Stages St Louis Adjusts 2021 Mainstage Season

Stages St Louis Adjusts 2021 Mainstage Season

In response to continuing COVID-19 restrictions and after extensive discussions with staff leadership and the Board of Trustees, STAGES St. Louis will officially amend the 2021 Mainstage Season.

The mainstage production of A CHORUS LINE as well as the Family Theatre Series production of A YEAR WITH FROG & TOAD are cancelled. STAGES will still celebrate its 35th Anniversary Season and move into the new Kirkwood Performing Arts Center with revised schedules for ALWAYS… PATSY CLINE and JERSEY BOYS,

Subscribers will receive a mailing the week of March 29 containing additional information and confirming these changes. The letter will also lay out all possible ticketing options for A CHORUS LINE.

“When planning for our return to live performances last fall, no one imagined that we would be in this challenging position once again,” said Associate Producer Andrew Kuhlman. “But, like so many others, here we are. And while these decisions have been incredibly difficult, we believe that they have been made with the best interest of our community in mind and we remain steadfastly hopeful.”

ALWAYS… PATSY CLINE and JERSEY BOYS will be performed in the brand new Ross Family Theatre at The Kirkwood Performing Arts Center in Downtown Kirkwood. The adjusted season schedule will be as follows:

  • ALWAYS… PATSY CLINE (August 6 – September 5, 2021)
  • JERSEY BOYS (September 24 – October 24, 2021)

“Our top priority since the start of the COVID-19 pandemic has been the health and safety of our patrons, performers, staff, students, and community,” said Executive Producer Jack Lane. “Despite the challenges of the past year, I cannot imagine a better way to celebrate a return to live theatre than with our 35th Anniversary Season premiering at our new home in The Ross Family Theatre at the Kirkwood Performing Arts Center.”

Two-show subscriptions will go on sale beginning May 17, as will subscriber exchanges and subscriber single ticket sales. General public single ticket sales will begin June 1. Any further changes to the 2021 Season will be posted on the STAGES website and shared via email and social media.

For more information, please follow STAGES on Facebook and Instagram or visit the organization’s website.

STAGES St. Louis is the region’s foremost not-for-profit company committed to preserving and advancing the art form of Musical Theatre through excellence in performance and education. In 2021, STAGES celebrates its 35th year of producing Broadway-quality theatre, as well as the grand opening of the new Kirkwood Performing Arts Center.

STAGES Performing Arts Academy is regionally renowned for its innovative and multi-
disciplinary programs that transform lives through immersion in the Musical Theatre arts. Celebrating its 16th year, it is also the only such program in the St. Louis region to be connected to a professional theatre company. Whatever the age or experience level, whether a new or continuing student, aspiring performing artists throughout the St. Louis region have the opportunity to explore and cultivate their talent at STAGES, and set the stage for life changing experiences. For more information or to register today please call 636.449.5775 or visit us online at www.StagesStLouis.org.

Two-show subscription purchases for the 2021 Season will go on sale on May 17. Single ticket sales begin June 1. For more information, please call 314.821.2407 or visit www.StagesStLouis.org.

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Anthony Hopkins’ Tour de Force as ‘The Father’

Anthony Hopkins’ Tour de Force as ‘The Father’

By Lynn Venhaus
Without sentimentality, “The Father” depicts a man’s growing dementia and the sheer terror of the disorientation he feels as he doesn’t realize what is happening as he loses his grip on reality. In a bravura performance, Anthony Hopkins draws us into his world as we are caught as off-guard as he is.

Anthony (Anthony Hopkins) is a learned, successful man who refuses his daughter Anne’s (Olivia Colman) assistance as he ages. He begins to doubt her and other loved ones as he tries to make sense of what’s going on around him. The story is adapted from the play by Florian Zeller, who has directed this film

Many families endure these same situations as matriarchs and patriarchs age, so this is a relatable journey that hits close to home as we watch a proud, intelligent, successful man decline and his family feels helpless in response.

Because of the film’s honesty, it is a hard watch, but its shared humanity is what gets us through the experience.

Florian Zeller, who wrote the 2012 play, “La Pere” in his native tongue, won the 2014 Moliere Award for Best Play in France. The play went on to open in London and on Broadway, with Frank Langella winning his fourth Tony Award for his performance as the title character.  The English translation by playwright Christopher Hampton, Oscar winner for “Dangerous Liaisons,” is what is used for the film adaptation.

