmer remained largely unsatisfied with his career, feeling as though his personal brand of acting was held back by the roles he was assigned. His arrogance, disguised as devotion to the craft, sparked conflicts with collaborators, including on the set of “The Island of Dr. Moreau,” which garnered Kilmer a troubled reputation.

Flash forward to today and the charismatic soul, having survived throat cancer and undergone a tracheostomy distorting his speech, is a much humbler individual than before — seeking to help viewers understand the human being behind the persona, and willing to share the wisdom he’s learned through his experiences.  

Although not immune from indulgent flourishes, “Val” winds up being a cathartic look at a celebrity looking back on a turbulent career and embracing the beauty of love, family, and creativity in the present. The film allows the world to see a frank, though nevertheless curated, look behind the tabloids.

Eschewing the talking-heads format common to documentaries, “Val” features copious footage recorded by Kilmer himself over the last 40 years. Viewers see behind-the-scenes shenanigans with fellow actors, footage from his childhood projects, audition tapes for “Full Metal Jacket,” and much more, in addition to darker moments of Kilmer’s self-destructive tendencies.

In modern times, we see Kilmer spend time with his son and daughter, Mercedes, attend draining autograph signings at Comic Con, mourn what he’s lost, and ponder what the future holds. 

As “Val’” juxtaposes the rowdy, perfectionistic younger man with his significantly wiser self years later, it’s often moving, as viewers grow attached to the aging figure at the center of it all. Indeed, the film is organized in a bittersweet fashion — chock full of impactful moments both happy and sad, with thought-provoking reflections sprinkled throughout that tie most everything together. Through the lens of viewers unfamiliar with Kilmer’s previous work, however, “Val” might not hit as hard as intended when nostalgia is lessened. 

Although Kilmer’s story is inspiring, “Val” feels more like a melancholic tribute than a comprehensive exploration, for better and worse. For instance, the film treats his Christian Science background and on-set controversies with a light touch. “Val” also follows a traditional narrative trajectory that’s, in a sense, at odds with Kilmer’s own goals of shaking things up with his projects.

Suffice to say, when Kilmer begins comparing himself to Mark Twain, “Val” feels a bit too full of itself, and loses some of its emotional power as a result.

(Twain, one of his influences, inspired his one-man show turned film presentation, “Cinema Twain,”  and his charity, TwainMania, is about teaching the authors to students.)

Easy to admire but ham-strung by its limited perspective, “Val” still delivers a revealing look at a frequently underrated actor who has finally achieved a sense of inner peace. What we’re left with is a film that’s not as profound as it thinks it is, but leaves us with a greater understanding of a flawed, resilient artist who hasn’t abandoned his dreams.

Val Kilmer

“Val” is a 2021 documentary co-directed by Ting Poo and Leo Scott. It is rated R for some language and runs 1 hour, 49 minutes. It is available in theaters on July 23 and on Amazon Prime on Aug. 6. Alex’s grade: B.

Facebook Comments

‘Joe Bell’ Spreads Message of Tolerance With Emotional Wallop

‘Joe Bell’ Spreads Message of Tolerance With Emotional Wallop

By Lynn Venhaus
While it is tempting to learn more about the true story that made national news in 2013, hold off on any online searches until after watching “Joe Bell.” It will be a more satisfying experience the less you know about one father’s redemptive journey.

“Joe Bell” is the true story of a working-class father (Mark Wahlberg) who embarks on a solo walk across the U.S. to crusade about bullying after his gay son Jadin (Reid Miller) is tormented in their small town of LaGrande, Ore.

Wahlberg plays a gruff father who is loving but not necessarily understanding. He attempts to be more compassionate, revealing his pain and regrets.

And his ‘a-ha moment’ rings true. When he speaks about tolerance and accountability, his heart ultimately emerges. While a deeply flawed man, Bell’s mission is to help other parents by sharing his story, and possibly make things easier for kids living in places that might not be so accepting. He tells people “Understanding begins at home.”

