A gentle outlook on family dynamics and how adults communicate with children, “C’mon C’mon” takes the road less traveled approach. It has something to say and achieves that with uncommon simplicity and openness.
Johnny (Joaquin Phoenix), a radio journalist, is traveling across the country to interview children for an assignment. He stops in Detroit and New Orleans and asks kids about what they think about the future – their fears, expectations, and outlook.
While in L.A., he visits his sister, Viv (Gaby Hoffmann), and spends time with his precocious 9-year-old nephew Jesse (Woody Norman). He and the deeply inquisitive Jesse bond, and they return to his home in NYC together, at a time where the boy’s devoted mother needs to be with his father Phil (Scoot McNairy), who is not well.
Working in stark contrasting black-and-white with cinematographer Robbie Ryan (Oscar nominee for “The Favourite”), writer-director Mike Mills captures distinctive geographic landscapes that allows more focus on intimate interactions in day-to-day living.
This is not an ordinary look at our contemporary world, nor is it typical in its displays of major metropolitan cities. With his keen eye, Mills establishes a rhythm that lets us see things differently, opens the audience to various possibilities – but stays within a narrow framework.
Think of this like chapters in folklore or a fable, sometimes meandering, often illuminating, but the earnest characters are always learning and striving towards understanding.
You get a sense that one day, the relentlessly curious Jesse may write a memoir recalling a most memorable time – a sort of “Travels with My Uncle” from his generational viewpoint. But for now, it’s what appears to be a collection of daily engagements: selecting a toothbrush without audio stimulation, not being able to sleep, mom reading “The Wizard of Oz” to him over the phone and eating a slice of pizza at a neighborhood joint.
The cast excels at its depiction of family ties. In a demonstrative departure, Joaquin Phoenix’s first role since his Oscar-winning turn in the dark and disturbing “Joker” in 2019, finds him softer and squishier, with a scruffy beard and shaggy hair. As Johnny, a bachelor without a significant other or children, Johnny cares about his family and is dedicated to the documentaries he works on but has settled into a mundane routine. Having a child to care for disrupts that — but also provides those teachable moments that propel youth forward. (And also makes a mark on the adult forced to open up).
Phoenix, a new father in real life, and guileless child actor Woody Norman, who has worked in mostly British TV, present an evolving human relationship that unfolds naturally. Norman’s performance is revealing, and Phoenix shows a completely different side of his nature. They are both acting, of course, only it doesn’t look or feel like it.
Gabby Hoffmann, a child actress (“Field of Dreams,” “Sleepless in Seattle”) who grew into a formidable adult artist (Emmy nominated for “Transparent” and “Girls”), plays a responsible adult trying to raise a decent human being, and having all the doubts and anxiety that goes with those choices and decisions. Like the rest of the cast, she gives an engaging lived-in portrayal.
The scenes recording the thoughts of school children provides yet another perspective from diverse voices. Nobody’s life is static, after all, and what they say offers a different slant.
The film’s score is also noteworthy for its interesting mix of synthesizer and classic music pieces. Composers Aaron and Bryce Dessner are known professionally as part of The National, an indie alternative rock band that’s been around for two decades.
Specific in the details he wrote about, Mills has presented an insightful look at life – it may seem slight, and that not much happens, but look closer — you will find pieces of your loved ones and your own journey that will resonate.
Kids are hard work to raise. We don’t match their energy and our senses of wonder and joy are rekindled in their company because they look at life with fresh pairs of eyes. They can be tiring and frustrating – just like we are to them. But they teach us more than we teach them, give us a purpose, and increase our capacity to love ten-fold.
“C’mon C’mon” is not the same-old, same-old. It’s a jagged atmospheric little slice of life that will open your heart and deepen your connection to the people in your world.
“C‘mon C’mon” is a 2021 drama written and directed by Mike Mills. It stars Joaquin Phoenix, Woody Norman, Gaby Hoffmann and Scoot McNairy. It is rated R for language and runs 1 hour, 48 minutes. It is in select theaters on Nov. 24 and premiered locally at the St. Louis International Film Festival on Nov. 7. Lynn’s Grade: B+.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
“Bruised” is a cliché-riddled and formulaic sports story that strives to be a “Million Dollar Baby” or “The Wrestler,” but pales in comparison, offering little inspiration and few reasons to care.