With sly editing and deft production design, we are kept guessing about the time and place, and what’s going on in Hopkins’ residence and in his head.

Because it is adapted from a play, “The Father” can’t really outgrow its stage constraints.

The ensemble is first-rate, particularly Olivia Colman as his adult daughter. We feel her pain acutely.

Both Hopkins and Colman have received much acclaim for their performances, and with Oscar nominations March 15, one can predict their names will be on the short lists.

While Hopkins, one of our finest actors, has an incredible range as a performer, it is in this film’s final 10 minutes where he gives everything he is capable of and leaves us shattered.

As “The Father,” it is perhaps his best work in a storied career, including an Academy Award for the creepiest villain of all-time in “The Silence of the Lambs” and last year’s Oscar nomination for Best Supporting Actor in an astute portrait of former Pope Benedict in “The Two Popes.”

This is a film that will linger for a long time.

“The Father” is a 2020 drama directed by playwright Florian Zeller. It stars Anthony Hopkins, Olivia Colman, Olivia Williams, Rufus Sewell, Mark Gatiss and Imogene Poots. Rated: PG-13 for some strong language, and thematic material, its runtime is 1 hour, 37 minutes. It is in theaters on March 12.

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Another Look: ‘Ghost’ (2020) an Understated Gem of a Crime Film

Another Look: ‘Ghost’ (2020) an Understated Gem of a Crime Film

By Alex McPherson

Shot entirely via iPhone, director Anthony Z. James’ “Ghost” is a thought-provoking exploration of fatherhood, redemption, violence, and how the past informs the present.

The film takes place during a single day and follows Tony Ward (Anthony Mark Streeter), an ex-con re-entering society after 10 years behind bars. Emerging into an unforgiving world that’s moved on without him, Tony attempts to mend fractured relationships, including with his son, Conor (Nathan Hamilton), and chart a new path forward for himself.

Conor is psychologically scarred by his father’s actions and the direction his own life took as a result, but still cares for him nevertheless. Both men are forced to confront whether they will be consumed by their demons or work to overcome them. When Tony’s old boss, Dominic (Russell Barnett), shows up, complications arise. Can Tony escape the world he left behind, or is history doomed to repeat itself?

Even though “Ghost” dips into familiar territory, James’ film is a refreshingly subdued affair, with a pair of intriguing central characters and a strong sense of place.

From the opening frames, it’s clear that Tony feels alienated in the working-class streets of London. Streeter’s nuanced performance expertly conveys Tony’s regret, grief, and determination to turn his life around. He’s prone to brashness, but remains sympathetic. Hamilton is similarly effective as Conor — a youthful individual full of potential, yet held back by his own impulsivity that likely stems from his troubled childhood. Their scenes together, combined with James’ restrained approach, are where the film absolutely shines.

Shooting via iPhone lends a gritty, tactile edge to the proceedings, giving the film a documentary-esque feel at times. “Ghost” is more focused on small-scale relationships than anything else, willing to take an unhurried pace to tell a story that feels grounded in plausibility. Overlooking some occasionally shoddy sound design and awkward camera placements, it’s difficult to imagine “Ghost” being presented any other way. 

The majority of the film unfolds in prolonged conversations that feel true to life, for the most part — complete with awkward pauses and cinematography that creates a voyeuristic, fly-on-the-wall quality throughout. During other moments, James presents shots reflective of characters’ mental states. Tony, Conor, and Dominic are often framed against borders, both literal and figurative, that illustrate their difficulties connecting with the world around them, as well the internal conflicts they individually face.

Despite the film’s success in these areas, however, “Ghost” resorts to predictable beats by its conclusion. While I appreciate how James ratchets up tension in confrontations later on, these scenes betray the naturalistic approach utilized previously — sending the film down a bloody path of genre convention that feels forced rather than organic.

Additionally, James crams too much plot into a short time frame. Coming in at only 85 minutes, I wish that he had given these characters more time to grow, rather than trying to condense their journeys into a single day.

 It’s also disappointing that the side characters surrounding Tony and Conor aren’t given much development. Conor’s ex-girlfriend, Kat (Severija Bielskyte), for example, is used primarily to demonstrate Conor’s misplaced anger, without being given an opportunity to leave much of an impression. Similarly, Tony’s ex-wife, Valerie (Emmy Happisburgh), only features prominently in a couple of scenes, and undergoes a rushed arc that defies believability. Heading into its suspenseful final act, Dominic also gets an exposition-dump-heavy subplot that’s too convoluted for its own good — albeit one that concludes in a darkly poetic fashion.

