An extraordinary film that bends genres, “Flee” is a powerful account of a refugee’s harrowing journey and his survival.
A documentary from Denmark that is told through animation, “Flee” is the true-life account of Amin Nawabi, a pseudonym for an Afghan refugee who fled to the Soviet Union with his family, and then later came to Europe — as an unaccompanied minor..
At 36, he is a successful academic and getting married to his long-time boyfriend. But the secret he has been hiding for more than 20 years threatens to ruin the life he has built for himself. He shares his story with a close friend, confronting his past so that he can have a future.
How director Jonas Poher Rasmussen tells Amin’s life is inventive – he’s part of the process as the friend/interviewer. The animation style brings out the details in a poignant and urgent way, but he also uses news footage to frame Afghanistan’s civil war during the 1980s, give it some context.
By spotlighting one refugee, Rasmussen sheds light on how much people fight for their freedom. Amin’s memories turn into a narrative adventure and he is depicted at two young ages, then as an adult. The pain and suffering endured by Amin as a boy feels as real as a live-action film — the emotions are brought out in the ingenious storytelling.
The artistry exhibited here makes the film feel groundbreaking – and it has received much acclaim during the 2021-2022 awards season. It was named Best Documentary by the St. Louis Film Critics Association and could conceivably be nominated in three different categories – animation, documentary, and international feature – at the Oscars. It is already submitted as Denmark’s entry (each country gets one slot) and has made the shortlist of 15 to be considered on the nomination ballot, and the same for documentary.
Finally having the courage to share his traumatizing journey is cathartic and profound. “Flee” is a 2021 documentary, animation and international feature directed and written by Jonas Poher Rasmussen. It is Denmark’s entry for the Academy Awards international film and has made the shortlist. Rated PG-13 for thematic content, disturbing images and strong language, and the runtime is 1 hour, 29 minutes. In local theaters on Jan. 28. Lynn’s Grade: A
On January 16, forty-two metro area high school acts competed in the semi-final round of the 12th Annual St. Louis Teen Talent Competition. The acts were divided into four categories (vocal, instrumental, dance and specialty) and adjudicated by fifteen St. Louis performing arts professionals, each representing the respective categories. The judges narrowed the field to 14 acts (18 students) who will move on to the finals at the Fabulous Fox Theatre on Friday, February 11 at 8 pm.
The final competition is a professionally produced production the Foundation is grateful to provide as a gift to the community that is FREE and open to the public. General Admission tickets are required and will be available at no charge through Metrotix online at metrotix.com. Finalists include a variety of singers, musicians, dancers, and acrobats (a list of acts can be found here).
“We couldn’t be happier with the level of talent. The students seem to get better and better each year,” exclaimed Mary Strauss, Fox Performing Arts Charitable Foundation Board President.
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 Finals production will be written and directed by St. Louis native Tony Parise, Broadway actor, dancer, director, choreographer. Parise will work with choreographer Yvonne Meyer Hare and music director Steve Neale to prepare performers for the Fox Stage.
“I am so grateful to the entire Teen Talent team for keeping the competition going through the pandemic and giving our talented teens this incredible experience. We have learned a lot over the past two years, but this year we will get back to the spectacular live event. I can’t wait to feel that magical energy once again at the Fabulous Fox!” stated Parise.
Finalist 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 community response to this event has been significant as the program has grown over the past twelve years. Annually 120,000+ viewers have watched the Nine PBS featured program on the final competition. Due to the pandemic, in 2020 and 2021 the final competition was filmed in front of a limited audience for a special broadcast on Nine PBS. FoxPACF is grateful for the continued partnership with Nine PBS, which will film the 2022 Finals in front of a full live audience for a special broadcast to air later this spring.
The 2021 winner was Troy Staten, a singer from McCluer High School who will return this year for a special performance. A complete list of winners and finalists from the past eleven years can be found on the FoxPACF website.
At the 27th Annual Sundance Film Festival, my two sons, Tim and Charlie, and I, were accepted as ushers for the fest. We had never been. They stayed for the duration, I was only there for a week. Tim called it the greatest time of his life — he saw 23 movies in 11 days, worked those screenings around his volunteer shifts. We look back on that time fondly. We were asked back – that doesn’t always happen, so we were grateful. But Charlie had moved to New York City two weeks after Sundance and began a career in advertising, and Tim returned to school to obtain a bachelor’s degree in cinema production. We’ve kept up with friends we made there, and are grateful we had that experience. I told Tim that I wanted to go back when he had a film accepted there — and that was a fun goal, but that dream died when he did, in 2018. I can go back as a film journalist. Just don’t know if I will. Here are my thoughts from that time — I wrote a blog for the Belleville News-Democrat website on that time, brought my laptop to the volunteer lounge to put my thoughts together every day. This is the first one. I hope I can find the others, but this is a good start that encapsulates the first few days.
