Small Axe’s ‘Lovers Rock’ an Atmospheric Triumph

Small Axe’s ‘Lovers Rock’ an Atmospheric Triumph

By Alex McPherson
Director Steve McQueen’s “Lovers Rock,” the second installment of “Small Axe,” is a masterful work of art that enriches both the mind and soul.

Taking place almost entirely within a West London house party in the 1980s, “Lovers Rock” visualizes the thrill of an escape from day-to-day life. Love is in the air, particularly for West Indian immigrants Martha (Amarah-Jae St. Aubyn) and Franklyn (Michael Ward), as the reggae music plays on. Although threats of violence lurk on the periphery, this get together brims with joy — providing Black partygoers with an energizing escape from an unforgiving world.

Despite its minimalist premise, there’s much to absorb in “Lovers Rock,” from the ingenious cinematography to the thought-provoking themes being explored. This is a film for anyone who appreciates the craft of filmmaking and the ways the medium can transport viewers to a different time and place. In fact, anyone with a heartbeat can enjoy McQueen’s film on some level.

From start to finish, we feel right there with the characters, and anticipation for the evening is palpable. McQueen makes use of all the senses to set the mood and establish the gathering as an alluring, rapturous haven. 

When the film begins, we see a crew maneuvering sound equipment, the camera capturing each click and clack of cables snapping into place. All the while, a group of women cook curry in the background, enthusiastically singing the main chorus of Janet Kay’s “Silly Games” as delicious aromas waft through the surroundings. Smell-O-Vision be damned, this gets the job done equally as well.

When the party begins, “Lovers Rock” becomes downright mesmerizing. I couldn’t take my eyes off the screen for the film’s entire 68-minute runtime. Indeed, I became despondent when the end credits rolled, wishing I could keep watching for another hour. 

While reggae music blasts through the speakers, viewers feel in the middle of the action, as the camera weaves throughout the environment to capture moments of both sensual intimacy and rambunctious exuberance among the partygoers. “Lovers Rock” all but encourages viewers to get up and dance along with them, welcoming us to join in a meaningful experience.

It’s difficult to convey just how effective McQueen’s approach is, an example of pure cinematic bliss that conveys its atmosphere with precision and tactile, sensory detail. Just make sure you turn on subtitles because, like at any party, it’s difficult to sometimes understand what people are saying.  

Amid all the dancing and romance, however, lie themes that ensure “Lovers Rock” works on a deeper level beyond its immersive qualities. We get the sense that the partygoers want to hold onto these moments as long as possible — their fears and sorrows disappearing, if only for a brief time, in the party’s intoxicating vibes and ample possibilities. 

One powerful sequence in particular involves the partygoers engaging in an extended a-capella rendition of “Silly Games,” infusing the lyrics with a bittersweet, mournful weight as they repeat the chorus over and over again, long after the music stops playing.

The party represents an egalitarian space, in a sense, and McQueen meaningfully contrasts it with the harshness of the outside world, and the racism the central characters endure out in it.

The film also emphasizes that safety isn’t guaranteed within the party itself, even when one feels most comfortable. Bammy, for example (suavely portrayed by Daniel Francis-Swaby), lures some characters, and potentially viewers themselves, into a false sense of security as troubling impulses take hold down the road.

In this way, “Lovers Rock” depicts a different kind of rebellion than “Mangrove,” one against the challenges of everyday life via a gathering that reaches transcendent heights, while still containing its own dangers. McQueen’s film shows people grabbing hold of a moment and cherishing it, creating a sense of communal joy and togetherness stronger than the forces of injustice — over too soon, but life-affirming and oh, so enjoyable.

Will this film receive another A+, you may ask? Why yes, yes it will.

“Lovers Rock” is part of “Small Axe,” an anthology directed by Steve McQueen that is an Amazon Prime TV mini-series. This drama’s run-time is 1 hour, 10 min. Alex’s Rating: A+, 


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The Critics Choice Association Announces TV Awards Nominations

The Critics Choice Association Announces TV Awards Nominations

The Critics Choice Association (CCA) has announced the series nominees for the 26th annual Critics Choice Awards.  The winners will be revealed LIVE on The CW on Sunday, March 7, 2021 from 7-10pm ET/PT, with acclaimed film, television, and stage star Taye Diggs returning to host for his third consecutive time.  The show will continue its combined Film and Television awards format, honoring the finest in both cinematic and televised/streaming achievement.  Film nominees will be revealed on February 7, and the format of this year’s event will be announced at a later date, as health and safety guidelines are taken into consideration.  

This year, two Netflix series lead the pack, with “Ozark” and “The Crown” each up for six awards including Best Drama Series.  “Ozark” stars Jason Bateman and Laura Linney will vie for Best Actor in a Drama Series and Best Actress in a Drama Series respectively, while Tom Pelphrey, Julia Garner, and Janet McTeer are all nominated for their supporting roles.  “The Crown” also saw many of its royal players recognized.  Josh O’Connor is nominated for Best Actor in a Drama Series, while Olivia Colman and Emma Corrin find themselves together in the Best Actress in a Drama Series category.  Tobias Menzies and Gillian Anderson received recognition for their supporting roles.   

Several other series had especially strong showings with “Lovecraft Country” (HBO), “Mrs. America” (FX), “Schitt’s Creek” (Pop), and “What We Do In The Shadows” (FX) each earning five nominations, and “Better Call Saul” (AMC) and “The Plot Against America” (HBO) both up for four awards.  Netflix earned the most nominations overall, with a total of 26, followed closely by HBO/HBO Max with 24. 

“We are so thrilled to be celebrating the incredible work that was released during this extended season,” said Critics Choice Association CEO Joey Berlin.  “In a year when the need for entertainment was undeniable, the industry rallied to deliver beautiful series that delighted us, educated us, challenged us, and most importantly, brought us all together.”  

Critics Choice Awards are bestowed annually to honor the finest in cinematic and television achievement.  Historically, they are the most-accurate predictor of Academy Award nominations 

The 26th annual Critics Choice Awards show will be produced by Bob Bain Productions and Berlin Entertainment.  The CCA is represented by Dan Black of Greenberg Traurig. 