All in all, “Ghost” is worth recommending to viewers seeking a crime drama with a compelling relationship at its core. Although the final act lacks the finesse that came before, there’s much to enjoy in this promising debut.

“Ghost” is a 2020 film released last summer that is now available on Amazon Prime. Directed by Anthony Z. James and filmed entirely on an iPhone, the film runs 1 hour, 25 minutes. It starts Anthony Mark Streeter and Nathan Hamilton. Alex’s Rating: B

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‘Moxie’ Awakens New Generation to Girl Power

‘Moxie’ Awakens New Generation to Girl Power

By Lynn Venhaus
The “Me Too” and “Time’s Up” movements gain allies at an Oregon high school, where the girl students discover their voices and power in unity in the sharply observed “Moxie.”

What is Moxie? It means “force of character, determination or nature,” according to the Oxford dictionary. This coming-of-age cause, based on a 2017 young adult novel by Jennifer Mathieu, grows in influence and energy.

An introverted 16-year-old girl discovers how the female student body is objectified and dismissed, and how pervasive the toxic masculinity is at her school. Fortified by her mother’s rebellious spirit during her youthful Riot Grrrl days, she anonymously publishes a zine, “Moxie!” that inspires the girls to band together and work towards changing the status quo.

Directed by Amy Poehler with a keen sense of Generation Z and its conflicts, this movie gets a lot right, particularly its target message.

The screenplay by Dylan Meyer and Tamara Chestna astutely points out that people aren’t perfect, it’s OK to mess up, be unsure and confused, but at least come away with purpose. The examples of casual sexism and double standards are spot-on as the sisterhood discovers the importance of feminism.

This engaging ensemble – subtly inclusive — portray refreshingly authentic characters.  The mother-and-daughter dynamic between Amy Poehler and Hadley Robinson is the key relationship.  As Vivian’s working single mom, Lisa guides her daughter in raging against the patriarchy but also as a steady strong parental presence.

Among the appealing cast of rising stars, Robinson shines as the shy Vivian, who summons a righteous anger to lead a revolution. Her dorky character’s growth is fun to watch as she develops new friendships and falls in love with once-geeky classmate Seth, who is kind and considerate. She will stumble and figure out how to be a force for good.

Newcomer Robinson, a Juilliard grad, was both the Laurey dancer in “I’m Thinking of Ending Things,” as well as one of the Tulsey Town girls, and Sallie Gardiner Moffat, one of Meg March’s friends, in Greta Gerwig’s “Little Women.”

The dream boyfriend is in the mold of Edward Cullen and other post-Twilight gallant guys, who are attentive to the girl’s needs and feelings. Nico Hiraga is a winning presence as the skateboarding dude who gained confidence after a summer growth spurt.

Each teen character has interesting layers, except for the clear villain, Mitchell Wilson, the popular but insufferable sexist quarterback who has gotten away with bullying because of his Big Man on Campus status. He is played with cocky assurance by Patrick Schwarzenegger, son of Arnold and Maria Shriver. It is a one-note character that’s too obvious.

But the rest of the fired-up girl squad engages with charm and personality. As transfer student Lucy, who stands up for herself and reports harassment, Alycia Pascual-Pena excels, as does Lauren Tsai as mild-mannered Claudia, who carves her own path.

Sydney Park and Anjelica Washington are noteworthy as female athletes whose winning soccer team is largely ignored and in the shadow of the losing football team.

There are a few wobbly parts, and a climactic revelation adds darker drama in a too-neatly wrapped up final act.

And while it is more amiable than laugh-out-loud funny, “Moxie” distinguishes itself as cut-above the usual teen comedy. It is not your mom’s call to action, nor is it a fist-pump for only one generation — — and it brings up worthy elements to add to the current conversation.

“Moxie” is a teen comedy and romance directed by Amy Poehler, who also stars, along with Hadley Robinson, Patrick Schwarzenegger, Alycia Pascual-Pena, Marcia Gay Harden, Nico Hiraga, Ike Barinholtz and Lauren Tsai. The movie is rated PG-13 for thematic elements, strong language and sexual material, and some teen drinking and run time is 1 hour, 51 minutes. Lynn’s Grade: B. Available to stream on Netflix.