Halle Berry took over acting and directing duties as the story switched from a troubled white Irish Catholic woman to a down-and-out middle-aged black fighter, but she doesn’t bring anything new to the genre. She plays a thoroughly unpleasant person who has consistently made bad choices and it is an uphill battle to convince us that this time she is really going to get her life together.
Of course, that is why everyone has counted her out. She has fallen into the gutter on the inner-city streets of Newark, N.J.
Berry won an Oscar nearly 20 years ago for her searing performance as grieving mother Letitia in “Monster’s Ball” and had been on a hot streak, wowing in her Emmy-winning title role in “Introducing Dorothy Dandridge” in 1999. Unfortunately, despite high-profile roles in James Bond’s “Die Another Day,” as Storm in “X-Men” and as DC villainess Catwoman, she has not given another performance remotely close to her Oscar winner since then.
“Bruised” is the kind of gritty, unglamorous role that actresses find irresistible – and to her credit, she met the physical challenge with a ferocity and is believable in fight scenes, although those are poorly choreographed.
In a movie that wastes considerable time, first-time feature screenwriter Michelle Rosenfarb has piled on the melodramatic misery with every possible stereotypical character in tired, predictable situations.
The quick-tempered Jackie, fueled by rage and regret, is a substance abuser, absentee mom, horrible girlfriend, bad daughter, unstable nanny and unsympathetic female who has frittered away opportunities to do better in life.
She boozes and brawls with abusive alcoholic boyfriend-manager Desi (Adan Canto), and gets little sympathy about her life choices and predicaments from her pill-popping mother Angel (Adriane Lenox). Their difficult relationship mostly consists of shouting matches. Oh, and her 6-year-old son is mute from trauma.
So, naturally, her fighting spirit resumes when Manny shows up –using a cute kid for the 800th time in a movie to propel the heavy-handed action. Although Danny Boyd Jr. is adorable, his unfortunate character gets stuck with this hot mess because there is no alternative after the sudden death of his father. It’s practically child abuse watching her screw up so many times – but wait for it – she learns how to be a Mom.
Though, taking the kid to the movies and eating popcorn while music plays does not smooth over what she has put him through — except to soften the story. To wrap up 2 hours and 9 minutes of a mostly bleak and brutal narrative with a gooey-sticky sweet ending is ridiculous but expected.
Those who enjoy Ultimate Fighting Championship bouts may find “Bruised” passable, especially with UFC Women’s Flyweight Champion Valentina Shevchenko playing Lady Killer, whom Jackie faces in the Octagon in the final showdown.
But it would have helped for the writer to create characters that we haven’t seen many times before. For instance, Shamier Anderson plays Immaculate, a fight league promoter, who recruits Jackie, and the grueling training begins. Her shape-up team includes Sheila Atim as Bobbi “Buddhakan” Berroa, a tough instructor with a Zen-like approach and veteran character actor Stephen McKinley Henderson as a grizzled trainer named Pops.
Despite what it might look like on the surface, this raw underdog story is not the comeback vehicle Berry fans might have hoped for – and leaves viewers feeling pummeled.
“Bruised” is a tough film to watch, let alone like.
“Bruised” is a 2020 sports drama directed and starring Halle Berry. It also stars Danny Boyd Jr., Adriane Lenox, Adan Canto, Sheila Atim, Shamier Anderson and Bobbi Berroa. It is rated R for pervasive language, some sexual content/nudity and violence and has a run time of 2 hours, 9 minutes. Lynn’s Grade: D. It is in selected theaters Nov. 19 and streaming on Netflix beginning Nov. 24.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
In the loving hands of director Lin-Manuel Miranda, the world will know Jonathan Larson’s name as more than the creator of “Rent,” one of the big-bang bursts in musical theater history, because of this enthralling origin story “tick, tick…Boom!”
Brimming with vitality, this brilliant gem shines spotlighting the creative process and the importance of pursuing your dreams. It is the best musical adapted from the stage since 2012’s “Les Miserables.”
Collaborating with many gifted artists, Miranda, in his feature film directorial debut, broadens this early work to appeal to the dreamer in all of us. We can relate to Larson as a visionary full of doubt, anxiety, and drive, who had a unique voice that was meant to be heard. Filled with passion, he pushed on, despite many obstacles in his way.