DATELINE: SUNDANCE FILM FESTIVAL, DAY ONE
Opening Night, Jan. 20, 2011
Italian director and fellow Sundance rookie Roberta Torre sat next to me on the shuttle as we looped around snow-covered but well-manicured Park City, Utah, late Thursday night. Her first submission for the World Cinema Dramatic Competition, “Lost Kisses,” would screen Friday.
Her previous work – a musical on the Mafia – had been at Venice and Cannes, but as Sundance is synonymous with risk-taking and exciting emerging filmmakers, this satire focusing on a 13-year-old girl’s vision and a statue of the Blessed Virgin Mary is one of 115 features that will be screened during the 10-day festival. (Update: Her film was a Grand Jury Prize nominee).
Every January, this old silver mining town in the shadow of the Rockies becomes a mecca for movie lovers from around the globe and the epicenter of the entertainment business. Lives change overnight – filmmakers fortunate to strike a chord with a Hollywood mogul in the audience can depart with a multi-million deal. Ever hear of “Little Miss Sunshine” and “Reservoir Dogs”? Household names and unknowns with a dream vie to be the toast of the town.
But the ideals on which the festival began hold true today. Robert Redford, president and founder of the Sundance Institute, summed it up this way in our program:
I’ve always believed that our best chance to understand the world around us comes in the form of stories and, in particular, stories that represent a unique perspective and are told with an authentic voice. So my first and continued hope for the Sundance Film Festival is the same: to provide a vital platform for these kinds of stories and a community for these kinds of artists. And because a film is not complete until it finds its audience, the film lovers who join our community each January are key to making this platform vital.”
Then he told us to be careful crossing the streets.
The local newspaper referred to the fest as “controlled chaos” and residents say it’s their shot to ski without any lines at the three nearby resorts.
Charlie, Tim and Lynn Venhaus
But it’s unlike anything I’ve experienced. This year, my two sons and I are working as ushers.
We’re among the 1,670 volunteers who help make this the premier fest in the U.S. celebrating independent cinema. Upon our arrive from Salt Lake City, we were handed hats, scarves, gloves, water bottles, transit maps, grub stubs (free food at designated restaurants), movie ticket vouchers, credentials, and thick film guides.
Since our selection the first week of December, we’ve been training online, and now have the hands-on details.
Everyone has been so incredibly helpful and friendly, from helping us navigate the free bus routes to advice on drinking lots of water. And those who are in charge are supremely organized. It’s a marvel to observe how it all comes together.
Besides a full-time year-round staff, the festival relies on volunteers for a multitude of tasks. Every fall, 3,000 apply, they fill the slots with returning volunteers first, then pick newbies for remaining slots.
We met interesting folks from around the world at our volunteer kick-off party – an Australian bartender, a student from Brazil, a Spanish filmmaker who’s on our theatre team, an aspiring actress from L.A., a Kentucky housewife, a bus driver from Canada, a Cornell grad who runs an event-planning business, an Oregon artist, and a former St. Louisan who never comes back.
Six of 10 volunteers are from Utah. They sure love their state. What’s not to love about the clean, crisp air and wide-open spaces with breathtakingly gorgeous views of the mountains? Park City is 800 feet higher elevation than Salt Lake City, so the weather pattern in the valley is totally separate.
We’re all here for various reasons but we have at least one thing in common: We love movies. To show their appreciation, the festival staff screened the comedy “Submarine” strictly for us volunteers Thursday night. We were jam-packed into the theater, and you could have heard a pin drop – everyone was enthralled. And most everyone stayed in their seats after applauding to read the credits.
The welcoming programmer spoke of the feeling of ‘community’ every year at the fest, and you sense a strong cool vibe too, but it is comparable to a summer camp or old home week – old friends connecting.
What a delightful movie to start the fest with (more on that later), but we will be hearing about this charming, clever coming-of-age tale. Remember the protagonist’s name: Craig Roberts.
The movies that create the biggest buzz here probably won’t arrive in St. Louis until the summer or fall – if past years are any indication.
Last year’s Sundance introduced St. Louisan Davis Guggenheim’s “Waiting for Superman,” which is now considered a leading contender in the Oscar category for best documentary.
And the dramatic jury prize winner “Winter’s Bone” has received numerous nominations and year-end critics’ awards.
The major (and minor) celebrities supposedly arrive on the weekend, and Main Street becomes this wall-to-wall place to be seen.
And if that’s not enough excitement, trying to spot James Franco or Demi Moore, the Westboro Church based in Topeka, Kansas, plans to protest Kevin Smith’s new horror film “Red State,” starring John Goodman, on Saturday afternoon.
A ruggedly handsome lad working at the lodge where volunteers got their groove on Wednesday night told me: “Get ready for an incredible journey.”
By Lynn Venhaus While actions usually have consequences, what is it that we can live with – the choices we make that aren’t always so black-and-white. The superbly crafted “A Hero” is about that gray area, which we all have experienced. Aarrgggghhh, Life!
Rahim Soltani (Amir Jadidi) is in jail for a debt he can’t repay. On a weekend furlough, desperate to erase the debt, his plan goes awry – and he gains notoriety over finding a bag of money. That, too, goes south because he doesn’t keep the story straight. A misunderstanding then spirals out of control, and as he attempts to restore his reputation, he must make some tough decisions.