Bell reflects on what he’s gone through and how he arrived at this point as he walks the highways and byways.

“Everybody’s against bullying, aren’t they?” he asks his wife.

In a sit-up-and-take note breakthrough performance, newcomer Reid Miller delivers a heart-wrenching portrait as Jadin Bell, a gay teen trying to live his life out loud without the harassment about “being different.”

A persecuted outsider who feels alone, his truths are universal, which is why the movie has such an emotional wallop. Miller will move you to tears — unless you have a heart of stone.

The thoughtful script, by Oscar winners Diana Ossana and Larry McMurtry, who adapted “Brokeback Mountain,” is sensitive about the family dynamics and the closed-minded attitudes of a small town. It’s McMurtry’s last film, as he died earlier this year. The celebrated author wrote “The Last Picture Show,” “Terms of Endearment” and “Lonesome Dove.”

The screenwriters employ copious use of flashbacks to set up what vicious actions Jadin endured by cruel classmates, how his scruffy dad got to this juncture in his life, and what being an activist is teaching him.

They propel the movie forward without the usual sentimental beats, relying on the moving story to present itself.

Connie Britton is Joe’s wife Lola, who has her own issues, and is frustrated by Joe’s quick temper and rush to judgment. Their complicated relationship unfolds while he is on his cross-country trek, staying in cheap motels and sleeping in a tent along the way.

Maxwell Jenkins plays Jadin’s younger brother, Joseph, who is having a tough time as well.

The movie, originally called “Good Joe Bell” when it premiered at the Toronto Film Festival in 2020, is just simply called “Joe Bell” now, no need to embellish. Its blunt message is the same.

Reinaldo Marcus Green directs with empathy. His past work includes “Monsters and Men” in 2018 and he will be coming out later this year with “King Richard,” starring Will Smith as the father of Venus and Serena Williams.

It is also an economical film, told in 90 minutes. Cinematographer Jacques Jouffret beautifully captures the panoramic vistas of America along Joe’s sojourn.

In a small but pivotal role, Gary Sinise plays a kindly sheriff who is also the father of a gay son. They bond over their initial resistance, and how they grew because of their experience.

The music is particularly mournful, composed by Brazilian Antonio Pinto. Brandi Carlile’s “The Joke” aptly plays over the closing credits.

While there have been great strides in the past decade about LGBQT rights, humans still have a way to go, filmmakers point out. Jadin’s essay on people hating you for reasons you can’t change is a poignant plea for awareness.

Ignorance and immaturity will continue to be roadblocks but listening and learning will go a long way – that’s the message of “Joe Bell,” which comes across in a simple and straight-forward manner.

The gut punch is tailor-made for helping to create a kinder, gentler world. This is an important, if imperfect film, that sheds light on hard-earned truths.

“Joe Bell” is a 2020 true-life drama starring Mark Wahlberg, Reid Miller, Connie Britton and Gary Sinise. Rated R for language including offensive slurs, some disturbing material, and teen partying and runtime is 1 hour, 30 minutes. It is available in theaters on July 23.
Lynn’s Grade: B+

Facebook Comments

‘Midnight in the Switchgrass’ Misleads with Top Billed Willis

‘Midnight in the Switchgrass’ Misleads with Top Billed Willis

By Lynn Venhaus
The lengthy hunt for a sicko responsible for torturing, raping and murdering multiple teenage girls, known as “The Truck Stop Killer,” deserves better than the poorly executed “Midnight in the Switchgrass.”

An undercover FBI agent (Megan Fox) teams up with a Florida state police officer (Emile Hirsch) to investigate a string of unsolved murder cases.

This true-crime thriller involving a long-haul trucker living a double life, Robert Ben Rhoades, here known as Peter (Lukas Haas), had the potential to be an absorbing drama, but first-time director Randall Emmett, although a veteran producer, and rookie screenwriter Alan Horsnail serve up a plodding standard operating procedural. They fumble with erratic pacing and cookie-cutter characters.

