Lynn’s Best Films of 2023

Lynn’s Best Films of 2023

By Lynn Venhaus

I admit it. I was skeptical of the whole ‘Barbenheimer” match-up that same week in July. But you know what? It worked — the two biggest movies of the year, and two of the most critically acclaimed. They couldn’t have been more different, and they dominated the film conversation.
They’re my one-two punch. Eight of my Top Ten received Academy Award nominations for Best Picture.
I was not on the bandwagon for “Poor Things,” or “Killers of the Flower Moon” (but yet I acknowledge the technical prowess, and Lily Gladstone was robbed).
As part of the team at Webster-Kirkwood Times, we publish our Top Ten in alphabetical order, then on KTRS Radio, I only did my Top Ten, but here, I get to give as many films and people I want to a trophy, a shout-out. It’s my list, so without further ado, here’s my favorites. (And I really did see about 150 films.)

1. Oppenheimer

Director Christopher Nolan’s erudite character study on American theoretical physicist J. Robert Oppenheimer is a stunning achievement in sight, sound, story, and scope. A big-brained biopic, meticulously crafted like a big-stakes psychological thriller, is bold cinematic grandeur, featuring the year’s best ensemble, cinematography, editing, sound, and tremendous performance by Cillian Murphy in the titular role. He’s nearly on screen the entire time.

2. Barbie

Director and co-writer Greta Gerwig crafted an irresistible female-fantastic self-aware fantasy-comedy that brims with great gags, first-rate actors (Kenergy!), and vibrant visuals. Gerwig and co-writer Noah Baumbach’s toy story takes a closer look at a fashion doll icon in a clever and inventive way, and says so much about us through a splendid cast. Margot Robbie and Ryan Gosling anchor one of the year’s best ensembles: America Ferrera , Kate McKinnon and Michael Cera add flavor, and the bevy of cameos evoke big grins.

3. The Holdovers

Tapping into the anger and loneliness of people who find themselves alone at a New England boarding school during Christmas 1970, director Alexander Payne coaxes terrific performances from Paul Giamatti as a misanthrope teacher, Da’Vine Joy Randolph as a grieving cook, and newcomer Dominic Sessa as a student abandoned by his mother and new husband. Screenwriter David Hemingson’s comedy-drama resonates in a rich and deeply satisfying way. 

4. Past Lives

A trio of pitch-perfect performances mark Celine Song’s directorial debut on how people we love shape our lives, and what we learn and still carry with us. Greta Lee, Teo Yoo and John Magaro are adults at a crossroads, and express yearning, but from distinctive viewpoints. Song’s script brings up relatable issues to ponder, especially “In-Yun,” the ties of fate that connect two people across lifetimes.

5. Anatomy of a Fall

Justine Triet’s Hitchcockian examination of a mysterious death and a troubled marriage is a riveting crime case, courtroom thriller and family drama that shifts lenses and perspectives for nearly 2 hours and 31 minutes. Set in the French Alps, Sandra Huller is riveting as the accused wife, whom you are not always sympathetic with, and Milo Machado-Graner is sensational as her 11-year old son.

6. The Zone of Interest

Constructed in such a way as to be more disturbing about what you don’t see and can only imagine based on historical accuracy. Director Jonathan Glazer focuses on the mundane daily life of Nazi mastermind Rudolph Hoess (Christian Freidel) and his family for an unsettling look at the past and a chilling cautionary tale for today. The Hoesses live next door to Auschwitz in their dream home while he is the head commander of the concentration camp. How the Germans normalized the atrocities is haunting.

7. Maestro

Career-best performances from Bradley Cooper as America’s first superstar conductor Leonard Bernstein and Carey Mulligan as his wife, actress Felicia Montealegre, in an intricate portrait of life, art and love. They throw themselves into these roles with a heartfelt and powerful intensity. It’s an uncommon but charismatic exploration, and this passion project has stunning camera work, costumes, production design, sound, hair/makeup and one of the year’s finest scenes: Mahler’s Symphony No. 2 in the Ely Cathedral. 

8. American Fiction

A scathing social satire about the current cultural obsession about reducing people to stereotypes is manifested in a remarkable directorial debut by Cord Jefferson. Jeffrey Wright is outstanding as a frustrated novelist-professor who uses offensive tropes in a book written with a pen name and that not only gives him the praise that had eluded him but also enlarges the hypocrisy involved. The sharp jabs against the publishing world and Hollywood entertainment that perpetuates tired cliches delivers some knockout punches, but there is a universal family dynamic as a major part of the journey too that emotionally connects.

9. Air

An exceptional all-star ensemble and Alex Convery’s savvy script with a keen sense of time and place makes this a fascinating underdog story. The tightly-constructed film, based on the game-changing story of Nike landing Michael Jordan, gives the real people their due for their efforts in a sturdy crowd-pleaser deftly helmed by Ben Affleck.

10. Are You There God? It’s Me, Margaret

In her adaptation of the iconic young adult novel, writer-director Kelly Fremon Craig doesn’t hit a false note. With unforced wit and oodles of charm, this empathetic coming-of-age story resonates with every little detail. Abby Ryder Fortson delivers the year’s best juvenile performance.

The Rest of the Best of 2023:
All of Us Strangers
American Symphony
Boston Strangler
The Color Purple
Dream Scenario
Dumb Money
Godzilla Minus One
Guy Ritchie’s The Covenant
The Iron Claw
John Wick Chapter 4
The Last Repair Shop
May December
A Million Miles Away
Nyad
Origin
Perfect Days
Society of the Snow
Still: A Michael J Fox Movie
The Teachers’ Lounge
Tetris

Best Performances by an Actor

  1. Cillian Murphy “Oppenheimer”
  2. Bradley Cooper “Maestro”
  3. Paul Giamatti “The Holdovers”
  4. Jeffrey Wright “American Fiction”
  5. Colman Domingo “Rustin”
  6. Andrew Scott “All of Us Strangers”
  7. Teo Yoo “Past Lives”
  8. Koji Yakusho “Perfect Days”
  9. Paul Dano “Dumb Money”
  10. Nicolas Cage “Dream Scenario”

(Matt Damon “Air,” Christian Friedel “The Zone of Interest,” Jamie Foxx “The Burial,” Gael Garcia-Bernal in “Cassandro,” and Zac Efron “The Iron Claw” honorable mention)

Best Performances by an Actress

  1. Lily Gladstone – “Killers of the Flower Moon”
  2. Carey Mulligan – “Maestro”
  3. Margot Robbie – “Barbie”
  4. Aunjanue Ellis-Taylor – “Origin”
  5. Sandra Huller – “Anatomy of a Fall”
  6. Greta Lee – “Past Lives”
  7. Natalie Portman – “May December”
  8. Annette Bening – “Nyad”
  9. Leonie Benesch “The Teachers’ Lounge”
  10. Teyana Taylor “A Thousand and One”

(Alma Poysti “Fallen Leaves,” Cailee Spaeny “Priscilla,” Michelle Williams “Showing Up,” Laurie Metcalf “Somewhere in Queens” honorable mention)

BEST SUPPORTING ACTOR

  1. Ryan Gosling “Barbie”
  2. Robert Downey Jr. “Oppenheimer”
  3. Charles Melton “May December”
  4. Robert DeNiro “Killers of the Flower Moon”
  5. Dominic Sessa “The Holdovers”
  6. Glenn Howerton “BlackBerry”
  7. Paul Mescal “All of Us Strangers”
  8. Jamie Bell “All of Us Strangers”
  9. Dar Salim “Guy Ritchie’s The Covenant”
  10. John Magaro “Past Lives”

(Sterling K. Brown “American Fiction,” Eddie Marsan “Fair Play,” Jon Bernthal “Origin,” Hugh Grant “Wonka,” Matt Damon “Oppenheimer,” Jacob Elordi “Saltburn” and Sebastian Stan “Dumb Money” honorable mention)