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‘Raya and the Last Dragon’ Features Next Level Animation, Familiar Storytelling

‘Raya and the Last Dragon’ Features Next Level Animation, Familiar Storytelling

By Lynn Venhaus
With all its sophisticated and dazzling, detailed animation, “Raya and the Last Dragon” demonstrates what computer-generated graphic images can accomplish. The next-level panoramas and sweeping vistas are stunning visuals by Disney Animation Studios.

An ancient civilization inhabits Kumandra, but warring factions have fractured the land into five desolate areas. Legend has it that one dragon lives and warrior Raya is determined to find it, hoping that unity can happen in the realm. But saving the world will take more than teamwork.

Yet, for all that technical advancement, the tone is not consistent, and the storytelling suffers because it is such a familiar Disney template: Be Yourself, Be Kind to Others, Fight for the Common Good, Strive to Live in Harmony with People Who Aren’t Like You and Appreciate Family.

Not that those aren’t lofty ideals, but with multiple directors and eight story contributors, there isn’t a singular vision pushing us into new territory.

As a champion of female empowerment stories, I liked the fierce Raya, a more evolved warrior princess in the mold of Mulan and Moana. 

As Raya, Kelly Marie Tran is the right blend of confidence and concern, grieving for what once was when her benevolent father Benja (Daniel Dae Kim) was alive.

Screenwriters Qui Nguyen and Adele Lim created a few characters strictly along for good humor: Tuk Tuk, a roly poly creature that Raya uses as a vehicle, which of course is voiced by Disney iron man Alan Tudyk; lovable lug Tong (Benedict Wong); plucky restaurateur Boun (Izaac Wang); and Little Noi (Thalia Tran), a precocious baby accompanied by a trio of curious monkeys.

But the conflict with friend-turned-enemy Namaari (Gemma Chan) seems forced, although the sword fights are well-staged.

While the voice cast is strong, the hands-down star is Awkwafina as the dragon Sisu, who can shift-shape into a female. She is glib and self-deprecating, like all good sidekicks are.

My issue with Sisu is she looks like a unicorn drawn by Lisa Frank on a ‘90s lunchbox. The silvery-blue dragon with the big Keane eyes seems out of place among the realistic animated adventures.

 That said, there is an emotional payoff that sums up the story neatly. However, this film is not intended for very young audience.

Us Again

If seeing it in a theater, don’t miss the accompanying vivacious animated short, “Us Again,” which is another home run from the Mouse House.

Director-writer Zach Parrish has created a vibrant cityscape for this delightful dance down memory lane. In this 7-minute short, an elderly couple rekindle their zest for life and each other, reverting to their youthful selves, as they dance through a big city on one magical rainy night.

World of Dance champions Keone and Mari Madrid are the choreographers/dancers in this animated musical fantasy and Pinar Toprak has composed a lively pulsating rhythm. The joy is palpable.

“Us Again” is set for debut on Disney Plus in June.

“Raya and the Last Dragon” is an animated adventure fantasy from Disney Animation Studios. It stars Awkwafina, Kelly Marie Tran, Daniel Dae Kim, Gemma Chan, Benedict Wong, Izaac Wang, Alan Tudyk. The run-time is 1 hour, 47 minutes, and the rating is PG for some violence, action and thematic elements. Lynn’s Grade: B. In theaters and as premier access on Disney Plus beginning March 5.

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St Louis Actors’ Studio to Live Stream ‘Now More Than Ever’ March 18-20

St Louis Actors’ Studio to Live Stream ‘Now More Than Ever’ March 18-20

The Gaslight Theater is still closed due to the pandemic, but St. Louis Actors’ Studio will be presenting a free Zoom play by Hanna Kime, She is a John Burroughs graduate and currently resides in Chicago as a playwright. The play is called “Now More Than Ever” and will be screened for three nights only March 18-20 at 8 pm.

It is free to watch the live stream event, but you must register here: What’s On Stage | St. Louis Actors Studio (stlas.org). Donations are encouraged.

It is roughly a 45-60 minute one act directed by Annamaria Pileggi and starring: Colleen Backer, Jens Tulio, William Humphrey, Phil Leveling and Ebby Offord. Stage manager is Amy Paige.