Iranian writer-director Asghar Farhadi knows this subject very well. He has explored dilemmas of conscience in his two Oscar-winning films, “A Separation” in 2011 and “The Salesman” in 2016.
“A Hero” won the 2021 Grand Prix at the Cannes Film Festival and will likely be an Oscar nominee.
In “A Hero,” the stakes are high, and Farhadi convincingly builds a compelling case about a decent (we think) guy who is beset by a series of unfortunate events, which at times is subtle and other times is heart-wrenching.
A smart, perceptive filmmaker, Farhadi tackles the complexities of morality in his home country, for the lines drawn aren’t always so definitive, but it is that universality that grabs us.
At first, soulful actor Amir Jadidi depicts Rahim’s frustration with the system and with the unyielding stance of the creditor that we are sympathetic to his plight. Rahim is in prison because of a debt he was unable to repay. During a two-day leave, he tries to convince his creditor to withdraw his complaint.
He has served three years. During his brief respite he sees his girlfriend Farkhondeh (Sahar Godust), a secretive relationship so far, who found money on the street – 17 gold coins! They are euphoric about this stroke of luck because they think they’ll be on easy street – sell them and pay off the debt, they can marry, but the fluctuating gold prices won’t cover what he still owes to Bahram (Mohsen Tanabandeh), a thoroughly unsympathetic man who turned against Rahim very early. He does not want a partial payment – he demands it in full. (Oh, and he’s Rahim’s ex-wife’s brother-in-law. Like I said, it’s complicated.)
Farhadi’s realistic approach includes unfolding Rahim’s motives clearly at first, but as the story takes a few unexpected detours, we see this desperate yet good-hearted man shift his priorities. Is it better to do the right thing for us or the right thing for others? Can they co-exist or that impossible?
Like such much of life, things do not always go as planned. Add to this race against time complicated family dynamics, which gives the film a broader viewpoint.
Rahim can’t catch a break. He sees his son ((Saleh Karimai), who has been staying with his sister and brother-in-law. Their reunion is rocky, and that’s just one of the plot threads that add up to a significant messy situation.
Rahim’s sad young son stutters, and there are simmering emotions, exasperating conflicts and a boy who needs his father. Karimai grabs our hearts, and you feel where both guys are coming from, and trying to work through.
And just sometimes, children teach their parents. And parents need their children as much as the kids need them.
The prison finds out Rahim tracked down the real owner of the coins and contacts a TV station for them to feature such an upstanding prisoner. The publicity backfires. Of course. Let’s follow down the rabbit hole.
Jadidi’s eyes are windows to Rahim’s soul, and with his beautiful smile, his performance is key to how your feelings shift through the weekend.
Should our loyalties be with him? Is he sincere or is he playing people, strings attached? Is he honorable or is he a schemer? We change our minds about him as doubts creep in– and it’s a deft display of Farhadi’s gifts. But if he is a good man, why should he go through such hell?
Farhadi’s well-constructed ambiguous drama shows us what a slippery slope life is, and how, even with the best of intentions, no good deed goes unpunished.
This international film is such a fascinating account of a thorny situation with ripple effects, which translates to other cultures and speaks to our humanity – in any language.
“A Hero” is a 2021 international drama directed by Asghar Farhadi and stars Amir Jadidi, Sahar Godust, Mohsen Tanabandeh, Saleh Kanmai. It is rated PG-13 for some thematic elements and language and its run time is 2 hours, 7 minutes. It is in select theatres Jan. 7 and streaming on Amazon Prime Jan. 21. Lynn’s Grade: A
The Midnight Company, celebrating its 25th Anniversary Season in 2022, is announcing its lineup of productions for this landmark year.
Midnight will open with ANOMALOUS EXPERIENCE by the Company’s Artistic Director, Joe Hanrahan, running May 5-21 at the Kranzberg Black Box Theatre.
Inspired by true events, the play is designed as a public lecture from a respected psychiatrist. He’s been dealing with professional ridicule for his research into the phenomenon of Alien Abduction. In the course of the play, he will present two patients who, in very different ways, have been victims of their perceived abductions. While he’s not exactly sure what’s going on, the psychiatrist is convinced that something real, something profound, is happening to these people and to our world.
Hanrahan said “The recent recorded sightings by military pilots and renewed government interest in UAPs provide the current backdrop for this modern ghost story.” ANOMALOUS EXPERIENCE will be directed by Morgan Maul-Smith. Recently she directed ON GOLDEN POND at Kirkwood Theatre Guild and EARWORM by Shualee Cook at Tesseract, and she’s also directed in Montana at Missoula Children’s Theater.
Midnight’s second show of the season will be RODNEY’S WIFE by Richard Nelson, directed by Joe Hanrahan, running July 7-23 at The Chapel. The play is set in Rome, 1962. Rodney is a fading American movie star, brought over to star in one of the first Spaghetti Westerns. With him is his (second) wife, his daughter from his first marriage and his sister, whose husband, Rodney’s agent, just died, leaving her grasping on to her brother, getting into the middle of everything happening to his family.