Follow the 26th 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 400 television, radio and online critics and entertainment reporters. It was established in 2019 with the formal merger of the Broadcast Film Critics Association and the Broadcast Television Journalists Association, recognizing the blurring of the distinctions between film, television, and streaming content. For more information, visit: www.CriticsChoice.com.  

About The CW  

THE CW TELEVISION NETWORK, a joint venture between Warner Bros. and CBS, launched in 2006.  The CW is a multiplatform network that broadcasts a six-night 12-hour primetime lineup, Sunday through Friday and streams its ad-supported content, free, without login or authentication on CWTV.com and The CW app which is available on every major OTT platform. In daytime, The CW broadcasts a Monday through Friday afternoon block, and a three-hour Saturday morning kids block. The CW’s digital network, CW Seed, launched in 2013, and offers beloved limited-run series, as well as past seasons of recent fan-favorite television shows. For more information about the network and its programming, visit www.cwtvpr.com.  

SERIES NOMINATIONS FOR THE 26TH ANNUAL CRITICS CHOICE AWARDS 

BEST DRAMA SERIES
Better Call Saul (AMC) 
The Crown (Netflix) 
The Good Fight (CBS All Access) 
Lovecraft Country (HBO) 
The Mandalorian (Disney+) 
Ozark (Netflix) 
Perry Mason (HBO) 
This Is Us (NBC) 

BEST ACTOR IN A DRAMA SERIES 
Jason Bateman – Ozark (Netflix) 
Sterling K. Brown – This Is Us (NBC) 
Jonathan Majors – Lovecraft Country (HBO) 
Josh O’Connor – The Crown (Netflix) 
Bob Odenkirk – Better Call Saul (AMC) 
Matthew Rhys – Perry Mason (HBO)

BEST ACTRESS IN A DRAMA SERIES 
Christine Baranski – The Good Fight (CBS All Access) 
Olivia Colman – The Crown (Netflix) 
Emma Corrin – The Crown (Netflix) 
Claire Danes – Homeland (Showtime) 
Laura Linney – Ozark (Netflix) 
Jurnee Smollett – Lovecraft Country (HBO) 

BEST SUPPORTING ACTOR IN A DRAMA SERIES 
Jonathan Banks – Better Call Saul (AMC) 
Justin Hartley – This Is Us (NBC) 
John Lithgow – Perry Mason (HBO) 
Tobias Menzies – The Crown (Netflix) 
Tom Pelphrey – Ozark (Netflix) 
Michael K. Williams – Lovecraft Country (HBO)

BEST SUPPORTING ACTRESS IN A DRAMA SERIES 
Gillian Anderson – The Crown (Netflix) 
Cynthia Erivo – The Outsider (HBO) 
Julia Garner – Ozark (Netflix) 
Janet McTeer – Ozark (Netflix) 
Wunmi Mosaku – Lovecraft Country (HBO) 
Rhea Seehorn – Better Call Saul (AMC)

BEST COMEDY SERIES 
Better Things (FX) 
The Flight Attendant (HBO Max) 
Mom (CBS) 
PEN15 (Hulu) 
Ramy (Hulu) 
Schitt’s Creek (Pop) 
Ted Lasso (Apple TV+) 
What We Do in the Shadows (FX) 

BEST ACTOR IN A COMEDY SERIES 
Hank Azaria – Brockmire (IFC) 
Matt Berry – What We Do in the Shadows (FX) 
Nicholas Hoult – The Great (Hulu) 
Eugene Levy – Schitt’s Creek (Pop) 
Jason Sudeikis – Ted Lasso (Apple TV+) 
Ramy Youssef – Ramy (Hulu) 

BEST ACTRESS IN A COMEDY SERIES 
Pamela Adlon – Better Things (FX) 
Christina Applegate – Dead to Me (Netflix) 
Kaley Cuoco – The Flight Attendant (HBO Max) 
Natasia Demetriou – What We Do in the Shadows (FX) 
Catherine O’Hara – Schitt’s Creek (Pop) 
Issa Rae – Insecure (HBO) 

BEST SUPPORTING ACTOR IN A COMEDY SERIES  
William Fichtner – Mom (CBS) 
Harvey Guillén – What We Do in the Shadows (FX) 
Daniel Levy – Schitt’s Creek (Pop) 
Alex Newell – Zoey’s Extraordinary Playlist (NBC) 
Mark Proksch – What We Do in the Shadows (FX) 
Andrew Rannells – Black Monday (Showtime) 

BEST SUPPORTING ACTRESS IN A COMEDY SERIES 
Lecy Goranson – The Conners (ABC) 
Rita Moreno – One Day at a Time (Pop) 
Annie Murphy – Schitt’s Creek (Pop) 
Ashley Park – Emily in Paris (Netflix) 
Jaime Pressly – Mom (CBS) 
Hannah Waddingham – Ted Lasso (Apple TV+) 

BEST LIMITED SERIES 
I May Destroy You (HBO) 
Mrs. America (FX) 
Normal People (Hulu) 
The Plot Against America (HBO) 
The Queen’s Gambit (Netflix) 
Small Axe (Amazon Studios) 
The Undoing (HBO) 
Unorthodox (Netflix) 

BEST MOVIE MADE FOR TELEVISION 

Bad Education (HBO) 
Between the World and Me (HBO) 
The Clark Sisters: First Ladies of Gospel (Lifetime) 
Hamilton (Disney+) 
Sylvie’s Love (Amazon Studios) 
What the Constitution Means to Me (Amazon Studios) 

BEST ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION 
John Boyega – Small Axe (Amazon Studios) 
Hugh Grant – The Undoing (HBO) 
Paul Mescal – Normal People (Hulu) 
Chris Rock – Fargo (FX) 
Mark Ruffalo – I Know This Much is True (HBO) 
Morgan Spector – The Plot Against America (HBO) 

BEST ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION 
Cate Blanchett – Mrs. America (FX) 
Michaela Coel – I May Destroy You (HBO) 
Daisy Edgar-Jones – Normal People (Hulu) 
Shira Haas – Unorthodox (Netflix) 
Anya Taylor-Joy – The Queen’s Gambit (Netflix) 
Tessa Thompson – Sylvie’s Love (Amazon Studios) 