The young composer revolutionized theater with “Rent,”, but tragically, did not live to see the first Off-Broadway preview performance, because he died that day, Jan. 25, 1996, suffering an aortic dissection. He was 35. Five years earlier, he was writing a musical called “Superbia,” loosely based on George Orwell’s “1984” and full of angst about turning 30. He turned that experience in a rock monologue, “30/90,” which was later renamed “Boho Days” and finally “tick, tick…Boom.”
In this adaptation of that autobiographical musical, Jon (Andrew Garfield) is waiting tables at a New York City diner in 1990, and feeling pressure from his dancer-girlfriend Susan (Alexandra Shipp), his best friend Michael (Robin de Jesus), who traded in an artistic life for one of financial security, and people helping him put on a showcase of his work.
Meanwhile, a community is being ravaged by the AIDS epidemic. With the clock ticking, Jon is at a crossroads. He wonders what he is meant to do with the time he has.
In his most revelatory screen performance to date, Tony winner and Oscar nominee Garfield displays Larson’s virtuosity and bravado. He embraces the music numbers with abundant zest and connects with Alexandra Shipp as his exasperated girlfriend and Robin de Jesus as his frustrated friend.
The sharp script was written by Steven Levenson, who won a Tony for “Dear Evan Hanson.” The adage “write what you know” is a running theme – and one can see Larson’s style evolving, and his various influences throughout.
“30/90” deals with his feelings about growing older without much to show for his songwriting efforts. Envious of his friend’s luxurious life, he and Robin de Jesus have fun with “No More.”
In one of the musical’s stand-out pieces, “Sunday,” as conducted by Jon, is both an homage to revered composer Stephen Sondheim and a salute to artistic vision. The legendary Sondheim, who was a tremendous influence on Larson, is deftly underplayed by Bradley Whitford.
Several members of the original cast of “Rent,” as well as performers from Miranda’s masterpiece “Hamilton,” many Broadway legends and Tony winners have a shared moment in a Sunday brunch scene. It’s a “Where’s Waldo?” panoply of talent that you’ll want to stop and rewind over and over.
The film’s ensemble is tight, and several singers have stand-out moments – with Vanessa Hudgens singing her heart out as Karessa in “Come to Your Senses,” the show-stopping song that Larson finally pens after excruciating writer’s block episodes.
Another heart-tugging number is “Why,” when Jon plays an old rehearsal piano at the closed Delacorte Theater in Central Park.
If you are unfamiliar with “Rent,” now being celebrated in a national 25th anniversary farewell tour, this musical about Bohemians struggling with life, love, and AIDS in the East Village, won Larson the Pulitzer Prize and three Tony Awards posthumously. It ran on Broadway until 2008, and is the 11th longest running musical of all-time.
But early versions of “tick, tick…Boom!” came before — and after. Playwright David Auburn revised it after Larson’s death as a piece for three actors (Jon, Susan, and Michael). It premiered off-Broadway in 2001, with Raul Esparza winning an Obie Award in the leading role. It has been performed in London’s West End, with Neil Patrick Harris, and at many other theaters since it was revamped. An Encores! Off-Center production in 2014 featured Miranda, Leslie Odom Jr. and Karen Olivo.
Miranda, who said seeing “Rent” on his 17th birthday changed his life, was born to direct this. He gets it – kids with dreams, brimming with ideas. He was one of those kids — and went on to win Tony Awards for “In the Heights” and the cultural phenomenon “Hamilton.” (You can spot him, too, at the diner. And his Disney animated musical “Encanto” is out in theaters Nov. 24).
As sad as Larson’s untimely death was, this film is full of joy – a tribute tp one of the great talents of the 20th century. Because his death is believed to have been caused by an undiagnosed Marfan syndrome, more attention has been given to this condition. (And the struggles of low-income folks lacking health care).
Today, the Jonathan Larson Performing Arts Foundation, established by family and friends, provides monetary grants to artists, with a particular emphasis on musical theatre composers and writers.
This support for creative work is now administered by the American Theatre Wing because of an endowment funded by his family and the foundation. Who knows how many fellow starving artists Larson inspired to write the next great American musical?
His memory and his impact lives on – and his “Rent” lyrics eerily resonate: “No Day but Today.”