BEST SUPPORTING ACTRESS

  1. Da’Vine Joy Randolph “The Holdovers”
  2. Danielle Brooks “The Color Purple”
  3. Jodie Foster “Nyad”
  4. Viola Davis “Air”
  5. Rachel McAdams “Are You There God? It’s Me, Margaret”
  6. Sandra Huller “The Zone of Interest”
  7. America Ferrara “Barbie”
  8. Emily Blunt “Oppenheimer”
  9. Julianne Moore “May December”
  10. Claire Foy “All of Us Strangers”

(Juliette Binoche “The Taste of Things,” Rosamund Pike “Saltburn,” Erika Alexander “American Fiction,” Cara Jade Myers “Killers of the Flower Moon” honorable mention)

BEST DIRECTOR

  1. Christopher Nolan “Oppenheimer”
  2. Greta Gerwig “Barbie”
  3. Justine Triet “Anatomy of a Fall”
  4. Jonathan Glazer “The Zone of Interest”
  5. Chad Stahelski “John Wick Chapter 4”
  6. Cord Jefferson “American Fiction”
  7. Alexander Payne “The Holdovers”
  8. Celine Song “Past Lives”
  9. Andrew Haigh “All of Us Strangers”
  10. Takashi Yamazaki “Godzilla Minus One”

(J.A. Bayona “Society of the Snow,” Ben Affleck “Air,” Kelly Fremon Craig “Are You There God? It’s Me, Margaret,” Bradley Cooper “Maestro,” Sean Durkin “The Iron Claw” and Davis Guggenheim “Still: A Michael J. Fox Movie”)

ENSEMBLE

  1. Oppenheimer
  2. Barbie
  3. Air
  4. The Holdovers
  5. The Iron Claw
  6. The Color Purple
  7. Rustin
  8. All of Us Strangers
  9. Origin
  10. American Fiction

SCREENPLAY – ORIGINAL

  1. Greta Gerwig and Noah Baumbach “Barbie”
  2. David Heminson “The Holdovers”
  3. Justine Triet and Arthur Harari “Anatomy of a Fall”
  4. Celine Song “Past Lives”
  5. Alex Convery “Air”
  6. Kristoffer Borgli “Dream Scenario”
  7. Nicole Holofcener “You Hurt My Feelings”
  8. Samy Burch, Alex Mechanik “May December”
  9. İlker Çatak, Johannes Duncker “The Teachers’ Lounge”
  10. Bettina Gilois, Hernán Jiménez, Alejandra Márquez Abella “A Million Miles Away”
  11. Ray Romano, Mark Stegemann “Somewhere in Queens”

SCREENPLAY – ADAPTED

  1. Christopher Nolan “Oppenheimer” (based on the book “American Prometheus” by Kai Bird, Martin J. Sherwin)
  2. Cord Jefferson “American Fiction” (based on the book “Erasure” by Percival Everett
  3. Andrew Haigh “All of Us Strangers” (based on the Taichi Yamada novel)
  4. Jonathan Glazer “The Zone of Interest” (based on the Martin Amis novel)
  5. Kelly Fremon Craig “Are You There God? It’s Me, Margaret” (based on the book by Judy Blume)
  6. “Dumb Money” Rebecca Angelo, Lauren Schuker Blum (based on the book by Ben Mezrich)

CINEMATOGRAPHY

1. Hoyte de Hoytema “Oppenheimer”
2. Rodrigo Prieto “Killers of the Flower Moon”
3. Matthew Libatique “Maestro”
4. Jonathan Ricquebourg “The Taste of Things”
5. Rodrigo Prieto “Barbie”
6. Erik Messerschmidt “The Killer”
7. Claude Mirando “Nyad”
8. Jamie D. Ramsay “All of Us Strangers”
9. Simon Beaufils “Anatomy of a Fall”
10. Dan Laustsen “John Wick Chapter 4”

(Pedro Luque “Society of the Snow.” Haris Zambarloukos “A Haunting in Venice,” Linus Sandgren “Saltburn” honorable mention)

BEST EDITING

  1. Oppenheimer, Jennifer Lame
  2. The Killer, Kirk Baxter
  3. Anatomy of a Fall, Haris Zambarloukos
  4. The Zone of Interest, Paul Watts
  5. John Wick: Chapter 4
  6. Still a Michael J. Fox Movie
  7. Barbie, Nick Houy
  8. American Fiction, Hilda Rasula
  9. The Iron Claw, Matthew Hannam
  10. The Holdovers, Kevin Tent
  11. John Wick Chapter 4, Nathan Orloff
  12. Missing, Austin Keeling, Arielle Zakowski
(L to R) Jake Ryan, Jason Schwartzman and Tom Hanks in director Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus Features

PRODUCTION DESIGN

1.Asteroid City, Adam Stockhausen
2. Barbie, Sarah Greenwood
3. Wonka, Nathan Crowley
4. The Holdovers, Ryan Smith
5. Maestro, Kevin Thompson
6. Taste of Things, Toma Baqueni
8. Priscilla, Tamara Deverell
9. Oppenheimer, Ruth De Jong
10. Killers of the Flower Moon, Jack Fisk
(Suzie Davies “Saltburn,” John Paul Kelly “A Haunting in Venice,” Arthur Max “Napoleon,” François Audouy “Air,” Steve Saklad “Are You There God? It’s Me, Margaret” and Shona Heath, James Price “Poor Things”)

COSTUME DESIGN

1. Barbie
2. The Color Purple
3. Maestro
4. Killers of the Flower Moon
5. Priscilla
6. Are You There, God? It’s Me Margaret”
7. Oppenheimer
8. Napoleon

MUSIC SCORE

1. Oppenheimer
2. The Boy and the Heron
3. Spider-Man: Across the Spider-Verse, Daniel Pemberton
4. The Holdovers
5. American Symphony, Jon Batiste
6. Indiana Jones and the Dial of Destiny, John Williams
7. A Haunting in Venice

MUSIC SOUNDTRACK

1. Barbie
2. Air
3. Maestro
4. The Holdovers
5. Flora and Son
6. Dumb Money
7. Wonka

VISUAL EFFECTS

  1. Oppenheimer
    2. Godzilla Minus One
    3. John Wick: Chapter 4
    4. Spider-Man: Across the Spider-Verse
    5. Society of the Snow
    6. Wonka
    7. Guardians of the Galaxy

STUNT TEAM

1. John Wick Chapter 4
2. Mission: Impossible – Dead Reckoning Part One
3. The Iron Claw
4. Indiana Jones and the Dial of Destiny   

ANIMATED FEATURE

1.The Boy and the Heron
2. Nimona
3. The Peasants
4. Spider-Man: Across the Spider-Verse
5. Robot Dreams
6. Elemental
7. Teenage Mutant Ninja Turtles: Mutant Mayhem
8. Ernest and Celestine: A Trip to Gibberitia
9. They Shot the Piano Player
10. Leo

DOCUMENTARY FEATURE

  1. Still A Michael J. Fox Movie
    2. American Symphony
    3. Beyond Utopia
    4. 20 Days in Mariupol
    5. It Ain’t Over
    6. The Lady Bird Diaries
    7. King Coal
    8. Stamped from the Beginning
    9. Aurora Sunrise
    10. Bad Press

    (The Eternal Memory, Little Richard: I Am Everything, Immediate Family, The Disappearance of Shere Hite, Chasing Chasing Amy, Sly)

COMEDY

1. Barbie
2. Dream Scenario
3. The Holdovers
4. Are You There God? It’s Me Margaret
5. They Cloned Tyrone
6. What’s Love Got to Do With It?
7. Dumb Money
8. You Are So Not Invited to My Bat Mitzvah
9. Theater Camp
10,. Quiz Lady
10. Shotgun Wedding

ACTION

  1. John Wick Chapter 4
    2. Mission Impossible – Dead Reckoning, Part One
    3. Guy Ritchie’s The Covenant
    4. Godzilla Minus One
    5. The Killer
    6. The Equalizer Part 3
    7. Gran Turismo