BEST SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION 
Daveed Diggs – The Good Lord Bird (Showtime) 
Joshua Caleb Johnson – The Good Lord Bird (Showtime) 
Dylan McDermott – Hollywood (Netflix) 
Donald Sutherland – The Undoing (HBO) 
Glynn Turman – Fargo (FX) 
John Turturro – The Plot Against America (HBO) 

BEST SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION   
Uzo Aduba – Mrs. America (FX) 
Betsy Brandt – Soulmates (AMC) 
Marielle Heller – The Queen’s Gambit (Netflix) 
Margo Martindale – Mrs. America (FX) 
Winona Ryder – The Plot Against America (HBO) 
Tracey Ullman – Mrs. America (FX) 

BEST TALK SHOW 
Desus & Mero (Showtime) 
Full Frontal with Samantha Bee (TBS) 
The Kelly Clarkson Show (NBC/Syndicated) 
Late Night with Seth Meyers (NBC) 
The Late Show with Stephen Colbert (CBS) 
Red Table Talk (Facebook Watch) 

BEST COMEDY SPECIAL 
Fortune Feimster: Sweet & Salty (Netflix) 
Hannah Gadsby: Douglas (Netflix) 
Jerry Seinfeld: 23 Hours to Kill (Netflix) 
Marc Maron: End Times Fun (Netflix) 
Michelle Buteau: Welcome to Buteaupia (Netflix) 
Patton Oswalt: I Love Everything (Netflix) 

BEST SHORT FORM SERIES 
The Andy Cohen Diaries (Quibi) 
Better Call Saul: Ethics Training with Kim Wexler (AMC/Youtube) 
Mapleworth Murders (Quibi) 
Nikki Fre$h (Quibi) 
Reno 911! (Quibi) 
Tooning Out the News (CBS All Access)

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Small Axe’s ‘Mangrove’ Is Stirring Call to Action

Small Axe’s ‘Mangrove’ Is Stirring Call to Action

By Alex McPherson

“Mangrove,” the first installment of director Steve McQueen’s “Small Axe” anthology series, is harrowing, inspirational, and relevant to our modern social climate.

McQueen’s film focuses on the events leading up to and including the 1970 trial of the Mangrove Nine in London. Entrepreneur and Trinidaddian immigrant Frank Crichlow (portrayed by Shaun Parkes with emotional nuance) opens a business in Notting Hill called the Mangrove, intent on providing good food and better vibes without attracting unwanted attention. The restaurant soon becomes a popular community hub, especially for West Indian individuals.

Unfortunately, the local Police Constable Pulley (Sam Spruell) harasses both Crichlow and other people of color with malevolent glee — ordering several destructive raids on the Mangrove in the process. Played with blood-boiling effectiveness by Spruell, PC Pulley firmly believes in the subordination of Black people, attacking a location where many find comfort and respite.

 Before long, Altheia Jones-Lecointe (powerfully portrayed by Letitia Wright), a founder of the British Black Panther Movement, as well as activists Barbara Beese (Rochenda Sandall) and Darcus Howe (Malachi Kirby), help persuade Crichlow to protest against police brutality at the Mangrove. Their attempted peaceful demonstration is turned violent by the police. Facing serious charges, the film then becomes an intense, nail-biting courtroom drama, as the Mangrove Nine confront injustice and police brutality in the face of monumental obstacles and risks to their personal safety. 

“Mangrove” is visceral, empathetic, and deeply moving — showcasing the fraught yet essential nature of activism within a systemically oppressive world. The film also remains both empowering and sobering in light of the continued fight for social justice in 2021 and beyond.

Indeed, the film captures a wide emotional spectrum — joy, hatred, anguish, defiance, hope, and perseverance — and depicts a story of determined individuals ever-so-slightly chipping away at the institutional racism that has dominated human society for so long and continues to do so. 

“Mangrove” contains numerous upsetting, sobering moments, but McQueen’s film doesn’t exploit its subjects for dramatic purposes. Rather, McQueen sets the scene perfectly — helping us understand what’s at stake, appreciate the challenges faced by the Mangrove Nine, and understand the comforting essence of the Mangrove itself through immersive filmmaking techniques and lived-in characterizations. 

Cinematographer Shabier Kirchner isn’t afraid to linger on images (a kitchen pan rolling back and forth along the floor after a raid; a silhouette of Altheia giving an impassioned speech with her fist raised) to lend them additional impact. Similarly, the script doesn’t brush over the characters’ contradictions and inner struggles — spotlighting Frank, Aletheia, Barbara, and Darcus for the heroes they are without rendering them one-dimensional.  

Crichlow, for example, is trying to start fresh after previous run-ins with the police at his former establishment. He is weathered and fatigued, extremely reluctant to fill the activist role he’s pressured to adopt. His mindset contrasts with Aletheia’s, who stands firm in her efforts to protest and to not surrender to larger forces. This leads to several fascinating, suspenseful interactions as the film progresses, as Crichlow weighs the benefits of giving in against the symbolic weight of the Trial for British society at large.

When the film reaches the courtroom — represented as a foreboding, larger-than-life presence — “Mangrove” doesn’t feel as manipulative or crowd-pleasing as something like Aaron Sorkin’s “The Trial of the Chicago Seven.” There’s no White Savior here, thank god, only intelligent, brave individuals confronting the very real forces of evil seeking to silence them. 

A couple of defendants — Altheia and Darcus — actually served as their own counsel in the proceedings, subverting the system to make stark condemnations of it and refusing to let others control their fate. Darcus in particular, portrayed with fervor by Kirby, gives a nuanced, impassioned speech that speaks to humanity’s long past of prejudice and the need to overcome it today. 

By its conclusion, McQueen encourages viewers to reflect on how far we’ve come, and how much we haven’t progressed, in terms of social justice. Even though efforts might seem fruitless, “Mangrove” reasserts that the fight must continue.

“Mangrove” is part of director Steve McQueen’s television mini-series, “Small Axe,” on Amazon Prime. Alex’s Rating: A+

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Celebration of Black Cinema to Honor Chadwick Boseman

Celebration of Black Cinema to Honor Chadwick Boseman

 The Critics Choice Association has announced the additional honorees and presenters that will join, virtually, the third annual Celebration of Black Cinema on Tuesday, February 2, 2021.  The ceremony will be hosted by author and media personality Bevy Smith. 