This powerful yet delicate 2004 play won critics’ raves, with New York’s Time Out saying “Nelson plunks his characters down at the crossroads of erotic tension and family guilt,” citing its echoes of “the closely observed simplicity of Chekhov” as well as “the eloquent bitterness of Albee.” Hanrahan said,
Morgan Maul-Smith. Photo by Rachel Bailey
”Rome in1962 was the most exciting city in the world. The playwright has taken the passion and lust for living characteristic of the time and place, and infused it into a tumultuous day and a half in the lives of these characters.” The cast will include Kelly Howe as Faye (RODNEY’S WIFE), Rachel Tibbetts as Eva (Rodney’s sister) and John Wolbers as Rodney. The Italian villa set will be designed and lit by Bess Moynihan, with costumes by Elizabeth Henning.
The final show of the season will be ST. LOUIS WOMAN, written and directed by Joe Hanrahan, running October 6-22 at the .ZACK. The show tells the stories of women who inspired and helped forge the legendary history of St. Louis music, and then spread that sound around the world. The One-Woman Show with Music – performed by St. Louis singer/actress LAKA – begins with “Frankie And Johnny” and “St. Louis Blues”, two songs that put St. Louis on the musical map.
And continues with characterizations and songs of Willie Mae Ford Smith (the Godmother of Gospel), Josephine Baker, Billie Holiday (who didn’t live in St. Louis, but played often at the Plantation Club, a hotspot on Delmar Boulevard in the 40’s, where the best black musicians of the day entertained white audiences), Tina Turner and more.
Their abilities to rise above their troubled beginnings in a racially divided city and time, and to pour their souls into memorable song, provide the narrative for an exhilarating, inspiring show. Hanrahan said “The first time I heard LAKA sing, I knew I wanted to work with her. We talked of collaboration, and it led to ST. LOUIS WOMAN. It’s our take on great music that came out of St. Louis, and the legendary women who made it.”
The Midnight Company made its debut in 1997, with a production of Eric Bogosian’s POUNDING NAILS IN THE FLOOR WITH MY FOREHEAD at the original home of the Contemporary Art Museum in St. Louis. Since then the Company has presented 50 productions, most new to St. Louis, along with several original scripts written by Hanrahan.
Their seasons have included such modern classics as WAITING FOR GODOT, SKYLIGHT, GIVE ‘EM HELL HARRY and A JUDGMENT AT NUREMBERG, and featured noted contemporary playwrights Wil Eno, Conor McPherson, Steven Dietz, Daniel MacIvor and Mickle Maher.
David Wassilak formed the Company with Hanrahan in 1997, and was part of the group till his departure in 2007. Sarah Whitney then joined Midnight in 2010 as Associate Artistic Director, and directed many of its productions till she left the Company in 2020.
Kelly Howe. Photo by Todd Davis.
The Company has performed in a variety of spaces – recently at the venues of the Kranzberg Arts Foundation and The Chapel – and productions in the past have been presented at spaces of The Missouri History Museum, Christ Church Cathedral, The Duck Room at Blueberry Hill, The Philadelphia Fringe Festival, The Jesse James Farm in Kearney, MO, Stray Dog’s Tower Grove Abbey, Winter Opera, pubs including McGurk’s, Dressel’s and The Great Grizzly Bear (and former pubs such as The Monocle and Cafe Balaban/Herbie’s Vintage 72), former trlrvision production studiosTechnisonic and Avatar, the former venue St. Marcus Theatre, Carrie Houk’s former Maplewood Acting workshop HH Studio, and warehouses at The Lemp Brewery, plus a production at The historic Learning Center (formerly the Wednesday Club) for The Tennessee Williams Festival, and several appearances at both the St. Louis Fringe Festival and the St. Louis Theatre Crawl.
While at the Post-Dispatch, theatre critic Judy Newmark wrote, “The Midnight Company have gone out of their way to demonstrate that theatre is an art, not a building…their imagination and refusal to accept conventional limits can teach something to all of us us, in theatre or not.”
A visit to the website, MidnightCompany.com, offers a look at all previous Midnight shows, including photos, graphics, video, and reviews, and there’s a Blog with commentary on influences on the group’s work, decisions on choosing the plays they present, takes on trends in St. Louis theatre, the Women We Love series and much more.
Eric Pugh has been named The Muny’s new Director of Marketing, effective January 1, 2022. He will lead all marketing and communications for the theatre’s artistic and institutional programming and branding.
“I am honored to have been chosen to lead the marketing efforts for one of the country’s greatest assets, and distinguished theatres,” said Muny Director of Marketing, Eric Pugh. “I am looking forward to becoming reacquainted with St. Louis, and I am so proud to call it home, once again. The Muny has a very bright future, and I am excited to be a part of what lies ahead.”