BEST INTERNATIONAL FEATURE

1. The Zone of Interest
2. Anatomy of a Fall
3. The Teachers’ Lounge
4. Society of the Snow
5. Perfect Days
6. Afire
7. The Peasants
8. Godzilla Minus One
9. Fallen Leaves
10. The Taste of Things

BEST SCENE

1.America Ferrara’s monologue on the impossible standards set for women in “Barbie”
2. Bernstein Conducting Mahler’s Symphony No. 2 “Resurrection” in the Ely Cathedral in “Maestro”
3. Observers commenting on trio at the bar in “Past Lives”
4. Trinity test in “Oppenheimer”
5. Staircase fight in Paris in “John Wick Chapter 4”
6. Fight replay at the trial in “Anatomy of a Fall”
7. Tilda Swinton restaurant scene in “The Killer”
8. Joe talking to his son on the roof in “May December”
9. Finale in “The Zone of Interest”
10. Matt Damon predicts the future in “Air”

BEST DOCUMENTARY SHORT

  1. The Last Repair Shop
  2. The ABC’s of Book Banning
  3. Deciding Vote
  4. The Barber of Little Rock 

BEST JUVENILE PERFORMANCES

  1. Dominic Sessa, “The Holdovers”
  2. Abby Ryder Fortson, “Are You There God? It’s Me Margaret”
  3. Milo Machada Graner, “Anatomy of a Fall”
  4. Josiah Cross, “A Thousand and One”
  5. Aaron Kingsley Adetola, “A Thousand and One”
  6. Aven Courtney, “A Thousand and One”
  7. Arianna Greenblatt, “Barbie”
  8. Leo Stettnisch, “Teachers’ Lounge”
  9. Callah Lane, “Wonka”
  10. Oren Kinlan, “Flora and Son”

Alex McPherson – Top 10 Films of 2023

Alex McPherson – Top 10 Films of 2023

By Alex McPherson

Here’s a list of my favorite movies of 2023, posted fashionably late.

10. “Barbie”

Let’s be honest here. If you’re reading this, you’ve probably already seen Greta Gerwig’s “Barbie.” This box office sensation (superior to Christopher Nolan’s “Oppenheimer,” by the way) is a sight to behold — packed to the brim with eye-popping visuals and amusing-to-hilarious jokes, featuring excellent performances from Margot Robbie, Ryan Gosling, and America Ferrera (among others in this star-studded cast) in a story whose emotional storyline leaves a lasting impression. Gerwig’s film tackles a ton of topics, delivering an incisive takedown of the patriarchy, a universal ode to self-actualization and empowerment, while also being a self-reflexive critique and celebration of the Barbie brand itself. Skeptical viewers should absolutely give this film a watch – “Barbie” is one of the most confident, well-crafted films of this year, or any year.

9. “Are You There God? It’s Me, Margaret.”

I held off watching director Kelly Fremon Craig’s “Are You There God? It’s Me, Margaret.” until just recently, but it’s absolutely essential viewing. Elevated by sensitive, lived-in performances from Abby Ryder Fortson, Rachel McAdams, Benny Safdie, and Kathy Bates, Craig’s adaptation of Judy Blume’s 1970 novel is a relatable coming-of-age dramedy that takes an empathetic approach to all its characters. Growing up is complicated, messy, and full of unknowns, regardless of age, but the film emphasizes the importance of staying true to yourself and being your own person. Funny, heartbreaking, and ultimately uplifting, it’s a timeless story that’s been given a fresh coat of paint, in one of 2023’s most enjoyable films.

8. “Skinamarink”

A claustrophobic, intensely immersive experience from start to finish, and one of the year’s most polarizing films, director Kyle Edward Ball’s “Skinamarink” is a feat of experiential storytelling. The film centers around two children trapped in their family home as doors and windows mysteriously disappear. Their parents are nowhere to be found, with only Legos and public domain cartoons on a blindingly-bright analog TV to comfort them. As the situation grows increasingly trippy and terror-inducing, Ball eschews a clear-cut narrative for subjective manifestations of viewers’ own monsters lurking in the darkened spaces of empty hallways and ceilings. We rarely leave the kids’ point-of-view due to agonizingly suspenseful, static-laden editing and cinematography that dares us to fill in the voids with our own fears, maintaining a constant sense of anticipation as we wait for silence to be broken. “Skinamarink” is a demanding watch, for sure, and not for those with short attention spans, but there’s truly nothing like it.

7. “Menus-Plaisirs – Les Troisgros”

The only documentary in my Top 10 list this year, director Frederick Wiseman’s “Menus-Plaisirs – Les Troisgros” is an ode to cooking, to art, and the act of creation. It’s also four hours long, and I recommend watching it in two two-hour sessions when it becomes available. Wiseman’s film transports viewers into several restaurants in the idyllic French countryside run by the Troisgros family, letting viewers observe the meticulous brainstorming and preparation that goes into running such high-end establishments. Wiseman positions us as flies on the wall, sans narration or music, and creates a downright hypnotic spell. It’s fascinating and inspiring to watch artists at work, and seeing the passion that main chef Michel and his sons César and Léo have for the work. Viewers travel from the kitchen to various producers (including local winemakers, cheesemakers, and cattle farmers) as experts explain their crafts, as well as spending time with (occasionally pompous) restaurant patrons for whom the food is prepared. Through its patient rhythms and tactile cinematography, “Menus-Plaisirs” is captivating and inspiring, motivating me to embrace my own interests.

6. “Godzilla Minus One”

Emotional, invigorating, and full of rip-roaring set pieces while still having plenty on its mind, director Takashi Yamazaki’s “Godzilla Minus One” is one of the year’s biggest surprises. Kaiju movies aren’t necessarily known for the humans involved, but Yamazaki’s film takes time to present endearing, three-dimensional characters facing off against an unprecedented threat. Themes of PTSD, survivor’s guilt, and joining forces for a nation’s existence take center stage alongside sequences of incredible visual artistry and suspense. Ryunosuke Kamiki’s damaged pilot-turned-minesweeper Koichi Shikishima remains a compelling protagonist for this crowd-pleasing piece of popcorn entertainment that honors its rich legacy and doesn’t overplay its hand, balancing its weighty themes with some of the year’s most spectacular action.

5. “Past Lives”

Emotionally raw and artfully constructed with an astounding trio of central performances by Greta Lee, Teo Yoo, and John Magaro, director Celine Song’s “Past Lives” is a thought-provoking meditation on love, dreams, regret, and bittersweet acceptance of the present. Song’s direction is immaculate, giving scenes time to breathe, and Keith Fraase’s editing weaves together characters’ stories in a way that gives the film a dreamlike, ethereal quality. This deceptively gentle, semi-autobiographical story of connections renewed is both personal and universal. Song offers profound reflections on the immigrant experience that everyone can relate to: confronting what-ifs and paths not taken in a manner that shuns melodrama for pure, honest, empathetic truths that acknowledge the past while leaving the door open for an even brighter future.

4. “The Zone of Interest”

Jonathan Glazer’s horrific, experimental, and deeply moving film “The Zone of Interest” takes a disturbing look at the family of Nazi commandant Rudolf Höss (Christian Friedel), who live next door to Auschwitz in their dream home. Only a wall separates them from the horrors therein. Gunshots, screams of agony, and roars of furnaces ring throughout the Höss residence, while Christian’s wife Hedwig (Sandra Huller) tends the large garden and their children play in the yard, everyone ignoring the atrocities just beyond sight. Glazer’s film, greatly enhanced by Mica Levi’s outstanding score and haunting sound design, forces viewers face-to-face with the monstrous complicity of the Höss family, ultimately turning the camera back at us in its final stretch. Formally daring and enveloping, “The Zone of Interest” is unforgettable, lingering in the mind long after the credits roll and encouraging us to reflect on what we’ve shielded ourselves from for the sake of normalcy. Sometimes, films come along that have the power to shift paradigms and ways of being, and this is definitely one of them.