Nevertheless, Hirsch’s earnest, intense performance as Pensacola lawman Byron Crawford stands out in the tall prairiegrass.

But don’t expect a decent turn from Bruce Willis, who is merely window dressing as a jaded FBI agent close to retirement, Karl Helter, who verbally spars with fellow investigator Rebecca Lombardo on intent and methods.

They are teamed to infiltrate sex trafficker rings, but Lombardo, a convincing Fox, stumbles onto the trail of a mass murderer. Fox’s character is committed to caring about the victims, mostly “invisibles” – runaways, prostitutes, hitchhikers, drug addicts, and thinks their lives matter.

That concern is shared by Crawford, who goes rogue when another young woman’s body is found, this one with the same bite marks that he has seen on other victims. And then when a prostitute is killed at the Oasis Motel, he thinks it is the guy that was planning to meet Rebecca, who had engaged “BigRigGlory” online. The pair set up a sting that goes horribly wrong.

The filmmakers have moved the real serial killer’s location from Texas to Florida. Haas, who broke through as the young Amish boy in “Witness,” actually starred in “Alpha Dog” with Willis and Hirsch before, but has no interaction with them here.

Naturally, we get a glimpse of him as a loving family man, doting on his daughter Bethany (Olive Elise Abercrombie), at his remote homestead. A shed on his property is where he shackles his victims and tortures them before discarding their bodies. Haas is creepy as the sadistic pervert, but the story’s predictability doesn’t help. Although the escalating cat-and-mouse game builds in suspense towards the film’s resolution, that in itself is rather abrupt.

Fox, who met her current boyfriend, Machine Gun Kelly, on the set – he plays an abusive pimp, using his real name of Colson Baker – conveys street smarts and a dedication to her job, while hinting at a troubled life.

The supporting cast includes Sistine Stallone, Sylvester’s daughter, as Heather, the sister of a missing girl, Tracey, well-played by Caitlin Carmichael, who handles a harrowing escape with real grit.

Welker White is moving as one of the dead girls’ mothers, Georgia Kellogg, who is visited by Crawford.

The music is maudlin and despite Hirsch’s interesting portrayal, not much distinguishes this from a “Dateline” episode.


“Midnight in the Switchgrass” is a true crime thriller directed by Randall Emmett and starring Emile Hirsch, Megan Fox, Lukas Haas and Bruce Willis. Rated R for violence and language throughout, its runtime is 1 hour, 39 minutes. It is in theaters and available Video on Demand on July 23 and released on DVD and Blu-Ray July 27. Lynn’s Grade: C.
Lynn’s Grade: C

Facebook Comments

‘Old’ Needs Less Gimmicks, More Substance to be Effective Thriller

‘Old’ Needs Less Gimmicks, More Substance to be Effective Thriller

By Lynn Venhaus
Half-baked and bogged down by subtext, the high concept “Old” fritters away its intriguing potential by dispensing too little explanation in its trouble-in-paradise vacation plot.

A dream vacation turns into a nightmare for tourists at a luxury resort, who start out spending the day at a secluded private beach, but a mysterious and sinister force results in rapid aging, reducing their lives to the remaining hours in the day as they race against time.

And, despite a good cast, the everything-but-the-kitchen-sink story winds up a tedious exercise heavily borrowing from Agatha Christie’s “And Then There Were None” – that age-old chestnut in which a group of people are thrown together at a remote location, but are somehow connected, and the corpse count piles up.

As he is known to do, writer-director M. Night Shyamalan bends time and logic to suit a story about medical testing with tragic results — all for the greater good. Shades of pandemic paranoia!

With his penchant for riddles and games, Shyamalan features some interesting developments — and of course, delivers his patented “twist,” but in the meantime, one can be distracted by things that do not make sense, even for a sci-fi-laced adventure.

However, the script is not an original one, for it is based on a Belgian-Italian graphic novel called “Sandcastle” by Pierre-Oscar Levy and Frederick Peeters.