“We’re excited and grateful to add Eric to our team,” said Muny President and CEO, Kwofe Coleman. “Eric has a record of success both in the St. Louis market and on a national scale. His breadth of experience is going to be invaluable as we evolve our marketing efforts, deepen our connections and broaden our profile. I’m personally thrilled to welcome Eric to The Muny.”
Eric Pugh joins The Muny, after most recently serving as the Director of Sales, Marketing, and Strategic Development at the Historic Fulton Theatre in Lancaster, PA. Pugh’s successes have included increasing ticket revenue at the Fulton by over $2.3 Million or 70% during his tenure, which also includes an increase in subscriptions of nearly 4,000 or 60%. He has held similar positions, with comparable results at Cleveland Play House, STAGES St. Louis, Florida Studio Theatre, and the Carousel. An avid musical theatre fan, he feels blessed to be doing what he loves. When not at work, he can be found at a local theatre, or in New York, checking out the latest productions.
To stay connected virtually and to receive the latest updates, please follow The Muny on their social media channels, including Facebook, Instagram and Twitter. ###
The Muny’s mission is to enrich lives by producing exceptional musical theatre, accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest outdoor musical theatre, we produce seven world-class musicals each year and welcome over 350,000 theatregoers over our nine-week season. Celebrating 103 seasons in St. Louis, The Muny remains one of the premier institutions in musical theatre.
For more information about The Muny, visit muny.org
If hearing that menacing modified voice on the other end of a landline (!) sends shivers down your spine, you may be pleasantly surprised by this “Scream,” for it delivers on the franchise’s terror and laughs.
Especially the opening scene, which skillfully amplifies the suspense, only with a couple different twists. The new home-alone heroine Tara (Jenna Ortega, of “Yes Day”) says she likes “elevated horror,” such as the 21st century game-changers “The Babadook,” “It Follows” and “Hereditary.” Touche!
But the iconic “Scream” world is among the highest-rated and most popular B-movies, those dubbed “slasher” because of the high body count, and they do not wander out of that lane here.
Round 5 is excessively stabby – those squeamish about pools of blood are warned – and the deft editing by Michel Aller puts the thrill in thriller. Why Wes Craven’s innovative original stood out in 1996 is because it flipped the formula with a wink and a smile but didn’t skimp on the scares.
|Twenty-five years after the original killing spree in Woodsboro, a new killer begins a series of murders, and first-target and ‘final girl’ Sidney Prescott (Neve Campbell) returns to help find out why that creepy Ghostface mask is back.
So is the distinct malevolent voice of Roger L. Jackson. Fasten your seatbelts, and we’re off on a nostalgic wild ride, waiting to see if the new team has the right stuff. That’s the thing with series – fans are very invested and vocal, and these filmmakers know this – and run with it, mock it, and set up their own path with the serial-killer curse in the sleepy small-town of Woodsboro.
Hotshot co-directors Matt Bettinelli-Olpin and Tyler Gillett, who made the cheeky “Ready or Not” in 2020 and are part of a film collective called Radio Silence, are obviously fond of Craven, who died in 2015. Astute fans of scary movie tropes, they are inspired enough to craft a quick-witted reboot-sequel hybrid.
At once fresh and familiar, the ‘requel’ doesn’t reinvent the slasher horror genre in the way Craven did, but its playful poking fun at how self-aware it is helps smooth over its shortcomings.
Emulating the old tricks and jolts, this thriller has clever reveals, very gory and gruesome murders, snarky humor, and well-orchestrated tension.
Without a number, this fifth bold and brazen installment may be the most brutal, funniest, and is even more meta than “The Matrix: Resurrections.”
Its cynical commentary on internet fandom and social media outrage over major franchise missteps slyly riffs on David Gordon Green’s rekindled “Halloween” and Rian Johnson’s “The Last Jedi” chapter of the new “Star Wars” trilogy.
Bettinelli-Olpin and Gillett succeed in how self-aware this is, as do the screenwriters Guy Resick (also of “Ready or Not”) and James Vanderbilt, who wrote “Zodiac,” “White House Down” and the two Andrew Garfield “Spider-Man” movies.
However, getting the surviving original characters back together – Sidney Prescott (Neve Campbell), Gale Weathers (Courtney Cox) and Dewey Riley (David Arquette) – seems to be an opportunity squandered.
They’ve been an enduring trio since 1996, including sequels in 1997, 2000 and 2011, so they lend a legitimacy to the new one.
Ex-sheriff Dewey is a bigger part of the story this time – and while a welcome sight, he’s a sad shell of his former self. The quirky Arquette plays the retired and reclusive lawman both for laughs and pathos. But the trio’s much-too-brief insertion as supporting players doesn’t do them, or their legacy, justice.
As in the previous four, the main roster is filled with screen-savvy young talent who engage as best they can, given the structure limitations. Nevertheless, we should care more about the two sisters at the center — Tara is the younger sister to Samantha, capably portrayed by Melissa Barrera (Vanessa in “In the Heights”) as somewhat of a mess.