Following its invitation-only digital premiere, the event will be shared with the public on KTLA and offered to all Nexstar Media Group television stations.  KTLA will air the 90-minute Celebration of Black Cinema special in Los Angeles on Saturday night, February 6th.   

Chadwick Boseman (Ma Rainey’s Black Bottom) will receive the Performance of the Year Award for his magnetic and heartbreaking portrayal of Levee, an ambitious musician struggling to earn the recognition he deserves in a world, and a recording studio, built against him.  

A special donation in Chadwick Boseman’s name will be designated to provide scholarships to students participating in the Academy of Motion Picture Arts and Sciences’ Gold Program.  The Academy Gold Program is an industry talent development, diversity and inclusion initiative to provide individuals, with a focus on underrepresented communities, access and resources to achieve their career pathways in filmmaking.   

Zendaya & John David Washington (Malcolm & Marie) will receive the NextGen Award for their work on the highly anticipated Malcolm & Marie, which was filmed safely amid the pandemic and became one of the most sought-after projects of the season.  Washington and Zendaya portray a filmmaker and his girlfriend returning home from his movie premiere and awaiting the critical response. 

Shaka King (Judas and the Black Messiah) will receive the Director Award for his visionary telling of the story of American civil rights leader Chairman Fred Hampton, iconic leader of the Illinois chapter of the Black Panther Party who was ultimately killed in 1969. 

Tommie Smith (With Drawn Arms) will receive the Social Justice Award.  An iconic athlete and activist, in With Drawn Arms, Smith reflects on his iconic fist-thrust silent protest on the medal stand during the nation anthem at the 1968 Summer Olympics, a moment that helped define the civil rights movement. 

The Celebration of Black Cinema honorees will be fêted by a prestigious group of presenters who will celebrate their work and their ongoing commitment to telling Black stories on film, including Nnamdi Asomugha, Lee Daniels, Michael Ealy, Dominique Fishback, Taraji P. Henson, Daniel Kaluuya, Jonathan Majors, Kemp Powers, Aaron Sorkin, LaKeith Stanfield, Jesse Williams, and George C. Wolfe. 

As previously announced, the event will recognize Delroy Lindo (Career Achievement Award), John Legend & Mike Jackson (the Producers Award), Tessa Thompson (the Actor Award), Yahya Abdul-Mateen II (the Breakthrough Award), Kingsley Ben-Adir, Eli Goree, Aldis Hodge, and Leslie Odom, Jr. (the Ensemble Award),and Andra Day (Special Honoree Award). 

About the Critics Choice Association (CCA) 

The Critics Choice Association is the largest critics organization in the United States and Canada, representing more than 400 television, radio and online critics and entertainment reporters. It was established in 2019 with the formal merger of the Broadcast Film Critics Association and the Broadcast Television Journalists Association, recognizing the blurring of the distinctions between film, television, and streaming content. For more information, visit: www.CriticsChoice.com. 

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Actors Triumph in Memorable ‘One Night in Miami’

Actors Triumph in Memorable ‘One Night in Miami’

By Lynn Venhaus
A play-based drama imagines conversations between four black icons during a crucial time in the civil rights fight.

Playwright Kemp Powers adapted his 2013 stage play, “One Night in Miami,” which set their fictional meeting on Feb. 25, 1964, after Cassius Clay (Eli Goree) emerged as the new heavyweight boxing champion by defeating Sonny Liston at the Miami Beach Convention Center.

Joining him afterwards at the Hampton House Motel in the African American Overtown neighborhood is activist Malcolm X (Kingsley Ben-Adir), singer Sam Cooke (Leslie Odom Jr.) and legendary NFL running back Jim Brown (Aldis Hodge).

These influential black men discuss their responsibility and roles in the burgeoning civil rights movement.

On the cusp of the cultural upheaval of the 1960s, four famous black men feel pressured as symbols, trying to determine how to support equality and empower others through their celebrity.

The discussions are thought-provoking throughout, even though the film can’t quite shake its theatrical roots. But it’s the performances that galvanize “One Night in Miami.” One of the finest ensembles of the year features four young talents establishing their value, and each is riveting.

Kingsley Ben-Adir is fire and brimstone as Malcolm X, whose heated exchanges with Cooke do lead to a new direction for the singer, as shown later in “A Change Is Gonna Come” performed on “The Tonight Show.”

As the confident Malcolm X, Ben-Adir, however, expresses doubt and grapples with loyalty to the Nation of Islam.

Eli Goree, a veteran of TV’s “Ballers” and “Riverdale,” nails the glibness and distinct cadence of Clay, who is mulling over his decision to become Muhammad Ali.

Leslie Odom Jr., Tony winner as Aaron Burr in “Hamilton,” is electric as soul music pioneer Cooke, smoothly delivering several hits. A flashback to him salvaging a live show with an a capella “Chain Gang” is one of the film’s highlights.

Aldis Hodge, long a secret weapon in films, imbues his Brown with more anger and depth as he debates a future beyond football. In one of the film’s most significant scenes, he is humiliated by a wealthy bigot (Beau Bridges) during the Jim Crow era.

Oscar-winning actress Regina King, making her directorial debut, just gives her actors room to breathe. And the dialogue crackles, resonating beyond that night and emphasizing the impact these men had in their lives. 

By the end of the year, Malcolm X was assassinated and Cooke was killed in a sketchy incident – and the athletes became two of the greatest there ever was.

This evening may have taken place nearly 57 years ago but it feels timely. It’s definitely a conversation-starter for any age.

“One Night in Miami” is a drama based on Kemp Powers’ play, directed by Regina King and starring Kingsley Ben-Adir, Leslie Odom Jr., Aldis Hodge and Eli Goree. Rated R for language throughout, the movie’s run-time is 1 hr. 54 min. Lynn’s Grade: B+
Now playing in theatres and on Amazon Prime Jan. 15

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Alex McPherson – Top Ten Films of 2020

Alex McPherson – Top Ten Films of 2020

By Alex McPherson
2020 was a good year for movies, despite everything! Here are my top 10 films of the year, with 11 honorable mentions. There’s still some movies I need to watch, of course, including “Soul” and “Palm Springs.”