Premise of the play: After the coronavirus crisis forces a major regional theatre to go remote and lay off half their staff, their remaining box office associates must attend an emergency Zoom training session from marketing on how to cold call patrons to solicit donations while promoting the theatre’s thrilling new slate of online content.

Her recent works include THE TARGETED (2020 O’Neill Finalist, 2021 BAPF Semifinalist, Selected for Broken Nose’s “Off/Nights” Development Series), THE BEST DAMN THING (2021 O’Neill Semifinalist, Selected for the Up: Renewal Reading Series), and DROP (Produced through Side Street Studio Art’s Going Dutch Festival).


She has been fortunate enough to develop her full-length works with Jackalope Theatre Company, Sideshow Theatre Company, The New Colony, Broken Nose Theatre, and First Floor Theater, where she currently serves as Literary Manager. She is a member of the Wampus Cat Collective. She graduated from the University of Chicago in 2018 with degrees in English and Gender and Sexuality Studies.

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Finalist Acts Announced For St Louis Teen Talent Competition

Finalist Acts Announced For St Louis Teen Talent Competition

On February 28, fifty metro area high school acts competed in the semi-final round of the 11th Annual St. Louis Teen Talent Competition.  Six outstanding performing arts professionals adjudicated the performances and narrowed the field to 14 acts (20 students) who will move on to the finals, performing on the Fabulous Fox Stage for a special NinePBS broadcast to air later this spring.

Annually 120,000+ viewers have watched the NinePBS feature program on the final competition.  We are thrilled that NinePBS is partnering with the us again to broadcast the 2021 competition. Due to pandemic constraints, the final competition will not be filmed in front of a live audience on stage at the Fox Theatre, however the finalists will have the opportunity to perform in front of a small group of their closest family and friends. Finalists include a variety of singers, musicians, dancers, a poet, and an acrobat (a list of acts can be found here). 

Mary Strauss, creator of the St. Louis Teen Competition and Fox Performing Arts Charitable Foundation Board President “It’s a thrill for me to see the competition evolve with new acts, talents and skills! Every year is so different – we have a great mix of talent this year!” 

In addition to the excitement of performing on the Fox Stage, contestants are eligible to win scholarships, prizes, and performance opportunities.  Nearly $50,000 in prizes, cash awards, and college scholarships will be distributed among the top competitors.  A full list of prizes along with official event information can be found on the Fox Performing Arts Charitable Foundation’s (FPACF) website. 

The acts will be directed by St. Louis native Tony Parise, Broadway actor, dancer, director, choreographer, who is returning for his 11th year to write the script and direct the finals. Parise will work with choreographer Yvonne Meyer Hare and music director Steve Neale to prepare performers for filming on the Fox Stage.

Finalists acts will be judged on technical ability, interpretation, stage presence, and originality. Judges for the finals have careers spanning music, dance, and Broadway.  A complete list of final round judges is available on the FoxPACF website. 

The announcement of the date and time of the Nine PBS broadcast, subsequent re-broadcast, and online celebrations will be available on the FPACF website and Nine PBS website along with social media outlets. The 2020 winner was DemBari Taneh, a freestyle hip hop dancer from Kirkwood High School who will return this year for a special performance. A complete list of the past ten years of winners and finalists can be found on the FoxPACF website. 

Fox Performing Arts Charitable Foundation fosters, promotes, and encourages young people in the St. Louis region to discover and participate in the joy and wonder of live performances.

In addition to the St. Louis Teen Talent Competition, the Fox Performing Arts Charitable Foundation also produces a variety of other performing arts programs including
Kids’ Night at the Fabulous Fox, Broadway Master Classes, Educational Encores,
and is a producing partner of the St. Louis High School Musical Theatre Awards.

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‘Nomadland’ and ‘The Crown’ Lead 26th Annual Critics Choice Awards

‘Nomadland’ and ‘The Crown’ Lead 26th Annual Critics Choice Awards

The Critics Choice Association (CCA) announced the winners of the 26th annual Critics Choice Awards LIVE on The CW during an in-person/virtual hybrid ceremony hosted for the third time by acclaimed film, television, and stage star Taye Diggs on Sunday, March 4.  The full list of winners can be found below. 

“Nomadland” led the winners in the film categories, taking home four awards including Best Picture, Best Director and Best Adapted Screenplay for Chloé Zhao, and Best Cinematography for Joshua James Richards.  Zhao is the first Chinese woman to win as either director or writer. 