She’s been carrying a big secret around with her, so she acted up in high school, tarnished her reputation, and skedaddled out of town. It must be an in-joke that she moved to Modesto, not exactly ‘bright lights, big city,” and works at a bowling alley.
When she gets a call that her estranged sister’s been attacked, Sam rushes home with her boyfriend Richie (Jack Quaid) in tow. He’s never seen a “Stab” movie – the faux franchise based on what happened in Woodsboro that was filming in the first sequel. For the record, “Stab” is up to seven movies referenced here.
Richie gets up to speed quickly. As Sam reconnects to her past, the screenwriters introduce us to the new characters that have links to the old gang. Twins Mindy ( Jasmin Savoy Brown) and Chad (Mason Gooding) are the niece and nephew of victim Randy Meeks (Jamie Kennedy) and Amber (Mikey Madison) lives in the former home of killer Billy Loomis’ accomplice Stu Macher (Matthew Lillard)
Kevin Williamson, who created the original characters that launched many a career, was back for the second and fourth films, and is a current executive producer. He had a knack for capturing youth behavior and culture – and that hallmark continues, even with more jaded kids. His stamp is evident. After all, he went on to create “Dawson’s Creek” in 1998, which ran for six seasons (Does anyone else think the offspring of Meg Ryan and Dennis Quaid looks like Pacey?) – and develop “The Vampire Diaries” in 2009, which ran for eight seasons.
The teen party scenes, a staple, propel the funhouse jumps. A character goes into the basement alone! A character says he’ll be right back! The kids generally pay for ridiculous decisions.
And we all know what happens when characters open doors, cabinets, and refrigerators. In one of the best scenes, Wes Hicks (Dylan Minnette), son of Sheriff Judy Hicks (Marley Shelton, another returnee), filmmakers ingeniously stretch it out as he prepares for dinner.
One of my hesitations about embracing these tales fully is that I never totally buy into the whodunit. I like how they get there, but I’m usually let down by the identity and motivations of the murderers. There are many dots to connect and sometimes they don’t.
Will this movie set sequels in motion? Time will tell, but we need to care about the new characters as much as we did the core group
One must remember what the horror movie landscape was like in the 1990s to appreciate how groundbreaking “Scream” was – a lackluster crop of stale Jason Voorhees, Michael Myers, and Freddy Krueger sequels. But after “Scream” rejuvenated the genre, M. Night Shamylan introduced “The Sixth Sense” in 1998 and “The Blair Witch Project” kicked off the found-footage subgenre in 1999.
Jack Quaid as Richie
Lessons will hopefully be learned about annoyance over cash-grab sequels that they make a point about so well.
“Scream” is a 2022 horror thriller that is fifth in the series. Directed by Matt Bettinelli-Olpin and Tyler Gillett, it stars Neve Campbell,Courtney Cox, David Arquette, Melissa Barrera, Jenna Ortega and Jack Quaid. Rated R for strong bloody violence, language throughout and some sexual references, its runtime is 1 hour, 54 minutes. It opens only in theaters on Jan. 14. Lynn’s Grade: B.
After careful consideration, the Arts For Life board of directors has decided to cancel the in-person Trivia Night event set for Saturday, Jan. 22, at the Kirkwood Community Center, and will instead host a Virtual Trivia Night via Zoom that evening.
The virtual event will still feature 10 rounds of general knowledge trivia questions and monetary prize awards for the first and second place teams.
Nominations for the annual Best Performance Awards, which honors excellence in community musical theater, and the Theatre Mask Awards, which recognizes outstanding dramatic and comedic plays, will be announced throughout the night.
People who want to register for the virtual event or have already registered should contact Kim Klick at: [email protected]. Table registration is $160/8 players per team and individual registration is $20 per person. Mulligans and 50/50 raffle tickets are also available.
You can register and pay at: https://arts-for-life-2.square.site/
Questions start at 7 p.m., but the Zoom link opens at 6:30 p.m. All teams will be in the same room at the beginning of each round. Emcee Kimmie Kidd-Booker, with assist from Colin Dowd, will present each category and questions before sending each team to their breakout room.
You will then have a set amount of time to collaborate on your answers and submit via a Google document. When time is up, all teams will return to the “main” room where the answers will be displayed.
“We will still celebrate theater!” said AFL President Mary McCreight. “Since teams are playing via Zoom this year, feel free to recruit team members from around the globe.”
McCreight said the board was concerned about the health and safety of the theater community as the St. Louis-Metro East Metropolitan Region is experiencing a surge of the Omicron variant outbreak.
“There were just too many risks at this time during the ongoing COVID-19 -pandemic. We will continue to monitor data from local officials and health and safety experts in planning for our awards ceremonies — those details will be announced later,” McCreight said. “We look forward to celebrating on future dates.”
For the past 23 years, AFL has honored musical theater with the Best Performance Awards and introduced the Theatre Mask Awards to honor comedy and drama productions in 2015.
AFL hosted a virtual trivia event in 2021, and the Best Performance Awards were cancelled because the coronavirus public health crisis forced cancellation of shows, but the Theatre Mask Awards were held virtually, in a smaller capacity, for the productions that were able to be presented.