  • “Red Penguins”

Director Gabe Polsky’s documentary, “Red Penguins,” focuses on an American-Russian partnership that quickly spirals out of control. Shortly after the fall of the Soviet Union, two managers of the Pittsburgh Penguins and an eccentric marketing executive try to revive Russia’s national hockey team in cooperation with the team’s general managers. The tactics they deploy are, suffice to say, quite out-there. Live bears serving beer on the ice? Huh? 

Despite garnering international attention, problems soon arise. Poor decision-making among all parties creates a situation with life-and-death consequences. Featuring energetic editing that constantly keeps viewers on their toes, and interviewees who illuminate all sides of the story, “Red Penguins” is alternately hilarious and horrifying — a cautionary tale told in a harrowing fashion. More people need to watch this film.    

  • “Never Rarely Sometimes Always”

Few films this year provide the raw emotional impact of director Eliza Hittman’s “Never Rarely Sometimes Always.” The film centers around a young woman in rural Pennsylvania named Autumn (Sidney Flanagan) who contends with an unintended pregnancy. She wants to get an abortion, but the state requires that she gets permission beforehand from her parents, with whom she has an uneasy relationship. This leads her to travel to New York City with her cousin, Skylar (Talia Ryder), to seek out the procedure. Confronting not only the faults of America’s healthcare system but also the casual injustices faced by women on a regular basis, Hittman’s film is bleak, intense, yet absolutely essential viewing, with a suitably powerful ending.   

  • “Da 5 Bloods”

Director Spike Lee’s latest effort, “Da 5 Bloods,” is an ambitious exploration of war, trauma, friendship, and family. A group of four Black Vietnam War veterans return to Vietnam to locate the remains of their fallen squad leader, Stormin Norman (soulfully played by Chadwick Boseman), and find the treasure they hid together all those years ago. What follows is a timely, genre-blurring creation that only Lee could provide. Featuring excellent performances — especially by Delroy Lindo, playing a complex, mentally tormented individual — one of year’s finest scores, and a narrative that twists and turns unpredictably, Lee’s film is mesmerizing and packed with meaning.    

  • “Another Round”

“Another Round,” the latest effort from Danish film director Thomas Vinterberg, is a compelling and darkly comedic ode to appreciating the roller coaster of life. Martin, a depressed high school history teacher, takes part in an experiment along with three other colleagues to see what happens if they maintain a blood alcohol content of 0.05, which supposedly provides enhanced creativity and social skills. Unsurprisingly, even though the experiment begins with promising results, the four gentlemen soon get in way over their heads. At some points disturbing and heartbreaking, “Another Round” also contains moments of levity — capturing these characters’ struggles and triumphs through superb acting and dialogue. And that ending scene, oh boy. I could rewatch the film’s finale on repeat for an entire day and not get bored.

  • “Borat Subsequent Moviefilm”

Borat’s second feature-length outing feels like a slap-in-the-face to Trumpers — always a positive in my book — and has real heart beneath the outrageousness on display. Borat Sagdiev (Sacha Baron Cohen), a fictional journalist from Kazakhstan, finds himself on a mission to deliver his daughter, Tutar (Maria Bakalova), to Vice President Pence, in order to strengthen the nation’s standing with the United States after the fallout from the original film. Containing all the shocking, laugh-out-loud sequences that one expects from a “Borat” film — including an infamous interaction with the leaky vampire himself, Rudy Giuliani — the sequel is also about Borat’s relationship with Tutar, and Tutar’s journey from ignorance to enlightenment about how the world really works and her own ability to make an impact. All in all, “Borat Subsequent Moviefilm” is “Very Nice!”

  • “Driveways”

A gentle, beautifully acted story, director Andrew Ahn’s “Driveways” is a perfect film to start the New Year with. Ahn shows how simple acts of kindness can have far-reaching rippling effects, and how friendships can form between people with starkly different life experiences. The heart of the film lies in the friendship between eight-year-old Cody (Lucas Jaye) and a widowed war veteran named Del, played by the late Brian Dennehy, who lives next door. Although the film’s plot remains predictable, Ahn’s film truly shines through its refreshingly low-key, nuanced approach to the material — cementing itself as one of 2020’s absolute gems. We can all learn something from “Driveways.”

  • “Sound of Metal”

Director Darius Marder’s “Sound of Metal” is a hard-hitting character study that makes use of cinema’s immersive potential. When a punk-metal drummer named Ruben (Riz Ahmed) starts to lose his hearing, his life is upended. He must reckon with his frustration, heartbreak, and feelings of hopelessness for his future. Though at times hard to watch, “Sound of Metal” is oh so moving, depicting Ruben’s journey in an uncompromising fashion. The film’s powerhouse performances and realistic narrative, combined with sound design that simulates the effects of Ruben’s hearing loss, creates a film whose visceral qualities are matched by thought-provoking, deeply human themes. 

  • “First Cow”

Set in 1820s Oregon, “First Cow” follows two travelers — a soft-spoken, introspective chef named Otis “Cookie” Figowitz (John Magaro) and King Lu (Orion Lee), a Chinese immigrant on the run from vengeful Russians — as they form a friendship and attempt to make a living in unforgiving conditions. Their business involves stealing milk from the only cow in the region, owned by the repugnant Chief Factor (Toby Jones), and baking popular, supremely delicious biscuits. Director Kelly Reichardt builds a quietly suspenseful tale exploring the American Dream, with three-dimensional characters, stunning cinematography, and an impeccable atmosphere that transports viewers to the time period. The film’s slower, more deliberate pace might turn off impatient viewers, but for everyone else, “First Cow” is first-rate. 

  • “Bacurau”

Impossible to pin down to a single genre, “Bacurau” is one of 2020’s most brutally satisfying films. Set in a fictional Brazillian village of the same name, the film depicts a tight-knit community working together to combat a threat that seeks to literally wipe them off the map. This crazy film works on multiple levels — as an allegory for struggles within contemporary Brazil, and as an emotional roller coaster with sympathetic heroes, sadistic villains, a cathartic conclusion, and revolutionary ideals. I’ve watched “Bacurau” four times and can’t wait to rewatch it again. It’s definitely not for the faint of heart, but any and all cinephiles should appreciate the film’s striking vision.