3. “Fallen Leaves”

Legendary Finnish filmmaker Aki Kaurismäki gives us another life-affirming gem with “Fallen Leaves,” a story of two lonely souls finding purpose and happiness with each other in a cold, seemingly uncaring world. Deploying Kaurismäki’s signature brand of dry, deadpan humor (with one of the year’s best scripts) that never loses sight of the characters’ humanity and capacity for change, it’s a lovely film — endlessly rewatchable and chock full of small yet meaningful moments of compassion that shine through amid bleak circumstances both near and far. “Fallen Leaves” isn’t a happy watch per say, but a hopeful one, with magnetic performances and Kaurismäki’s brilliantly efficient direction urging us to not succumb to despair and to embrace those we hold dear.

2. “The Killer”

Methodical, darkly comedic, achingly stylish, and yielding satisfying rewards for viewers willing to dig beneath the surface, “The Killer” is a mesmerizing masterwork from director David Fincher. This hyper-violent, slice-of-life portrait of an unnamed assassin (played with finely-calibrated precision by Michael Fassbender) experiencing an existential crisis might seem simple at first glance, but there’s far more going on here than meets the eye. “The Killer” is ultimately a deconstruction of toxic masculinity, a sardonic takedown of the gig economy, an indictment of our consumerist, always-online society, and a weirdly gratifying peek into an assassin’s day-to-day routines. It’s also streaked with irony, as viewers observe this “well-oiled killing machine” combusting from the inside-out; Andrew Kevin Walker’s screenplay delivers sharp jabs to our protagonist’s ego as his internal monologue tries to convince him everything is under control. Add to all this an incredible score by Trent Reznor and Atticus Ross, a whole bunch of songs by The Smiths, a scene-stealing cameo from Tilda Swinton, and an all-time great fight scene, there’s no doubt that Fincher’s latest ranks among the year’s best.

1. “John Wick: Chapter 4”

Director Chad Stahelski’s nearly-three-hour thrill ride “John Wick: Chapter 4” takes action filmmaking to new heights, presenting set piece after set piece of bone-crunching stunt work and dazzling cinematography. Keanu Reeves gives one of his best performances to date as the titular Baba Yaga, taking on “The High Table” in a last bid for freedom. Not even this year’s “Mission: Impossible – Dead Reckoning Part One” rivals the balletic carnage on display here, matched by a storyline with stakes, heart, and great supporting turns from Donnie Yen, Shamier Anderson, and Scott Adkins. The last hour, in particular, is absolutely immaculate — the most skillful action filmmaking since 2015’s “Mad Max: Fury Road.” What “Chapter 4” lacks in thought-provoking themes it more than makes up for with sheer fun factor. It’s a modern classic in the action genre that deserves more recognition, and as such, ranks at the top of my all-powerful, anyone-who-reads-this-should-watch-these-movies-immediately list.

10 Honorable Mentions (I could keep going but needed to stop somewhere): “They Cloned Tyrone,” “Poor Things,” “Talk to Me,” “20,000 Species of Bees,” “Showing Up,” “BlackBerry,” “American Fiction” “The Holdovers,” “Robot Dreams,” “Mission: Impossible – Dead Reckoning Part One.”

St Louis Film Critics Assn Announces Nominations for 2023 Awards

St Louis Film Critics Assn Announces Nominations for 2023 Awards

“Oppenheimer” leads with nominations 14, followed by “Killers of the Flower Moon” with 12, “Barbie” 11 and “The Holdovers” with 9

The year’s top film phenomenon “Barbenheimer” dominated the nominations announced Dec. 10 by the St. Louis Film Critics Association, with Christopher Nolan’s scientific biopic leading the way, earning 14 nods for best film, director, actor Cillian Murphy, supporting actor Robert Downey Jr., supporting actress Emily Blunt, ensemble, adapted screenplay, cinematography, editing, production design, costume design, music score, visual effects, and best scene.

Awards will be announced Dec. 17.

In addition to determining nominations in 24 categories, the regional critics’ group recognized two groups for special merits involving the industry’s labor strikes this year.

Special Merit: The Screen Actors Guild and Writer’s Guild of America for fighting for artists’ equity and protecting the future of filmmaking by striking against practices that minimize or eliminate protection and living wages for artists.

Special Merit: A24 for showing solidarity with the actors and writers by securing approval from SAG-AFTRA and WGA to continue filmmaking and publicity.

The epic western crime drama “Killers of the Flower Moon” received 12 nominations, including best film, director Martin Scorsese, actor Leonardo DiCaprio, actress Lily Gladstone, ensemble, adapted screenplay, cinematography, editing, production design, costume design, music score and scene.

Killers of the Flower Moon

Greta Gerwig’s blockbuster comedy “Barbie” about the Mattel doll’s existential crisis in BarbieLand, KenEnergy and toxic masculinity in the real world, earned 11 nods for film, director, actress Margot Robbie, supporting actor Ryan Gosling, ensemble, original screenplay, production design, costume design, music soundtrack, comedy and best scene.

Alexander Payne’s comedy-drama “The Holdovers” about a cranky teacher supervising students left on a prep school campus and the bonds formed during Christmas break in 1970 earned recognition for its three principal characters among its nine nominations for film, actor Paul Giamatti, supporting actress Da’Vine Joy Randolph, supporting actor Dominic Sessa, ensemble, original screenplay, editing, music soundtrack, and comedy.

“Maestro,” “May December” and “The Zone of Interest” each earned six nominations.

Todd Hayne’s discomforting drama “May December” tally included nods for its three principal actors Natalie Portman, Julianne Moore and Charles Melton, director, music score, and film.

Natalie Portman, Julianne Moore in “May December”

Jonathan Glazer’s chilling wartime drama set next to Auschwitz “The Zone of Interest,” a film produced in the United Kingdom, earned its accolades for film, international feature, adapted screenplay, cinematography, editing and music score.

Bradley Cooper’s biopic on Leonard Bernstein, “Maestro,” received nods for film, actor Bradley Cooper, cinematography, editing, music soundtrack, and scene.

“American Fiction” earned five nominations for film, actor Jeffrey Wright, adapted screenplay, comedy and supporting actor Sterling K. Brown, who happens to be a St. Louis native.

“Past Lives” and “The Killer” had four nominees each, with Celine Song’s semi-autobiographical American-made film nominated for film, director, original screenplay, and actress Greta Lee.

David Fincher’s “The Killer” was heralded for its technical skills, with nominations for editing, stunts, soundtrack, and best action movie.

John Wick Chapter 4

Other films with three nominations apiece: “Air,” “Are You There God? It’s Me, Margaret,” “Asteroid City,” “John Wick: Chapter 4,” “Mission: Impossible – Dead Reckoning Part One,” “Poor Things,” and “Spider-Man: Across the Spider-Verse.”

Founded in 2004, the St. Louis Film Critics Association is a nonprofit organization of professional film reviewers who regularly publish current and timely film criticism, support local productions and festivals, and enhance public education, awareness, and appreciation of films.

Vetted members are affiliated with qualifying media outlets in the St. Louis metropolitan region.

For the awards, eligible films are those that opened in the greater St. Louis area or had an online premiere during the 2023 calendar year – including those film that were given awards-qualifying runs in 2022 but were not available to all SLFCA members until 2023. Films slated for release in early 2024 are also eligible if a press screening, DVD screener, or screening link was provided to all SLFCA members.