“Ma Rainey’s Black Bottom” followed closely behind, winning three categories including Best Actor for the late Chadwick Boseman, Best Costume Design, and Best Hair and Makeup.  Best Actress was awarded to Carey Mulligan for “Promising Young Woman,” which also earned a Best Original Screenplay win for Emerald Fennell.  Best Supporting Actor went to Daniel Kaluuya for “Judas and the Black Messiah,” and Best Supporting Actress to Maria Bakalova for “Borat Subsequent Moviefilm.”   

In the series categories, “The Crown” took four categories, the most of the night, winning Best Drama Series, Best Actor in a Drama Series for Josh O’Connor, Best Actress in a Drama Series for Emma Corrin, and Best Supporting Actress in a Drama Series for Gillian Anderson.  In the comedy genre, “Ted Lasso” won all three categories for which it was nominated: Best Comedy Series, Best Actor in a Comedy Series for Jason Sudeikis, and Best Supporting Actress in a Comedy Series for Hannah Waddingham.  “The Queen’s Gambit” took the prize for Best Limited Series, and its leading lady Anya Taylor-Joy won Best Actress in a Limited Series or Movie Made for Television. 

The race for “Best Comedy Special,” which was dominated entirely by Netflix nominees, resulted in a tie between “Jerry Seinfeld: 23 Hours to Kill” and “Michelle Buteau: Welcome to Buteaupia.” 

As was previously announced, John David Washington presented this year’s SeeHer Award to his “Malcolm & Marie” co-star, Zendaya.  The SeeHer Award recognizes a woman who embodies the values set forth by the SeeHer movement, to push boundaries, defy stereotypes and acknowledge the importance of authentic portrayals of women across the entertainment landscape. 

After leading the nominations, Netflix also won the most awards of any studio/network with a total of 14.  Amazon Studios and Searchlight Pictures each won four. 

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 was 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 #CriticsChoice and #CriticsChoiceAwards. 

FILM CATEGORIES 

BEST PICTURE 

Nomadland (Searchlight Pictures) 

BEST ACTOR 

Chadwick Boseman – Ma Rainey’s Black Bottom (Netflix) 

BEST ACTRESS 

Carey Mulligan – Promising Young Woman (Focus Features) 

BEST SUPPORTING ACTOR 

Daniel Kaluuya – Judas and the Black Messiah (Warner Bros.) 

BEST SUPPORTING ACTRESS 

Maria Bakalova – Borat Subsequent Moviefilm (Amazon Studios) 

BEST YOUNG ACTOR/ACTRESS 

Alan Kim – Minari (A24) 

BEST ACTING ENSEMBLE 

The Trial of the Chicago 7 (Netflix) 

BEST DIRECTOR 

Chloé Zhao – Nomadland (Searchlight Pictures) 

BEST ORIGINAL SCREENPLAY 

Emerald Fennell – Promising Young Woman (Focus Features) 

BEST ADAPTED SCREENPLAY 

Chloé Zhao – Nomadland (Searchlight Pictures) 

BEST CINEMATOGRAPHY 

Joshua James Richards – Nomadland (Searchlight Pictures) 

BEST PRODUCTION DESIGN 

Donald Graham Burt, Jan Pascale – Mank (Netflix) 

BEST EDITING – TIE  

Alan Baumgarten – The Trial of the Chicago 7 (Netflix) 

Mikkel E. G. Nielsen – Sound of Metal (Amazon Studios) 

BEST COSTUME DESIGN 

Ann Roth – Ma Rainey’s Black Bottom (Netflix) 

BEST HAIR AND MAKEUP 

Ma Rainey’s Black Bottom (Netflix) 

BEST VISUAL EFFECTS 

Tenet (Warner Bros.) 

BEST COMEDY 

Palm Springs (Hulu and NEON) 

BEST FOREIGN LANGUAGE FILM 

Minari (A24) 

BEST SONG  

Speak Now – One Night in Miami (Amazon Studios) 

BEST SCORE 

Trent Reznor, Atticus Ross, and Jon Batiste – Soul (Disney) 

SERIES CATEGORIES 

BEST DRAMA SERIES 

The Crown (Netflix) 

BEST ACTOR IN A DRAMA SERIES 

Josh O’Connor – The Crown (Netflix) 

BEST ACTRESS IN A DRAMA SERIES 

Emma Corrin – The Crown (Netflix) 