Ever since the post-atomic age films, starting in the 1950s, mad scientists and unscrupulous doctors have been part of the cinematic landscape. And a luxury resort, with its flip on “The Love Boat” genre, provides both lush and mysterious landscapes.  Cinematographer Mike Gioulakis captures the beauty and the foreboding elements while overwrought music score by Trevor Gureckis swells.

Eleven characters are enjoying fun in the sun when a young woman’s body is found floating in the water (Francesca Eastwood as Madrid). Then, the parents notice their children appear older– their growth acceleration is alarming, and various actors take on the roles of Trent, at first a precocious 6-year-old, and Maddox, 11, when the journey begins, the children of Guy (Gael Garcia Bernal) and Prisca (Vicky Krieps).

Alex Wolff and Thomasin McKenzie play the older teenage siblings. Eliza Scanlen, Beth in Greta Gerwig’s “Little Women,” is the 15-year-old Kara, the daughter of Charles (Rufus Sewell) and Chrystal (Abbey Lee). Their sexual maturation is a tad disconcerting, given the ‘hours’ in the day, as well.

Tensions escalate as the group is at a loss for what’s happening. If this were an episode of “Survivor,” this tribe would have voted the arrogant and unstable doctor, played by Sewell off the island first.

Unfortunately, these characters are all one-note, for there isn’t time to shade them with more nuance. Aaron Pierre plays rapper Mid-Size Sedan, who is looked upon with suspicion by Charles in one of the uglier subplots.

The characters who enter a cave have their heads hurt – but that isn’t explained, and is it symptomatic of what’s taking place? Not sure what’s being pulled here by the characters playing God.

The standard “problems in our marriage” is heavily used and is tiresome, especially with little backstory. Bernal, who hasn’t followed his performance as Che Guevera in 2004’s “The Motorcycle Diaries” with anything on that level film-wise, although was terrific in “Mozart in the Jungle,” disappears into the bland patriarch role. He has little chemistry with Krieps, whose “Phantom Thread” performance was outstanding, even if they are playing a mom-and-dad on the rocks.

Good supporting work is by Ken Leung, who was in the time-twister series “Lost,” as compassionate nurse Jarin, who is married to Patricia, a therapist with epilepsy, well-played by Nikki Amuka-Bird. She is eager for the group to talk it out, but she is largely ignored, as assumptions and rash decisions increase.

We are on a collision course on this death train, and that’s just the way these horrific adventures go for those trapped in isolated surroundings.

Some of the deaths are particularly gruesome, and the camera lingers excessively on a few inevitable demises, with Brett M. Reed the on-the-nose editor. Why do some cuts heal and some don’t? If you value consistency, even in a horror movie, you will be scratching your head.

There is a better movie hidden in this somewhere. While Alfred Hitchcock didn’t hit it out of the park every film, we should expect a well-constructed story if you are goi g to emulate the master of suspense. You don’t need a film scholar to lecture you on what happens and why – it should be obvious.

Shyamalan, who wowed audiences with 1998’s “The Sixth Sense,” but has been hit-or-miss ever since (and I say this as a fan of “Unbreakable,” “Signs,” “The Visit,” “Split” and yes, even the derided “The Village”), will always be worth a look.

While not entirely unwatchable, “Old” is not the satisfying yarn I had hoped it would be.

Oh, and that Jack Nicholson and Marlon Brando movie that Charles can’t remember is “The Missouri Breaks.”

“Old” is a 2021 sci-fi thriller directed by M. Night Shyamalan and starring Gael Garcia Bernal, Vicky Krieps, Rufus Sewell, Abbey Lee, Alex Wolff, Thomasin McKenzie, Eliza Scanlen and Aaron Pierre. Rated PG-13 for strong violence, disturbing images, suggestive content, partial nudity and brief strong language, its run time is 1 hour, 48 minutes. Available in theaters on July 23. Lynn’s Grade: C-.