“tick, tick…Boom!” is a bittersweet rumination on art and inspiration, and Miranda has made it both personal and universal.
“tick, tick…Boom!” is a 2021 Musical Biopic directed by Lin-Manuel Miranda and starring Andrew Garfield, Alexandra Shipp, Robin de Jesus, Joshua Henry, Bradley Whitford, and Judith Light. It is rated PG-13 for some strong language, some suggestive material and drug references and runs 1 hour, 55 minutes. It opened in select theaters on Nov. 12 and started streaming on Netflix Nov. 19. Lynn’s Grade: A.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Anyone’s journey on how we become who we are can be turned into a compelling narrative in the right hands, and while the remarkable life story of tennis superstars Venus and Serena Williams is tailor-made for a Hollywood adaptation, not every inspiring sports champion transfers well to screen.
However, “King Richard” has the right blend of drama and action to be fascinating – and for 2 hours and 18 minutes, that’s quite an achievement.
Richard Williams developed a 78-page plan for his daughters, Serena and Venus, to become championship tennis players. The father coached the girls while he worked as a security guard, and they played on the public tennis court in their Compton neighborhood. They would become superstars and dominate the sport.
Making the sisters’ fierce taskmaster and protector father, Richard, the centerpiece was absolutely the right move – and hinges on a deftly modulated performance from Will Smith.
After a disappointing string of box office duds, Smith is back in championship acting form – not just a movie star cavorting in front of green screens. His masterful portrayal of the complicated and driven patriarch is his comeback to awards season discussion, and may result in his third Oscar nomination, not since “The Pursuit of Happyness” in 2006.
He nearly disappears into the obsessively focused dad role wanting a better life for his children, molding his kids through methods he conceived, abrasive about status differentials and always being on the outside looking in as a black man in America. He nailed Richard’s dialect (he grew up in Louisiana) and his shape, gaining weight to physically mimic a big, strong guy.
Richard’s tennis-loving daughters Venus and Serena were eager pupils – and dreamers. Under his tutelage, they learned how to develop minds of a champion, not just the exceptional athleticism.
Young actresses portraying the sisters easily win us over – Saniyya Sidney, 15, as eldest Venus, the family’s first competitive and tournament-bound player, and Demi Singleton, 14, as powerful younger up-and-comer Serena.
They capably show us the hearts and minds of the prodigies-turned-pro, and it’s an interesting progression into to the trailblazers they became.
The sisters’ well-documented steely determination remains impressive. Any casual sports fan knows of the Williams girls’ impact on tennis. The numbers (shown over the credits while Beyonce sings “Be Alive”) are testament: a combined 30 Grand Slam titles, with Serena’s 23 singles titles only one behind the record, and four Olympic medals.
Screenwriter Zach Baylin concentrated in equal measures on family life and competition, and details rising star Venus’ advancement in the sport, leading to her turning pro at age 14. We don’t get past the mid-90s, with Oracene eventually divorcing Richard, the girls racking up big wins and endorsements, — and is minus any tennis feuds or controversies.
Director Reinaldo Marcus Green adroitly unfolds the challenges the Williams faced from the streets of South Central L.A. to the pristine upper-echelon scenarios and the daunting majors. But he also works in the close-knit family’s playfulness.
The competitive tennis action is very realistic, making you feel you are getting an authentic depiction of tennis matches on courts in neighborhoods, country clubs, training camps and Grand Slam tournaments. Cinematographer Robert Elswit handled the challenges superbly – and the young actresses used the Williams’ trademark open stance.
Aunjanue Ellis excels as Oracene “Brandi” Williams, the supportive mom who holds her own with Richard and the kids, as there were her three other daughters Yetunde, Isha and Lyndrea Price). The warm portrayal of the family unit adds a heartfelt element.
As larger-than-life tennis coach Rick Macci, Jon Bernthal lays on a thick New Jersey accent, an intense attitude, and is good at being exasperated by a tough Richard – as they are both hell-bent on doing it their way. Macci runs the tennis academy in Boca Raton, Fla., where the Williams’ trained after moving from California.
Tony Goldwyn portrays the practical Paul Cohen, who coached John McEnroe, Pete Sampras, and other pre-eminent pros, as a straight shooter. Cohen was the first coach who took on the girls after their dad realized they had to reach another level.