AFL held its BPAs and TMAs ceremonies virtually in 2020, honoring work in 2019.
This year’s BPA nominations take into consideration the musicals that were performed in 2020 before the pandemic shutdown began in mid-March and the productions that were mounted in 2021 after restrictions lessened.
Safety precautions have been a priority for performers and performances, and with mitigation efforts, including vaccines, COVID-19 tests, masks, and social distance seats are available, stage work has returned, and theaters are not dark, unless there is a virus outbreak forcing cancellations and postponements.
“While we did about half the usual number of shows in 2021, it did not diminish Arts for Life’s vision for a community recognition program,” “These award events recognize the incredible talent we have in St. Louis community theater and honor the passion and dedication of those who build this amazing and unique theatrical community,” McCreight said.
Master of Ceremonies Kimmie Kidd-Booker is a local professional actress who has won two AFL Best Performance Awards for Best Featured Actress in “The Wiz” at Hawthorne Players in 2014 and as Estonia Dulworth in “Nice Work If You Can Get It” in 2020.
She was nominated as Best Actress in a Featured Role as Sister Mary Hubert in “Nunsense” at Hawthorne Players in 2015 and as The Witch in “Into the Woods” at Curtain’s Up Theater in 2018. She currently serves on the AFL board of directors.
Event Sponsorships are available at $50. Sponsorship includes group/company name and logo displayed at the beginning and end of event as a sponsor, then group/company name and logo displayed on our social media sites as a sponsor.
Arts For Life is a local not-for-profit arts organization dedicated to the healing power of the arts through its work with youth, the underserved and the community, with its goal of “Making a Dramatic Difference.”
AFL is dedicated to promoting public awareness of local community theater, encouraging excellence in the arts, and acknowledging the incredible people who are a part of it.
For more information, visit the website, www.artsforlife.org, or email: [email protected]
By Lynn Venhaus In the international spy game, girls can take a licking and keep on ticking – that’s the calling card of “The 355,” a wildly uneven full-throttle action thriller.
Four women from different countries with spy agency experience join forces to save the world from cyber-catastrophe, the kind that would cause World War III. The action rockets from Columbia to Virginia to Paris to London to Shanghai on this deadly mission, as a mysterious woman tracks their moves.
The concept here is that women can be lethal weapons and front action movies, just like Tom Cruise and Jason Statham. Their task is to outsmart mercenaries up to no good. Cue the propulsive music score by Tom Kolkenborg, aka “Junkie XL,” as we watch chases, shootouts, stick-fighting, and explosions just like a “John Wick” or “Jack Reacher.”
A quartet of top-shelf actresses unite for this rogue mission: two-time Oscar nominee Jessica Chastain, in full “Zero Dark Thirty” mode, as fiery CIA agent Mason “Mace” Browne; two Oscar winners, Lupita Nyong’o as crackerjack cyber-sleuth Khadijah, formerly M16, and Penelope Cruz as compassionate Graciela, a psychologist who works with DNI agents in Colombia; and Diane Kruger as cunning German operative Marie Schmidt of the Bundesnachrichtendienst, or BND, the foreign intelligence service.
They slip into their roles with ease, and genuinely develop a bond working together in a frantic race against the clock. Their action scenes are quite impressive – as is the editing of Oscar-winner John Gilbert.
The bold and brave mavericks show off sharp skills as they try to prevent a top-secret weapon — a computer drive with a master key — from falling into nefarious hands. They can do everything 007 and other secret agent boys can do while globe-trotting. The movie gets far more interesting when Bingbing Fan, as the mysterious Lin Mi Sheng, is added to their girl power grid. However, Sebastian Stan, as Mace’s CIA partner, is unconvincing.
Like Beyonce sang, girls can run the world – and co-writer-director Simon Kinberg seized upon the idea pitched by Chastain when he directed her in the worst “X-Men” movie sequel ever, “Dark Phoenix.” She wanted to see women get the rock-star action-goddess treatment and is one of the producers here.
“The 355” refers to the codename of an unidentified female spy in the American Revolution. (They tell us this fact far into the film).
Huzzah! Any time girls are shown on equal footing with the guys, it’s a good thing – even if it’s a pedestrian project. Last year’s “Gunpowder Milkshake” comes to mind, and the ruthless aspects of the superior “Widows” in 2018.
The plot is convoluted and often implausible, but the fight scenes are well-choreographed and are entertaining when they have the upper hand and slip out of harm’s way. The movie could have ended at least three different times, so it feels long at 2 hours and 4 minutes.
Comparisons to “Charlie’s Angels” for the 21st century are fair. The women are having such a good time kicking butt and getting names that it’s a shame that the formulaic plot devices slow it down.
Major characters shockingly get killed early, there are betrayals you see coming a mile away, and then of course we have the tough bosses and the clueless co-workers who are making bad assumptions (do these creaky tropes work anymore?).