Facebook Comments

Dispatch from The Hills: Anti-Vaxxers Are Risking Freedom for All

Dispatch from The Hills: Anti-Vaxxers Are Risking Freedom for All

By Lynn Venhaus
I don’t mind putting my mask on again to follow public health rules and private business restrictions, but I resent the selfish anti-vaxxers who have doubled down on being against the shots, following gross misinformation, and creating a dangerous situation for the vulnerable population in this war against the coronavirus pandemic.

There are people, who for medical reasons, can’t take the vaccine, which I understand, and there are people not old enough yet, but to blindly cling to false rhetoric is infuriating and mind-boggling.

And those in opposition are extremely belligerent about their refusal to ‘take one for the team’ — and themselves. They are going to get people killed. Do they have a death wish as well?

We can’t return to whatever passes for normal if cases rise, and they are at an alarming rate. During 2020, we had such economic hardships and further divides in politics, not to mention the loss of life, that people would be sensitive to what’s best for the greater good. The cheerleading “We’re all in this together” didn’t work, which is disturbing.

I know I am preaching to the choir. I know the people who need to hear this will not.

The Delta variant is deadly. Missouri numbers are forcing us into another crisis — numbers have surpassed the winter peak. Currently, 97% of the new cases are unvaccinated people. 83% of new cases are the Delta variant.

Have these last 16 months not shown us the importance of fighting this deadly disease? In the U.S. alone, we have had 608,000 deaths — and 34 million cases, and it does not discriminate. If we don’t take precautions now, we will have to return to previous emergency rules. And who wants that?

The vaccine has proven to work — if you have questions, talk to your doctor. Seek out reliable sources. I had the J&J one-and-done — it was simple, have had no issues. If I have to get a booster shot down the road, so be it.

Public health officials are making it so easy and accessible for us. I know people who went outside of St. Louis to get their shots — Cape Girardeau, Hannibal, Rolla, Columbia and Mexico, Mo., in early spring — just because they wanted to be safe, particularly those considered high-risk. Pharmacies provide shots, and clinics are still active. There isn’t any roadblock if you want to get the shot, you can get it.

As one who had COVID-19 in mid-January, thankfully a mild case, but has lingering post-virus fatigue syndrome, I urge people to get vaccinated.

I took the oral polio vaccine as a child in fourth grade. We went to a public school gym one Sunday afternoon in November 1963, where it was administered. I don’t recall people saying, “nope, I’ll take my chances.’ Same goes for the childhood vaccines for smallpox, measles, mumps and whooping cough. I had a painful case of shingles in January 2017, and wish I had taken that optional vaccine as an adult. Having shingles was like ripping off a band-aid while being stabbed in the side.

If you think we should have control over our health, then getting the shot is liberating. I am happy to return to the movie theater, live performances and going to restaurants, and being able to hug my 89-year-old uncle at his assisted living home.

Because of the quarantine in New York City, I hadn’t seen my youngest son Charlie, a cancer survivor so high-risk, in 1 year, 6 months and 11 days until he visited last week from Brooklyn. We sacrificed for the greater good. He finished his Pfizer shots in May and then our work schedules and my health issues prevented earlier travel.

Society has asked us to step up, to do our part. Yes, this is America, land of the free — but also home of the brave, and we have to suck it up and be courageous because a global pandemic has created a public health emergency. To scoff at medical science is Russian roulette. Rules are in place to protect us. I really don’t understand this disconnect.

Please ignore Tucker Carlson and Fox News. Those talking heads have been vaccinated. Owner Rupert Murdoch was vaccinated. Former President Trump and his family are all vaccinated. Why this has become a political issue, I don’t understand. COVID-19 doesn’t care what you believe, how much you make, who you voted for and where you go to church.

What I do know is that hospitals are getting taxed to the max, and health care workers are exhausted.

Save your life and the people around you. Love thy neighbor.

Photo: Me getting a vaccine at a local community center on March 28, 2021.

Dispatch from the Hills is a personal column written by Lynn Venhaus, which started in quarantine in March 2020, first as Dispatch from the Island, living in Soulard, and now from residence in St. Louis Hills.

Facebook Comments