For more information, visit the site: www.stlfilmcritics.com

Full List of Nominations:

The Zone of Interest

BEST FILM

American Fiction
Anatomy of a Fall
Barbie
The Holdovers
Killers of the Flower Moon
Maestro
May December
Oppenheimer
Past Lives
The Zone of Interest

BEST DIRECTOR

Greta Gerwig “Barbie”
Todd Haynes “May December”
Christopher Nolan “Oppenheimer”
Martin Scorsese “Killers of the Flower Moon”
Celine Song “Past Lives”

Jeffrey Wright in “American Fiction”

BEST ACTOR

Bradley Cooper “Maestro”
Leonardo DiCaprio “Killers of the Flower Moon”
Paul Giamatti “The Holdovers”
Cillian Murphy “Oppenheimer”
Jeffrey Wright “American Fiction”

Teo Yoo, Greta Lee, John Magaro in “Past Lives”

BEST ACTRESS

Lily Gladstone “Killers of the Flower Moon”
Greta Lee “Past Lives”
Natalie Portman “May December”
Margot Robbie “Barbie”
Emma Stone “Poor Things”

BEST SUPPORTING ACTOR

Sterling K. Brown “American Fiction”
Robert Downey Jr. “Oppenheimer”
Ryan Gosling “Barbie”
Charles Melton “May December”
Dominic Sessa “The Holdovers”

Viola Davis in “Air”

BEST SUPPORTING ACTRESS

Emily Blunt “Oppenheimer”
Viola Davis “Air”
Rachel McAdams “Are You There God? It’s Me Margaret”
Julianne Moore “May December”
Da’Vine Joy Randolph “The Holdovers”

The Holdovers


BEST ENSEMBLE

Asteroid City
Barbie
The Holdovers
Killers of the Flower Moon
Oppenheimer

BEST ADAPTED SCREENPLAY

Are You There God? It’s Me, Margaret

American Fiction – Cord Jefferson; based on the novel Erasure by Percival Everett

Are You There, God? It’s Me, Margaret – Kelly Fremon Craig; based on the novel by Judy Blume

Killers of the Flower Moon – Eric Roth and Martin Scorsese; based on the book Killers of the Flower Moon: The Osage Murders and the Birth of the FBI by David Grann

Oppenheimer – Christopher Nolan; based on the book American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer by Kai Bird and Martin Sherwin

The Zone of Interest – Jonathan Glazer; based on the novel by Martin Amis



BEST ORIGINAL SCREENPLAY

Alex Convery “Air”
Justine Triet and Arthur Harari “Anatomy of a Fall”
 Greta Gerwig & Noah Baumbach “Barbie”
David Hemingson “The Holdovers”
Celine Song “Past Lives”

(L to R) Jake Ryan, Jason Schwartzman and Tom Hanks in director Wes Anderson’s ASTEROID CITY, a Focus Features release. Credit: Courtesy of Pop. 87 Productions/Focus Features

BEST CINEMATOGRAPHY

Robert D. Yeoman “Asteroid City”
Rodrigo Prieto “Killers of the Flower Moon”
Matthew Libatique “Maestro”
Hoyte van Hoytema “Oppenheimer”
Lukasz Zal “The Zone of Interest”

BEST EDITING

Kevin Tent “The Holdovers”
Kirk Baxter “The Killer”
Thelma Schoonmaker “Killers of the Flower Moon”
Michelle Tesoro “Maestro”
Jennifer Lame “Oppenheimer”
Paul Watts “The Zone of Interest”

BarbieLand

BEST PRODUCTION DESIGN

Adam Stockhausen “Asteroid City”
Sarah Greenwood (Production Designer), Katie Spencer (Set Decorator)“Barbie”
Jack Fisk “Killers of the Flower Moon”
Ruth De Jong “Oppenheimer”
James Price (Production Designer), Shona Heath (Production Designer), Szusza Mihalek (Set Decorator)“Poor Things”

BEST COSTUME DESIGN

Jacqueline Durran “Barbie”
Jacqueline West (Costume Design), Julie O’Keefe (Head Osage Wardrobe Consultant) “Killers of the Flower Moon”
Ellen Mirojnick “Oppenheimer”
Holly Waddington “Poor Things”
Stacey Battat “Priscilla”

Priscilla

BEST MUSIC SCORE

Robbie Robertson “Killers of the Flower Moon”
Marcelo Zavros “May December”
Ludwig Göransson “Oppenheimer”
Daniel Pemberton “Spider-Man: Across the Spider-Verse”
Mica Levi “The Zone of Interest”

BEST MUSIC SOUNDTRACK

Air
Barbie
The Holdovers
The Killer
Maestro

Maestro


BEST VISUAL EFFECTS

The Creator – Jay Cooper, Ian Comley (ILM Visual Effects Supervisors); Andrew Roberts (On Set Visual Effects Supervisor); Neil Corbould (Supervising Special Effects Supervisor)

Godzilla Minus One – Takashi Yamazaki (Visual Effects Supervisor)

Guardians of the Galaxy Vol. 3 – Stephane Ceretti (Visual Effects Supervisor), Alexis Wajsbrot (Visual Effects Supervisor), Guy Williams (Visual Effects Supervisor), Teho Bialek (Visual Effects Supervisor)

Mission: Impossible – Dead Reckoning Part One – Alex Wuttke (Visual Effects Supervisor), Simone Coco (Visual Effects Supervisor), Jeff Sutherland (Visual Effects Supervisor), Neil Corbould (Special Effects Supervisor)

Oppenheimer – Andrew Jackson (Production Visual Effects Supervisor), Giacomo Mineo (Visual Effects Supervisor), Scott Fisher (Special Effects Supervisor), Dave Drzewiecki (Visual Effects Director of Photography)


BEST STUNTS

Mission Impossible Dead Reckoning Part One

Indiana Jones and the Dial of Destiny – Mike Massa (Stunt Coordinator / Double), Abdelaaziz Attougui (Stunt Performer)

The Iron Claw – Chavo Guerrero Jr. (Stunt Performer and Stunt Wrestling Coordinator)

John Wick: Chapter 4 – Scott Rogers (Stunt Coordinator), Stephen Dunlevy (Stunt Coordinator)

The Killer – Dave Macomber (Fight / Stunt Coordinator)

Mission: Impossible – Dead Reckoning Part One – Wade Eastwood (Stunt Coordinator)



BEST INTERNATIONAL FEATURE

Anatomy of a Fall
Fallen Leaves
Perfect Days
The Teachers’ Lounge
The Zone of Interest

BEST ACTION MOVIE

The Killer

Dungeons and Dragons: Honor Among Thieves
Indiana Jones and the Dial of Destiny
John Wick: Chapter 4
The Killer
Mission: Impossible — Dead Reckoning Part One
Spider-Man: Across the Spider-Verse

Spider-Man Across the Spider-Verse

BEST ANIMATED FEATURE

The Boy and the Heron
Elemental
Robot Dreams
Spider-Man: Across the Spider-Verse
Teenage Mutant Ninja Turtles: Mutant Mayhem


BEST COMEDY

American Fiction
Are You There God? It’s Me, Margaret
Barbie
Bottoms
The Holdovers

BEST DOCUMENTARY

Yogi Berra subject of “It Ain’t Over”

American Symphony
Beyond Utopia
It Ain’t Over
Menus Plaisirs – Les Troisgros
Still: A Michael J. Fox Movie
 

BEST HORROR

Evil Dead Rise
Knock at the Cabin
M3GAN
Skinamarink
Talk to Me

Knock at the Cabin

BEST SCENE

Barbie — Gloria’s monologue on the impossible standards set for women

John Wick: Chapter 4 – Staircase fight on the 222 steps leading up to the Sacré-Coeur Basilica in Paris

Killers of the Flower Moon – The radio show finale

Maestro – Leonard Bernstein conducts London Symphony in “Mahler’s Symphony No. 2” in Ely Cathedral

Oppenheimer – Trinity Test

Anatomy of a Fall

Pop du Jour: The September Issue

Pop du Jour: The September Issue

By Lynn Venhaus

After a brief hiatus, we’re back with our round-up of people, places, and events in the St. Louis region, a tad behind in posting our September/summer swan song.

IN COMES COMPANY: Stephen Sondheim’s groundbreaking musical “Company” – the female-led revival that won the Tony in 2022, kicks off its 25-city national tour on Oct. 8 in Schenectady, N.Y., with the St. Louis stop Feb. 27-March 10 at the Fox Theatre.

Belleville native Ann Beyersdorfer, associate set designer for the Broadway revival, worked with production designer Bunny Christie, who won her fourth Olivier Award for the London production design. And she’s on the team that has been preparing the hilarious and sophisticated show for the road.