And the main villain is a weak one — a generic billionaire fueled by greed and power. We don’t ever know much about him, and he is as bland as those stock photos companies put in their frames to entice purchasers. I couldn’t find his name in the credits, that’s the impression he makes.
Kinberg has many producing and writing credits, but as a director, hasn’t exhibited much to get excited about – yet.
Two screenwriters, Theresa Rebeck – Emmy-nominated for TV work, with a long resume including “Law and Order” and “NYPD Blue,” and Bek Smith, joined Kinberg on the script. They pile on the cliches about the women not necessarily enjoying being lone wolves and trust issues. When protecting everyone from danger, it’s tough to have what people regard as a conventional lifestyle. Their pity parties are short-lived, though, because they like being Girl Bosses.
They leave the film open-ended for a sequel, just in case they want to get the band back together. The dream team would need a better script, but seeing them triumph in this long-delayed film is an OK escape during the dreary part of frosty winter.
“The 355” is an action thriller directed by Simon Kinberg. It stars Jessica Chastain, Lupita Nyong’o, Diane Kruger, Penelope Cruz, Sebastian Stan, Edgar Ramirez and Bingbing Fan. Rated: PG-13 for sequences of strong violence, brief strong language, and suggestive material, it opens only in theatres on Jan. 7. Lynn’s Grade: C.
Devoid of the first two’s offbeat charm, an airless and choppy prequel loses its way and winds up a tedious mess, despite a feisty Ralph Fiennes (Duke of Oxford) and tony cast in “The King’s Man.”
Don’t expect more oomph in the same manner as the playful spy adventure energetically captured in “Kingsman: The Secret Service” in 2014 — and less so in “The Kingsman: Golden Circle” in 2017, because it only feebly imitates some of that style and cheeky fun.
Like the original one and its sequel four years ago, “The King’s Man” is based on the comic book “The Secret Service” by Mark Millar and Dave Gibbons, with a story by director Matthew Vaughn, who co-wrote the screenplay with Karl Gajdusek.
In the early years of the 20th century, the Kingsman agency, the first independent British intelligence agency, is formed after founders were part of a secret group that takes on a cabal plotting a war to wipe out millions. The group includes some of history’s worst tyrants and criminal masterminds, and one man will race against time to stop them.
Taking creative license with the events leading up to World War I, and exaggerating the leaders involved, “The King’s Man” uses the link between Kaiser Wilhelm, King George of England, and Tsar Nicholas II of Russia as cousins to frame its conflicts between might and right and the pursuit of political agendas.
It covers too much territory, too many people without a distinguishable identity and doesn’t rely on the truth behind “the war to end all wars.” England and Russia did team up as allies against Germany but other than a few references, it isn’t interested in being clear with the facts, bending the story to suit its alternate reality arc.
Though Fiennes is all-in and leads a solid British cast that features Matthew Goode, Tom Hollander, Gemma Arterton, and Charles Dance. Harris They can’t salvage a thin premise.
Standouts include Dickinson as Oxford’s son, Conrad (played as a youngster by Alexander Shaw) and Djimon Hounsou as the noble Shola, in loyal service to the Oxfords, who also has a secret identity and shows his deft combat skills.
Dickinson, who played Pete in another recent release, “The Souvenir, Part II,” shows much promise as the brave lad, and displays a strong relationship with Fiennes. He also portrayed J. Paul Getty III in the TV series “Trust” and was Prince Philip in “Maleficent: Mistress of Evil.”
Initially protecting Conrad, whose mother was killed in an ambush in South Africa in 1902, has been Oxford’s mission, but the stand-up son’s ambition to serve can no longer be ignored.
He is shown the secret room at the tailor shop, and soon becomes a courageous warrior in seeking out useful information to help the war effort.
First is a dangerous trip to Russia, meeting with the unstable Rasputin, zestfully played by Rhys Ifans as a cartoonish madman. His over-the-top portrayal seems thrown together as a comic interlude, more in line with a Mel Brooks movie, while the rest of the movie is dead serious (and mostly dull).
Although it doesn’t have the panache and zing of that first film, the swordplay and fight choreography are as impressive as before. So is the cinematography by Ben Davis, a Marvel veteran who has been director of photography on “Doctor Strange,” “Captain Marvel,” “Eternals,” and “Guardians of the Galaxy,” among others.
Apparently, the pandemic isn’t the only reason behind this prequel’s long delay – it’s just not a well-constructed film, so why a Christmastime slot? It had been slated for release on Nov. 15, 2019, then pushed back to a couple dates in 2020 and this year, then finally now.
“The King’s Man” is a 2021 crime thriller, action-adventure directed by Matthew Vaughn. Starring Ralph Fiennes, Gemma Arterton, Rhys Ifans, Matthew Goode, Harris Dickinson, Daniel Bruehl, Djimon Hounsou, and Charles Dance.. Rated: R for sequences of strong/bloody violence, language, and some sexual material, its runtime is 2 hours, 11 minutes.. In theatres on Dec. 22 and on Hulu Feb. 18. Lynn’s Grade: C-