  • “Small Axe Anthology”

Yes, I realize that some people might classify director Steve McQueen’s “Small Axe Anthology” as television; however, I don’t care. This collection of five films is brilliant from start to finish, depicting the experiences of some West Indian immigrants in London during the 1960s and 1970s — including the 1971 trial of the Mangrove Nine and inequality within the schooling system. The films are unflinching, empathetic, and expertly crafted — depicting their subjects without reducing or simplifying their struggles for pure entertainment value. “Small Axe” encourages viewers to reflect on how far we’ve come, how much has worsened or stayed the same, and the heights we could achieve in terms of racial equality. Full of moments of joy, grief, struggle, and human connection, these films are achingly resonant, and they shouldn’t be missed.   

Honorable Mentions: “12 Hour Shift,” “American Utopia,” “Bad Education,” “Beasts Clawing at Straws,” “Bloody Nose, Empty Pockets,” “Dick Johnson is Dead,” “I’m Thinking of Ending Things,” “Ma Rainey’s Black Bottom,” “My Dinner with Werner,” “The-Forty-Year-Old Version,” “The Vast of Night” 

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Cinema St. Louis Presents Award Winners in Best of Fest Jan. 22- 31

Cinema St. Louis Presents Award Winners in Best of Fest Jan. 22- 31

The 29th Annual Whitaker St. Louis International Film Festival (SLIFF) wrapped on Nov. 22, 2020, but Cinema St. Louis is providing cinephiles another opportunity to view the event’s award winners in the Best of Fest, which is available virtually from Jan. 22-31, 2021.

A few of SLIFF’s honorees are already or imminently out in the world — “Transhood” is available on HBO Max, and “9to5: The Story of a Movement” premieres on PBS’s “Independent Lens” on Feb. 1 — but Best of Fest reprises the other 19 winners of the festival’s juried and audience-choice awards.

Like 2020’s SLIFF, the Best of Fest is an online-only event and is again presented with our virtual-festival partner, Eventive. Nine features and a program of 10 shorts will be available to stream during all 10 days of the event, and several of the films will once more include recorded Q&As with filmmakers and documentary subjects. Geographic restrictions will apply to some films. All programs will be available in Missouri and Illinois, but some will be accessible throughout the U.S. or world. This information is noted on each listing.

Individual tickets are $15 ($12 for Cinema St. Louis members). A 5-film pass is $65 ($55 for Cinema St. Louis members). Information on films, purchase of tickets/passes, and details on the virtual fest is available on the Cinema St. Louis website: cinemastlouis.org.

Film Programs

Asia

Ruthy Pribar, Israel, 2020, 85 min., Hebrew, Narrative

Audience Choice Award for Best Narrative Feature. In her debut feature film, Israeli filmmaker Ruthy Pribar focuses on a pair of Russian immigrants in Israel, candidly exploring the challenges of motherhood and the desires of the differently abled. Asia (Alena Yiv) and Vika (Shira Haas) are more like sisters than mother and daughter. Young mom Asia hides nothing about her work-hard, play-hard lifestyle and expects the same openness and honesty from teenage Vika. But Vika is at an age where privacy and independence are paramount, and she inevitably begins to rebel against her mom’s parenting style. When health issues confine Vika to a wheelchair and her need for romantic experiences and sexual exploration becomes more urgent, Asia realizes she must get out of the way so that her daughter can live her life.

Award-Winning Shorts Program

150 min.

  • Always Coming Back (Noah Readhead & Nate Townsend, U.S.,  2020, 9 min., English): Audience Choice Award for Best Documentary Short. Webster Groves rallies around a man with a mental disability to support his greatest passion.
  • Augustus (Jon Alston, U.S., 2020, 16 min., English): Essy Award for Best Narrative Short. Augustus, a literate carpenter and family man who is living free as a fugitive slave, is faced with a decision to speak or die when denied the wages he’s earned.
  • Black Goat (Yi Tang, Nepal/U.S., 2019, 12 min., Nepali): Best Live Action Short. A new girl at a nunnery has her first period after hearing a late-night ghost story and believes that she has been cursed, requiring her to sacrifice a black goat to avoid further misfortune.
  • Colette (Anthony Giacchino, France/Germany/U.S., 2019, 24 min., French & German): Best Documentary Short. Colette Catherine, now 90, revisits the terrors of her childhood, when she fought the Nazis as a member of the French Resistance.
  • The Cut (Chloé Cinq-Mars, Canada, 2019, 18 min., French): Best International Short. Emma, who had a C-section, didn’t see her son when he was born, and when she finally meets him, she doesn’t recognize her baby.
  • I Want to Make a Film about Women (Karen Pearlman, Australia, 2019, 12 min., English & Russian): Essy Award for Best Documentary Short. A speculative love letter to Russian constructivist women in the 1920s Soviet Union.
  • Josiah (Kyle Laursen, U.S., 2019, 20 min., English): Best of Fest Short. A Black actor auditions for a part in a period television series.
  • The Mirror (Joel Kohn, Australia, 2020, 22 min., English): Audience Choice Award for Best Narrative Short. When a young girl discovers a mysterious antique mirror in the basement of her ailing grandmother’s house, she opens a window between time that allows her to cross over into Nazi-occupied Poland.
  • R.A.S. (Lucas Durkheim, France, 2019, 5 min., French): Best Short Short. For months now, a group of five bored young soldiers have been stuck on a mission in the middle of the Afghan mountains, but the routine is finally broken during a support mission.
  • To the Dusty Sea (Héloïse Ferlay, France, 2020, 12 min., French): Best Animated Short. Left alone in the summer, Malo and Zoe try their best to catch their mother’s elusive eye.

Beasts Clawing at Straws

Kim Yong-Hoon, South Korea, 2020, 108 min., Korean, Narrative

Audience Choice TV5MONDE Award for Best International Feature and St. Louis Film Critics Joe Pollack Award for Best Narrative Feature. A wild, fast-paced crime thriller that deftly crosses the Coen Bros. with “The Grifters,” “Beasts Clawing at Straws” is a pitch-black neo-noir. When a cash-stuffed Louis Vuitton bag is left in a sauna, it sends a group of hard-luck lowlifes on a desperate chase for a fortune. Fish-mongering gangsters, a greasy cop, an “innocent” gym cleaner, and a prostitute and her trio of men (wife-beating husband, ruthless boss, and clueless boyfriend) all violently scheme to get their hands on the elusive bag. The film is a beautifully constructed puzzle whose pieces snap perfectly into place with each double-cross.