(Three-time Tony Award winner Jack Lane, co-founder and executive producer emeritus of Stages St. Louis, was one of the Broadway show’s co-producers.)

Ann was back in town this summer, as scenic designer for “Disney’s Beauty and the Beast” and “West Side Story” at The Muny, and I was fortunate to interview her then for the Belleville News-Democrat.

https://news.yahoo.com/belleville-native-designs-sets-broadway-120000176.html

For a deeper dive into the mechanics of getting a Broadway show transferred to the road, read about her journey here on PopLifeSTL.com:

A winner of best set design of a play for “Afterglow” at the Los Angeles Drama Critics Circle Awards, she’ll be part of the team taking the production to London Oct. 17–Nov. 24, with an official opening Oct. 22.

And as an art director on the visual shorts for “Saturday Night Live,” hopefully you will be able to see more of her work when the show resumes on Oct. 14. You may have seen the elaborate “HBO Mario Kart Trailer” she worked on when Emmy-nominated Pedro Pascal hosted.

Cheers to Ann and the tour launch! (We’ll drink to that!). For more information, visit: https://companymusical.com/

Nichelle Lewis, Wayne Brady

BRAND NEW DAY: “The Wiz,” the 1974 super-soul musical adaptation of L. Frank Baum’s beloved children’s novel “The Wizard of Oz,” which was given a reworking for The Muny’s 2018 season, is Broadway-bound in 2024, with St. Louis-connected producers, but this new revival is touring first. Opening night was Sept. 23 at the Hippodrome Theatre in Baltimore, and the reviews were raves.

“The audience and the whole evening was full of joy and energy, extended applause, and standing ovations,” stated the Maryland Theatre Guide on Sept. 29. “Powerhouse performances and stunning choreography,” enthused the Baltimore Sun.

The first-ever revival will be easing down the road to 12 other cities, including Chicago (Nov. 28 – Dec. 10). For more information, visit: https://wizmusical.com/

The producing team of Kristin Caskey and Mike Isaacson (Muny artistic director and executive producer) and a long list of others, including Terry Schnuck, is behind this show. Caskey, now of the Ambassador Theatre Group, spent 20 years with Fox Theatricals. She and Isaacson produced the Tony-winning “Fun Home” in 2015 and this year’s Best Revival winner “Parade.”

Isaacson said they have been working on a revival for eight years, and plans are to mount another national tour after the Broadway limited engagement. In preparation for The Muny, he received permission from the original creators to make some changes. Amber Ruffin, recent Tony nominee for “Some Like It Hot,” wrote additional material – and had worked on the Muny script – from William F. Brown’s original book. You may know her as a writer on “Late Night with Seth Meyers,” as she frequently appears.

Isaacson revealed that in a terrific Broadway World interview with James Lindhorst, who also talked with producers Jack Lane, Mike Bosner and Terry Schnuck – heavy-hitters at this year’s Tonys (“& Juliet,” “Shucked” and “Parade”).

https://www.broadwayworld.com/st-louis/article/Interview-St-Louis-Area-Producers-Mike-Bosner-Mike-Isaacson-Jack-Lane-and-Terry-Schnuck-Nominated-for-Tony-Awards-20230512

Schele Williams is helming this show, with Wayne Brady as The Wiz from Jan. 16 to Broadway engagement, and Alan Mingo Jr. in the title role Sept. 23 – Jan. 14, 2024, and newcomer Nichelle Lewis as Dorothy.

The original 1974 production, directed by Geoffrey Holder and choreographed by George Faison, won seven Tony Awards including Best Musical, and was adapted into a movie in 1978 starring Diana Ross, Richard Pryor, and Michael Jackson. NBC broadcast a live version in 2015, but a planned revival then did not materialize.

Colin, Jeanine

BRUSH WITH GREATNESS: Speaking of the musical “Fun Home,” composer Jeanine Tesori — the most honored and most prolific female theatrical composer in history, was in St. Louis this summer, and stopped in to visit with the local cast rehearing “Caroline, or Change,” produced by Fly North Theatricals.

To get the opportunity to talk with Tesori, who has written five Broadway musicals and received six Tony Award nominations, winning for “Fun Home” and the recent “Kimberly Akimbo,” was one of the best moments ever, according to music director Colin Healy.

Healy summed it up this way on Facebook: “She and Mike Isaacson (producer) offered such wonderful insight into the process of writing, building, and producing ‘Caroline, Or Change,’ validating what is already apparent when hearing the score: how much a labor of love and Herculean creative endeavor ‘Caroline’ was and continues to be… She spoke to us for over an hour and took questions from everyone.”

(Photo: Colin Healy and Jeanine Tesori)

NEW HORIZONS: All good wishes for theater and media folks moving on, changing directions and making the most of opportunities.

Bravo to Taylor Gruenloh, whose new musical “Cascade’s Fire,” a modern Antigone story co-written by Kyle Wernkel, will premiere Oct. 12 and run 13-15 and 19-21 in the Black Box Theatre at Missouri Science and Technology in Rolla, where he is on the Arts, Languages and Philosophy faculty. Taylor wrote the book and lyrics while Wernkel wrote the music.

Taylor recently stepped down as Creative Director at The Tesseract Theatre Company at the end of August, after their successful run of “Kinky Boots.” One of the most prolific and creative folks in town, I can’t wait to see what else he will accomplish.

Congratulations to Joe Gfaller, who has been managing director of Metro Theater Company since 2019, on becoming managing director of Clear Space Theatre Company, a 20-year-old regional theater in Rehoboth Beach, Delaware. He’ll be leaving in mid-October. Jessie Youngblood, the current development director, will serve as interim managing director beginning Oct. 9. Always enjoyed working with Joe, starting with the Opera Theater of St. Louis in 2014. Joe has served Metro, St. Louis’s premiere professional theater for youth and families, well.

Best wishes to Julia Flood, Metro artistic director for the past 10 years, who has announced her retirement after the 51st season. Of Joe’s departure, she said: “Joe has had boundless energy and enthusiasm for the mission and work of Metro Theater Company. I feel lucky to have had the benefit of his partnership through the complexities of the pandemic times and wish him much success and happiness in his new venture.”  (They both can be very proud of their endeavors).
 A free Fall Family Festival to celebrate MTC’s 50 years of service to the community will be held on Oct. 21 and 22. A toast in Gfaller’s honor will be held at that event on Sunday, Oct. 22 at 1 p.m. 

Carol Daniel

Carol Daniel may have retired from one prominent longtime gig, but she is embarking on a fantastic journey. The award-winning St. Louis journalist, reporter, host, columnist, and author has joined Nine PBS as a Senior Producer and Host. 

Daniel said she looks forward to telling the stories of her community in a new way — with a podcast about people making an impact here, and also produce interviews and stories that celebrate and showcase underrepresented voices for Nine PBS’s content flagship, Living St. Louis. Yes to this! I look forward to seeing her next chapter.

Daniel has more than 40 years of experience as a host on KMOX Radio, as well as work on Great Day St. Louis on KMOV/Channel 4, and a columnist for the St. Louis American. She’s been honored as a Living Legend by the National Association of Black Journalists–St. Louis, was recently inducted into the Lincoln University Alumni Hall of Fame, and was a 2022 inductee into the St. Louis Media Hall of Fame.  

Longtime public relations and marketing maestros Eric Pugh and Dylan Stanley have departed our fair river city for beachier pastures. Last at the Muny, Eric is now promoting The Asolo Repertory Theatre in Sarasota, Fla., the largest Equity theatre in Florida, and the largest Repertory theatre in Southeastern U.S. Just wonderful to work with both, and I’m glad we had time together.

Dylan, who has moved to Los Angeles with his fiancé, Nicolas Valdez, who is embarking on a fellowship at USC, will keep us posted on his next challenge after giving us his all at Stifel Theatre and Enterprise Center (and performing in Tesseract Theatre Company’s triumphant “Kinky Boots.”

Best wishes to Lee Anne Mathews in her new role as Education and Artistic Director for the Fox Performing Arts Charitable Foundation!  Before May, she was making things happen at Westport Playhouse.