BEST SUPPORTING ACTOR IN A DRAMA SERIES 

Michael K. Williams – Lovecraft Country (HBO)

BEST SUPPORTING ACTRESS IN A DRAMA SERIES 

Gillian Anderson – The Crown (Netflix) 

BEST COMEDY SERIES 

Ted Lasso (Apple TV+) 

BEST ACTOR IN A COMEDY SERIES 

Jason Sudeikis – Ted Lasso (Apple TV+) 

BEST ACTRESS IN A COMEDY SERIES 

Catherine O’Hara – Schitt’s Creek (Pop) 

BEST SUPPORTING ACTOR IN A COMEDY SERIES  

Daniel Levy – Schitt’s Creek (Pop) 

BEST SUPPORTING ACTRESS IN A COMEDY SERIES 

Hannah Waddingham – Ted Lasso (Apple TV+) 

BEST LIMITED SERIES 

The Queen’s Gambit (Netflix) 

BEST MOVIE MADE FOR TELEVISION 

Hamilton (Disney+) 

BEST ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION 

John Boyega – Small Axe (Amazon Studios) 

BEST ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION 

Anya Taylor-Joy – The Queen’s Gambit (Netflix) 

BEST SUPPORTING ACTOR IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION 

Donald Sutherland – The Undoing (HBO) 

BEST SUPPORTING ACTRESS IN A LIMITED SERIES OR MOVIE MADE FOR TELEVISION   

Uzo Aduba – Mrs. America (FX) 

BEST TALK SHOW 

Late Night with Seth Meyers (NBC) 

BEST COMEDY SPECIAL – TIE  

Jerry Seinfeld: 23 Hours to Kill (Netflix) 

Michelle Buteau: Welcome to Buteaupia (Netflix) 

BEST SHORT FORM SERIES 

Better Call Saul: Ethics Training with Kim Wexler (AMC/Youtube) 

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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‘Coming 2 America’ Is A Passable Reunion

‘Coming 2 America’ Is A Passable Reunion

By Alex McPherson

“Coming 2 America” is an enjoyable sequel that fails to match the charm and creativity of the 1988 original. 

In the fictional country of Zamunda, Prince Akeem Joffer (Eddie Murphy) lives comfortably with his wife, Lisa (Shari Headley), and their three daughters, one of whom (played by KiKi Layne) is more than worthy to assume leadership. Per Zamundan law, none of the Joffers’ daughters can become heirs to the throne, which creates a dilemma when Akeem’s father, King Jaffe Joffer (James Earl Jones), falls deathly ill. 

In a morally troubling revelation, a prophet reveals that Akeem actually has a male child… in America! Turns out, during his quest for romance all those years ago, Akeem was drugged and taken advantage of by Mary Junson (Leslie Jones), who later gave birth to their son, Lavelle (Jermaine Fowler). Upon learning this, Akeem travels with his pal, Semmi (Arsenio Hall), to find Lavelle and bring him to Zamunda to become a prince. Meanwhile, General Izzi (Wesley Snipes), the vicious leader of neighboring country called Nextdooria, shows up as a threat to Akeem and Zamunda generally. 

  Director Craig Brewer provides a heartwarming, irreverent trip down memory lane with moments of brilliance here and there, along with a strong sense of déjà vu. Even so, “Coming 2 America” still proves amusing from start to finish, largely thanks to the cast of returning faces.

When the film makes direct callbacks to the previous installment, it succeeds in spades. The dynamic between Akeem and Semmi is as watchable as ever, although they aren’t exactly the protagonists anymore. It’s a pleasure spending time in the iconic barbershop once again as well, with multiple people played by both Murphy and Hall simultaneously. Additionally, flamboyant dance sequences make a welcome return, although I wish their out-there style had extended to other departments. Indeed, overlooking its nostalgic appeal, there’s a disappointing lack of inspiration in “Coming 2 America,” which resorts to predictable, shallow storytelling throughout.

  Akeem, portrayed by Murphy in top form, remains likable, but comes across as more irritating than endearing this time around. Akeem is stubbornly resistant to cultural change in Zamunda — eager to make Lavelle a Prince whether or not Lavelle wants to. Before too long, though, he is sidelined, and Lavelle takes center stage until the film’s clunky final act.