God Save the Wings

Adam Knapp & Kenneth Linn, Denmark/U.K./U.S., 2020, 102 min., English, Documentary

Audience Choice Leon Award for Best Documentary Feature. “God Save the Wings” offers a rousing, highly entertaining look at the brief history of Wichita’s MISL indoor-soccer franchise, narrated primarily by former Wings player Andy Chapman. The documentary features plenty of deliciously dated archival footage and appears to round up nearly every living person involved in the franchise for an appearance. Made with affection for its subject, with an enthusiastic vibe and penchant for oddball meta-movie flourishes, “God Save the Wings” chronicles the team’s journey through the ’80s, recounting the thrills, wackiness, and flagrant debauchery. St. Louis’ own beloved MISL club, the Steamers, plays a prominent role in the documentary’s narrative, with our boys serving as the thuggish American heavies to the Wings’ more elegant, European style of soccer.

I Am You

Sonia Nassery Cole, Afghanistan, 2020, 89 min., Dari, English & Turkish, Narrative

Interfaith Award for Best Narrative Feature. “I Am You” offers an insider’s look at the Taliban’s rule in Afghanistan and the tragedy of its refugees. After the loss of his father at the hands of ISIS, young Masoud leaves the world he once knew to embark on a perilous journey to safety. Embarking on a perilous migration from Afghanistan into the unknown, he vows to honor his late father’s memory by securing a safe future for his mother and sister. As he and his family flee the country they once called home, he is accompanied by his best friend, an aged Muslim warrior, and a pregnant doctor. Inspired by the stories of the world’s many refugees, the film provides an evocative, empathetic study of our current refugee crisis.

A Place to Breathe

Michelle Grace Steinberg, U.S., 2020, 87 min., Central Khmer, English, French, Spanish & Swahili, Documentary

Interfaith Award for Best Documentary. A work of timely urgency, director Michelle Grace Steinberg’s “A Place to Breathe” toggles between immigrant and refugee communities in two cities — Lowell, Mass., and Oakland, Calif. — to illustrate their varied struggles to assimilate, preserve cultural identity, and, most prominently, heal from the traumas that sent them to the U.S., all assisted by determined healthcare and social workers. A series of small, intimate interactions illustrate how these challenges play out person to person, family to family, rather than in congressional shouting or mass protests. Interviews offer context, and animation is briefly used to portray past-life events in other lands that began in happiness before they turned horrific, but the film keeps the focus mostly narrowed on two families, with outside voices amplifying their experiences. At a time when some U.S. political leaders persist in demonizing the “other,” Steinberg provides a patient immersion in the quiet effort to revive lives whose dreams were momentarily extinguished and then are slowly brought back to life.

The Road Up

Greg Jacobs & Jon Siskel, U.S., 2020, 94 min., English, Documentary

Spotlight on Inspiration Documentary Competition Winner. “The Road Up” follows four Chicagoans on the daunting journey from rock bottom to stable employment. Their lifeline: Mr. Jesse, a charismatic mentor with Cara, a nonprofit that helps the chronically unemployed find long-term jobs. Mr. Jesse’s own troubled past — which is eventually revealed — compels him to help his “students” find hope in the face of homelessness, addiction, incarceration, and trauma. The participants in the program are required to go through a month-long “boot camp” called Transformations, and the film records lengthy stretches of these sessions, with Mr. Jesse putting his charges through some serious emotional changes, forcing them to acknowledge and examine their own self-sabotaging behaviors and learn ways to change them. Filmmakers Jon Siskel and Greg Jacobs’ “Louder Than a Bomb” won SLIFF’s Audience Award as Best Documentary in 2010, and “The Road Up” proves a similarly powerful and inspirational work.

Small Time

Niav Conty, U.S., 2020, 104 min., English, Narrative

New Filmmakers Forum Emerging Director Award (The Bobbie). “Small Time” takes an empathetic and at times darkly humorous look at life, faith, and childhood. Though just a kid, Emma navigates a dysfunctional adult world of relentless addiction, stubborn patriotism, dogmatic faith, and the pervasive sexualization of young girls. Her challenge is to emerge with a sense of self. It can be brutal enough just growing up a girl, but when you add poverty, addiction, and God to the mix, it’s no wonder that Emma doesn’t know how to make friends. With a gun in her bag and fairy prayers on her tongue, she and her cat bravely go where too many girls have gone before. But are innocence and hope enough to save the day?

Test Pattern

Shatara Michelle Ford, U.S., 2020, 82 min., English, Narrative

Essy Award for Best Narrative Feature. “Test Pattern,” the gripping and powerful first feature by Shatara Michelle Ford, chronicles a young Black woman’s attempts to get help from an uncaring system after an assault. An interracial couple’s supportive relationship is put to the test after the woman (Brittany S. Hall, HBO’s “Ballers”) is sexually assaulted and her boyfriend (Will Brill, “The OA,” “Not Fade Away”) must drive her from hospital to hospital around Austin in search of a rape kit. Part psychological horror movie and part realistic drama, “Test Pattern” is set against the backdrop of our national discussions about an inequitable health system, #MeToo, and race relations. Director Ford was raised in St. Louis.

Zappa

Alex Winter, U.S., 2020, 129 min., English, Documentary

Essy Award for Best Documentary Feature. Far from a typical music doc, “Zappa” is a multifaceted narrative that brings a complex artist to vibrant life, providing a nuanced look at visionary iconoclast Frank Zappa and the environment that formed him. A simultaneously intimate and expansive look into the iconic musician’s innovative career, the film had unfettered access to the Zappa family trust and its vast trove of archival footage. Exploring the private life behind a musical career that never shied away from the political turbulence of its time, “Zappa” features revealing interviews with Frank’s widow, the late Gail Zappa, and such collaborators as Mike Keneally, Ian Underwood, Steve Vai, Pamela Des Barres, Bunk Gardner, David Harrington, Scott Thunes, Ruth Underwood, and Ray White. “Zappa” is directed by former St. Louisan Alex Winter — a Cinema St. Louis Award honoree in 2015 — who recently returned to acting in “Bill and Ted Face the Music” but who has spent the last decade helming a string of impressive documentaries, including “Downloaded,” “Deep Web,” “The Panama Papers,” and “Showbiz Kids.”