Congratulations to Brian McKinley on his new role as Director of Education and Community Program at the Black Repertory Theatre of St. Louis.

HOMETOWNERS: Comedian-actor Cedric the Entertainer’s new book, crime caper “Flipping Boxcars,” fictionalizes his grandfather, Floyd “Babe” Boyce.

Jon Hamm is in two, not one, television series this fall. He joined the cast of “The Morning Show” for season 3, now streaming on Apple TV+, and will be in “Fargo,” season 5, which starts Nov. 21 on FX and Hulu.

Nicholas “Sifu” Alsup.
Photo: Robert Voets/CBS

Best wishes to Nicholas “Sifu” Alsup of O’Fallon, Ill., who was chosen as one of 18 contestants on the 45th season of CBS’ “Survivor” that started Sept. 27.He is a larger-than-life personality, and I was able to interview him through permission with CBS. https://news.yahoo.com/o-fallon-gym-owner-one-120000863.html

CHEERS: Congratulations to New Jewish Theatre on their 25th anniversary as a regional professional theatre in St. Louis; and Gateway Center for Performing Arts school, and youth theater company, on their 10th anniversary in Webster Groves. A feature article by me will be in the Webster-Kirkwood Times soon.

OUT AND ABOUT: Two Colins in the ‘Lou news!
Co-owners Colin Healy and Bradley Rohlf of Fly North Theatricals, have opened their new home and social hangout, The Greenfinch Theater and Dive, at 2525 South Jefferson Avenue (the old Way Out Club).. The bar is open every night from 5 p.m. to 1 a.m. You won’t want to miss Stool Pigeon Open Mic Comedy Night on Mondays and Drunk Voice Lessons karaoke with live piano accompaniment (and critiques) by Colin Healy on Wednesdays, plus Burlesque Bingo’s in the rotation too. They are also accepting reservations for their black box theater.

Colin Jost

SNL Head Writer Colin Jost was the Celebrity Guest Host at the Foundation for Barnes-Jewish Hospital’s Illumination Gala on June 3 at The Ritz-Carlton, a major fundraising event for the Siteman Cancer Center. Not sure what he said about “The Square Beyond Compare” but Imo’s posted his photo.
Since 2007, the event has raised more than $42 million to support research funds

MEMORY LANE: Last month in pop culture history.

Sept. 26, 1975: “The Rocky Horror Picture Show” opened in Westwood, Calif., and tanked at the box office, but later would become the definition of a cult classic, inspiring interactive screenings with toast, toilet paper and more.

If you attended midnight screenings in the late ‘70s at the Varsity Theatre in St. Louis (where Vintage Vinyl is now), you might have run in to a teenage Michael Stipe, future alt-rock band REM frontman, who is dressed as Frank-n-Furter here in this vintage newsclip on KSDK’s “Newsbeat.” He told the reporter: “We’re all normal, really.”

Why on earth was Stipe, now 63, in St. Louis then? His dad was in the Army, and they moved to several states during his childhood. In the late ‘70s, he lived in Collinsville, Ill., and attended high school there and went on to Southern Illinois University in Edwardsville.. Later, he would move to Athens, Ga., for college, and met record store clerk Peter Buck, which led to forming a band with Mike Mills and Bill Berry…and the rest is history..

Rocky Horror played midnights at the Varsity Theatre from April 1976 until Jan. 3, 1988 when it closed for good. It was one of the first 30 theatres in the U.S. to do so.

I was fortunate to interview Barry Bostwick (Brad in the movie) when he had been scheduled to appear at Wizard World in St. Louis, but had to cancel, and he graciously talked about making the movie by phone. True delight to talk with and write about — here’s my BND feature from 2017.

https://www.bnd.com/entertainment/article142667129.html

Anne Meara, Alan Arkin

IN MEMORIAM: Frequent visitor to Gaslight Square with the infamous Compass players, RIP Alan Arkin (March 26, 1934 – June 29, 2023). Archival photo is at Crystal Palace with Anne Meara.

From William Roth, the founder and artistic director of St. Louis Actors’ Studio, who renovated The Gaslight Theatre in the Central West End, on Arkin:

“He made his off-Broadway debut in the late 1950s and joined the St Louis improvisational group the Compass Players in 1959. This led to a stint with the Chicago improv troupe Second City and his Broadway debut, in 1961, in the company’s show ‘From the Second City, which he co-wrote.’

Tony-winning actor Michael McGrath, whose last show was at the Muny this summer – he did a fine job as Mr. Mushnik in “Little Shop of Horrors,” passed away in his sleep Sept. 14 at his home in Bloomfield, N.J. He was 65. That wasn’t his first show in St. Louis – in 1990, he played John Adams in Theater Factory’s “1776.” He was first nominated for a Tony in “Spamalot,” and won for “Nice Work If You Can Get It,” playing a bootlegger, in 2012. https://www.nytimes.com/2023/09/15/theater/michael-mcgrath-dead.html

Maggie Ryan, founder of Insight Theatre and inspiration to many, who spent 36 years as an English teacher and director of theater at Nerinx Hall, died Sept. 10, at age 80, after a short battle with leukemia. She was a lovely woman to interact with and cared passionately about theater. Insight operated for 12 years, won several St. Louis Theater Circle Awards including a legendary “Death of a Salesman” directed by Wayne Loui and starring father-son duo John and Jason Contini. Unfortunately, Insight closed in 2020.
https://www.legacy.com/us/obituaries/stltoday/name/margaret-ryan-obituary?id=53065958

Calvin Wilson, St. Louis Post-Dispatch movie and theater critic, died Aug. 29, from an undisclosed illness. He was 70. I worked with Calvin, both in the St. Louis Film Critics Association, and with the St. Louis Theater Circle, and much admired his writing skill. His insight and passion for the arts will be missed.

https://www.stltoday.com/life-entertainment/local/art-theater/post-dispatch-writer-calvin-wilson-a-passionate-advocate-for-the-arts-dies-at-70/article_8fc9b7bc-46b5-11ee-a3a5-0bdd24dc5828.html

CALENDAR NOTES: John Cusack’s screening of “Say Anything,” originally scheduled for October 28 at Stifel Theatre, has been rescheduled for Saturday, March 30. All tickets for the Oct. 28 performance will be honored at the rescheduled date. The popular actor will follow the screening with a conversation regarding his career and the making of the film. Fans will get the opportunity to experience a moderated discussion, with John answering audience questions as well.

Me and Greta, Oct 1, 2022

SHAMELESS NAME-DROPPING: Before she had the biggest movie of the summer (“Barbie”!) and her second son in February, Greta Gerwig was pleasantly accommodating us press troops at the New York Film Festival 2022 (for “White Noise”). The accomplished actress-writer-director is exactly as she seems, a lovely person in person. I had to compliment her on the 2019 “Little Women,” and she said she had a great time working with the cast of that movie. Hopefully, we will be seeing her during the upcoming awards season. On Aug. 6, the film crossed the $1 billion mark worldwide, making her the first woman with sole director credit to have a movie make more than $1 billion.

(My film review: https://poplifestl.com/unexpected-unpredictable-barbie-is-an-irresistible-pop-o-culture/)

Our coda has been added for this issue:

RANDOM THOUGHTS: As you can probably tell, I enjoy waltzing down memory lane, and yes, I was one of the early attendees of “The Rocky Horror Picture Show” midnight showings at the Varsity Theatre in 1977, which was so much fun. If you are a lover of cosplay, I have spied folks in Barbie and Ken outfits at “Barbie” — my prediction for hottest Halloween costumes — and I hear from Abe Goldfarb, hilarious as Otho in the touring company of “Beetlejuice,” who was on the weekly PopLifeSTL.com podcast co-hosted by Carl “The Intern” Middleman and myself on Oct. 4, that there’s many folks dressing up at the shows. He’s excited that they’re here Oct. 13.

The St. Louis Blues open at home Oct. 12. Just once I’d like to buy a team T-shirt where the player I selected isn’t traded. (I bought an Alexander Pietrangelo one — with a C — before the playoffs in ’19 and a Ryan O’Reilly in 2022.)