In trying to tell a different kind of fish-out-of-water story, most of “Coming 2 America” revolves around Lavelle’s experiences in Zamunda. Perhaps the film should have been titled “Coming 2 Zamunda?” The initial thrill of his new lifestyle is replaced with feelings of discomfort and entrapment. Unfortunately, Lavelle displays little of Akeem’s personality or charisma. A street-savvy millennial, he finds pleasure in embracing the royal lifestyle of Zamunda, but lacks depth and intelligence — spouting numerous pop-culture-heavy jokes that only land about half of the time. 

There are, admittedly, some funny sequences involving Lavelle’s princely trials, such as a challenge involving a neighborhood lion. Most of his screen time later on, though, is devoted to a sappy romance with his hairdresser, Mirembe (Nomzamo Mbatha), which provides few surprises and recycles a central theme from the first film.

The rest of the new arrivals are solid enough, but they aren’t fleshed out in any meaningful way. Jones deploys her usual brand of in-your-face raunch as Lavelle’s mother, and Tracy Morgan does what he can with an underutilized role as Lavelle’s Uncle Reem. Snipes gives a scene-stealing turn as General Izzi, an exuberant performance that fits in perfectly with the wacky characters from “Coming to America.” There are also a couple of celebrity cameos that I won’t spoil here.

Despite its missed opportunity to tell a more memorable story and stand out from its predecessor, “Coming 2 America” should entertain fans of the franchise and newcomers alike. For all my criticisms, I nevertheless had a smile on my face by the end credits.

“Coming 2 America” is a comedy sequel directed by Craig Brewer and starring Eddie Murphy, Wesley Snipes, Arsenio Hall, Jermaine Fowler, Shari Headley, James Earl Jones, Leslie Jones and Tracy Morgan. It is rated PG-13 for crude and sexual content, language and drug content. and its runtime is 1 hour, 50 minutes. Alex’s Grade: B. The movie is available on Amazon Prime beginning March 5.

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Sightlines: Tune into Critics Choice Awards on the CW March 7

Sightlines: Tune into Critics Choice Awards on the CW March 7

By Lynn Venhaus
On Sunday night, the Critics Choice Awards will air beginning at 6 p.m. CST on the CW (ch. 11 in STL). I promise you, it will be way better than the Golden Globes.

For one, I vote as a member of Critics Choice Association (formerly Broadcast Film Critics Association). Hehehehe. I am one of 400+ members. Secondly, we have a diverse membership and our nominations reflect that, unlike the 87 at HFPA.

As far as the show goes, this is what our leadership reports:

We will have virtually all our nominated performers participating virtually in our show on Sunday night. Our lineup of Presenters includes Kevin Bacon, Angela Bassett, Mayim Bialik, Phoebe Dynevor, Morgan Freeman, Gal Gadot, Jim Gaffigan, Chris Hemsworth, Jameela Jamil, Eva Longoria, Lin-Manuel Miranda, Jared Padalecki, Kyra Sedgwick, Yara Shahidi, Courtney B. Vance, John David Washington, and Catherine Zeta-Jones.

But once the Critics Choice winner is announced and all the nominees have reacted, we will focus full-screen on the live acceptance speech, without awkwardly returning to the other nominees. And we will offer generous clips showcasing our nominated performances, a treat for audiences who may be inspired to discover movies and series they want to catch up on.

Hosted for the third year in a row by Taye Diggs and with our special See Her Award going to Zendaya, we hope and expect that our 26th annual Critics Choice Awards show will be our best ever. And as the world starts to return to normal in the coming months, we will continue to shine our light on the best the creative community has to offer at our Critics Choice Real TV Awards, Critics Choice Documentary Awards, and Critics Choice Super Awards.

Me and Seth Meyers at 2020 Awards

Last month, we brought our 3rd annual Celebration of Black Cinema to a national audience for the first time, reinforcing our commitment to championing the broadest spectrum of popular entertainment. If it’s as fun as it was last year, I will be very proud and happy! (I attended the ceremony in Santa Monica last January 2020).

It was really hard to pick winners this year — so many good nominees.

Enjoy, movie lovers!

(And if you want to read/listen to my reviews, I am in the Webster-Kirkwood Times; KTRS Radio (segment with Ray Hartmann on Sound Cloud — just go to station website, under Shows, click St Louis in the Know, and the list of audio clips is right there; Reel Times Trio podcast (all posted on Facebook page); and my website, www.PopLifeSTL.com, which is a work in progress, but content is growing.)

Me and Awkwafina at 2020 Awards

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