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Vanessa Kirby Triumphs in Crushing ‘Pieces of a Woman’

Vanessa Kirby Triumphs in Crushing ‘Pieces of a Woman’

By Lynn Venhaus
A deeply personal story of loss, “Pieces of a Woman” is a young mother’s tough year-long journey of grief. It’s a hard watch, nevertheless marked by remarkable performances.

When a Boston couple on the verge of parenthood endures the sudden loss of an infant, we are in for an unraveling of both of their lives, which will resonate with anyone who has faced a trauma.

Martha (Vanessa Kirby) begins a heartrending year-long odyssey of mourning that fractures relationships with loved ones as she learns to live alongside her loss.

Hungarian partners Kata Weber wrote the screenplay while Kornel Mondruczo directed, based on their similar experience, and they bring out the gut-wrenching impact of such an unimaginable tragedy.

The movie begins with an intense 23-minute home birth scene that goes tragically awry. The midwife (Molly Parker) is vilified and sued. The young couple’s rough patch is exacerbated by her domineering mother (Ellen Burstyn).

Stage actress Vanessa Kirby, who played Princess Margaret in “The Crown,” announces that she is an actress to watch. While her character Martha’s harsh odyssey is a wobbly one, you don’t doubt her commitment, and she’s heartbreaking.

Shia LaBeouf is fine as Sean, the supportive husband whose help is shunned by his shattered wife. The supporting cast includes comedian Iliza Shlesinger as Martha’s sister Anita, Benny Safdie as her husband and Sarah Snook as the family attorney.

This intimate portrait may lack some cohesiveness but is a painful foray into the healing process and a bruising human experience.

“Pieces of a Woman” is a drama directed by Kornel Mondruczo starring Vanessa Kirby, Shia LaBoeuf and Ellen Burstyn. Rated R for language, sexual content, graphic nudity and brief drug use, the movie runtime is 2 hours, 5 minutes. Lynn’s Grade: B. In theaters and on Netflix Jan. 7.

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Powerful ‘Promising Young Woman’ Is Tale for Our Time

Powerful ‘Promising Young Woman’ Is Tale for Our Time

By Lynn Venhaus
Bold and bravura filmmaking, writer-director Emerald Fennell has crafted a  powerful in-your-face rant on toxic masculinity in the #MeToo era.

With a wicked wit and a sharp aim, Fennell exposes how pervasive and casually dismissed sexual assaults are in the guise of “Boys will be boys,” “We were kids,” “Everyone was drunk” and other such well-worn excuses.

Former medical school student Cassie (Carey Mulligan) seeks revenge for her childhood friend’s traumatic experience at a campus party years ago.

Fennell’s impressive debut is matched by Mulligan’s acting tour de force as the driven Cassie.

 And the supporting cast is first-rate, with admirable work by Bo Burnham as old classmate turned new love interest, Alfred Molina as a legal shark, Alison Brie as a catty coed, Clancy Brown and Jennifer Coolidge as Cassie’s parents, Laverne Cox as her coffee shop owner boss, Connie Britton as a college dean, and a cadre of nice-guy actors portraying bad boys.

The production elements all build upon each other, with a cheeky soundtrack, shrewd production design by Michael Perry, who contrasts colors to define moods; and outstanding make-up and hair designs.

Bracketed by shocking “Gotcha!” moments, “Promising Young Woman” is a brilliant, timely social commentary that needs to reverberate in the way that “Fatal Attraction” did in 1987, and keep the conversation going.



“Promising Young Woman” is a dark comedy-drama thriller written and directed by Emerald Fennell. Starring Carey Mulligan, Bo Burnham, Clancy Brown, Jennifer Coolidge, Alison Brie, Connie Britton, Max Greenfield, Chris Lowell, Laverne Cox and Alfred Molina, it is rated R for strong violence including sexual assault, language throughout, some sexual material and drug use, and runs 1 hour, 53 minutes. Lynn’s Grade: A. Opened in theatres on Dec. 23; Video on Demand on Jan. 15.

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Dispatches from The Hills: On the Brink of a New Year

Dispatches from The Hills: On the Brink of a New Year

By Lynn Venhaus
We are almost looking in the rear view mirror, and 2020 will be no more. Overall, the year tested us all.
We also learned things about ourselves and found out how we handle adversity, how strong we can be, how much empathy we can have.
And just how a pandemic can turn the world topsy-turvy.
In isolation, we can go to dark places. It is really easy to keep a pity party going, but given how we needed to step it up for the greater good, we had to pivot for our own sanity.
Boy, do I miss hugs. But after vaccines and getting the spread down, returning to whatever resembles “normal” life, we will cherish gatherings and social contact again.
We learned to work and play with a different communication skill set. Thank goodness for Zoom, my personal and professional savior..
We learned that staying connected is more important than ever. That small gestures mean so much. That a kind word is the world on a lonely day.And how to appreciate the little things.
We all have things to learn. We need to look at how we can move forward into the new year with fresh eyes, a commitment to kindness and how we can make our world a better place.
To those frontline workers, I salute your dedication, your caring.To those speaking out about injustice, keep your voice active.To those who don’t feel seen or heard, I will try to do better. I need to realize I don’t understand everything but I am willing to listen and learn.
We get to carry each other.
So, today, a time for looking back. I celebrate good friends , cherished family and warm, wonderful memories.
And hoping things will be better in the year ahead. Hope springs eternal.
Here’s to a happy, healthy and hopeful new year!May you have more good news than bad in 2021, and new opportunities, goals, achievements, adventures, learning experiences and inspirations.
As someone named Clinton Kelly said: “May your life be filled with people who raise you up, and May you be smart enough to avoid the ones who drag you down.”
May 2021 be filled with moments, large and small, that define your best life.
“Oh Earth, you are too wonderful for anybody to realize you.” — Our Town
We must find our light to keep on keeping on.
With a grateful heart, peace and love.

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