Are we having the Daylight Savings Time ‘fall back’ happen this year or is it over? Anyone? I’m so confused.

Where in the world is Lynn this weekend? Judging the costume contest at the sensational annual Witches and Wizards Festival in O’Fallon, Ill., a really fun event

Unexpected, Unpredictable ‘Barbie’ Is An Irresistible Pop o’ Culture

Unexpected, Unpredictable ‘Barbie’ Is An Irresistible Pop o’ Culture

By Lynn Venhaus

Far from plastic and without a whiff of cynicism, “Barbie” is a cherry lemonade-frosted cupcake made with the best ingredients, no artificial sweeteners, and sprinkled with Mom love. It tickled me pink.

For our hero’s journey, Barbie must leave her comfort zone, the female-fantastic Barbie Land, to discover the perils of the Real World, where men rule, and she questions her existence.

Savvy writer-director Greta Gerwig has crafted an irresistible fantasy-comedy vision narrated by Helen Mirren, featuring Kate McKinnon as the outcast Weird Barbie, Ryan Gosling projecting “Kenergy” while wearing a floor-length white faux fur coat, and Lizzo singing a spirited “Pink” wake-up tune.

Whatever emotions a Barbie doll has evoked in your lifetime, this inventive live-action movie will bring them all out because of its sincere heart. While a delectable confection, there are multi-layers to digest, making it a surprising thought-provoking piece for our time.

On the one hand, with its frothy cotton-candy-colored façade and breezy beach vibe, “Barbie” is a joyous ode to childhood make-believe and a sentimental nostalgia trip for those who grew up playing with the style-setter. (However, this movie is not for kids, so scratch your plans for a mother-daughter bonding experience if they are under 12).

Brimming with great gags and vibrant visuals, it’s a dizzying pop o’ culture and universality. Through a smart, clever, and funny script co-written by Gerwig and the father of her two children, accomplished filmmaker Noah Baumbach, it is also self-aware and pokes fun at the Barbie ideal and how that has evolved over the years.

Most importantly, though, it is a matter-of-fact look at women’s treatment in society, pushing for more female empowerment while it points out inequalities and unrealistic beauty images. So, whether you love or hate Mattel’s global fashion icon, the takeaways are plentiful.

That’s because all the elements come together to celebrate girl power, while also taking a closer look at a toy’s story and what it reflects about us. Case in point — Issa Rae plays the President, and only female justices are on the Supreme Court in blissful Barbie Land while America Ferrara is a harried working mom in the Real World that tells it like it is in a monologue worthy of break-out applause.

Two-time Oscar nominee Gerwig, who grew up playing with Barbies, wants everyone to have their cake and eat it too. That’s why it is playful, but then addresses how it is a powerful yet polarizing corporation’s merchandise, at once adored by consumers but also decried by detractors.

With Warner Brothers’ studio’s extensive marketing campaign in high gear this summer, the world’s most famous doll, born in 1959, is ubiquitous – and both the filmmakers and filmgoers have embraced this journey.

Margot Robbie as Barbie

Gerwig, an inspired storyteller and enthusiastic film fan, includes nods to such whimsical influences as “Pee-wee’s Big Adventure” and “The Wizard of Oz,” and the colorful aesthetics of the Golden Age of Hollywood musicals and Jacques Demy’s unorthodox “The Umbrellas of Cherbourg.”

And of course, she references “Grease” and “Saturday Night Fever” in group numbers and tempo. The catchy centerpiece “Dance the Night Way,” sung by Dua Lipa, also a Barbie, is produced by hitmaker Mark Ronson – although cut short when Barbie’s bubble bursts. 

The kicky escapist pop soundtrack includes the sampling of “Barbie Girl,” the 1997 Aqua song, in Nicki Minaj and Ice Spice’s “Barbie World,” along with HAIM’s “Home,” Sam Smith’s “Man I Am,” Tame Impala’s “Journey to the Real World,” Billie Eilish’s “What Was I Made For?” and yes, Gosling’s ‘90s boy-band ballad “I’m Just Ken.”

Must also mention the Indigo Girls song from 1989 “Closer to Fine” that becomes a singalong!

A nod to inventor Ruth Handler is lovely, with Rhea Perlman as the Jewish businesswoman (and Mattel’s first president) having tea with her creation. “Humans have only one ending. Ideas live forever,” Ruth tells Barbie.

The pink paradise that is Barbie Land is a wonder to behold, an imaginative playground where girls of all sizes rule. They are independent, successful Nobel Prize winners, Olympic athletes, astronauts, and doctors, living in custom Barbie Dream Houses and changing lives.

The most upbeat is Stereotypical Barbie, and as the blonde bachelorette beauty, Margot Robbie is splendid, with that megawatt smile of hers, radiating star quality. A two-time Oscar nominee (“Bombshell” and “I, Tonya”), she also produced the film.

Her self-sufficient character is no bimbo and certainly not in anyone’s shadow, least of all Ken, who is fine focusing on Barbie’s happiness.

When she discovers – gasp – that men rule the world, and Ken becomes enamored with the patriarchy, thirsting for the power associated with being in charge, not to mention hanging with his macho-cool bros –  it becomes a rocky road.

Fortunately, the toxic masculinity fueled Kendom is short-lived, and the divine disco dancing dude returns as his supportive self.

Ryan Gosling

Two-time Oscar nominee Gosling is flat-out hilarious and an all-in team player as the golden boy. While known for his brooding performances in “Blade Runner 2049,” “Drive” and “The Ides of March,” he has proven how funny he can be in two stints hosting “Saturday Night Live” (must-see sketches are “Close Encounters” in 2015 and “Papyrus” five years ago) and shown his prowess for singing and dance in “La La Land” and his Mouseketeer roots on “The All New Mickey Mouse Club.”

Robbie’s Barbie is not the only girl in town – and the casting is faultless. Emerald Fennell, who won an Oscar for her original screenplay “Promising Young Woman,” is seen briefly as the pregnant Midge, Barbie’s best pal that was discontinued in 2002.

McKinnon is a hoot as the embodiment of the doll who was played with a little too rough, one that had her hair chopped off and her face scribbled with magic markers. She’s become the sage, and makes Barbie select either a stiletto heel or a Birkenstock sandal, a riff on her path as “The Matrix” red or blue pill choice.

And Michael Cera steals the whole show as Allan, Ken’s friend — “I can wear the same clothes.” Marvel guys Simu Liu and Kingsley Ben-Adir are good sports as other Beach Kens. John Cena as Mermaid Ken? Yes, please.

The innovative sunny, sparkly production design by six-time Oscar nominee Sarah Greenwood is a work of art, aided by her frequent collaborator Katie Spencer as set decorator, as is the costume designs by two-time Oscar winner Jacqueline Durran, who worked with Gerwig on “Little Women.”

“Barbie” gets so much right that it’s unfortunate that the filmmakers don’t seem to know how to properly end it, appearing to run out of gas on that golden stretch of Pacific Coast Highway.

Nevertheless, any film that encourages self-expression is to be saluted.

As a first-generation Barbie owner (my mom gave me the ‘Picnic Set’ Barbie with the fishing pole, wearing jeans, for my 6th birthday in 1960), the gift was aspirational, for I could dream of adventures and a glamorous life of achievements when I grew up.

And that spirit lifts this entertaining film into a magical ‘make your own kind of music’ anthem whose time has come.

“Barbie” is a 2023 comedy-fantasy directed by Greta Gerwig and starring Margot Robbie, Ryan Gosling, Michael Cera, Issa Rae, Kate McKinnon, America Ferrara, Simu Liu, Alexandra Shipp, Kingsley Ben-Adir, Will Ferrell and Rhea Perlman. It is rated PG-13 for suggestive references and brief language, and the runtime is 1 hour, 54 minutes. It opens in theaters July 21. Lynn’s Grade: B+.

Note: this review was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the movie being covered here wouldn’t exist.