Both Cohen and Macci recognized the Williams’ sisters’ talent and groomed them to become pros while tussling with their dad. Their perspective is necessary to key components in the coming-of-age story.
The crowd-pleasing movie has all the beats of a good sports biopic and features the acting skills to captivate.
“King Richard” reminds us of how much hard work goes into becoming professional athletes and the against-the-odds obstacles the Williams’ faced and overcame. It’s easy to forget all the doors that Venus and Serena opened for other girls – and this film honors their father’s vision.
“King Richard” is a 2021 sports biopic directed by Reinaldo Marcus Green and starring Will Smith, Aunjanue Ellis, Saniyya Sidney, Demi Singleton, Tony Goldwyn and Jon Bernthal. It is rated PG-13 for some violence, strong language, a sexual reference, and brief drug references and runs 2 hours, 18 minutes. It opens in theaters and streams on HBO Max beginning Nov. 19. Lynn’s Grade: B+
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Just in time to ride an ‘80s nostalgia wave, “Ghostbusters: Afterlife” is a sentimental link to the 1984 blockbuster hit, an opportunity to pay tribute to the late Harold Ramis, and a reason to get the band back together.
In a nod to the film’s enduring connectiveness, director Jason Reitman is the son of Ivan Reitman, who helmed the original. He juggles the comedy, horror, and action with a special fondness for the source material. The wit is there – however, the supernatural plot is a tad sketchy at times, and the go-bigger visual effects are extended too long.
Summerville, Okla., is where Dr. Egon Spengler spent his final days, and after his death, his estranged daughter Callie (Carrie Coon) and her two children, ages 12 and 15, Phoebe (Mckenna Grace) and Trevor (Finn Wolfhard), arrive to check out the old house that is now theirs. They discover their connection to the “Ghostbusters” parapsychologists who removed ghosts in New York City and learn about the secret legacy Egon left behind.
To make it both sweet and fun, the younger Reitman – who also co-wrote the script, along with Gil Kenan (Oscar nominee for animated feature “Monster House” in 2006) – realizes this is an opportunity for a full-circle moment. He even maintains a retro look when possible.
After all, his father started the franchise off, which includes a 1989 sequel, two animated series (“The Real Ghostbusters” and “Extreme Ghostbusters”), comic books, video games “Extreme Ghostbusters: The Ultimate Invasion” and “Ghostbusters: Sanctum of Slime,” music, and a female reboot in 2016, not to mention logo and merchandise tie-ins.
The elder Reitman formed Ghost Corps with Dan Ackroyd to explore expanding the “Ghostbusters” universe, and both are producers on this second sequel.
The affection for these characters is obvious. It’s a glorious moment to see quippy marketer Dr. Peter Venkman, earnest technician Dr. Ray Stantz and steady ex-Marine Winston Zeddemore strap on the proton packs and help save the day.
As much older versions of their leaner, faster selves, Bill Murray, Dan Ackroyd and Ernie Hudson strike the right tone re-emerging as the characters who helped them become pop cultural legends. Missing their brainy partner Egon is certain to leave some misty-eyed. Although he wasn’t as prominent initially as the trio of doctors, Winston’s growth is noteworthy this time.
Appearances by Annie Potts as former assistant Janine Melnitz and Sigourney Weaver briefly as elegant Dana Barrett add to the heartfelt glow.
The towering Stay-Puft Marshmallow Man is referenced in mini-versions who break out on the shelves of a big-box store. In a standout scenes, the adorable puffs wreak havoc and have unfortunate calamities involving flame-roasting and S’mores.
The Ecto-mobile returns, as do containment units and traps, and other vintage paraphernalia. It’s a sight for sore eyes.
The likable young cast enlivens the old story through fresh eyes and an abundance of energy, with “Stranger Things” actor Finn Wolfhard engaging as skeptical grandson Trevor and Mckenna Grace endearing as smart STEM kid Phoebe, the granddaughter who is a chip off the old block. Grace, a veteran of “Young Sheldon” and “Fuller House,” is a natural actress that draws audiences in to her character.
Supporting cast includes Celeste O’Connor, so memorable in “Selah and the Spades” and “Freaky,” as local carhop Lucky that Trevor likes and Logan Kim is funny as the talkative Podcast, who is both a sleuth and a science whiz, that makes friends with Phoebe.
As the leads, the revered Carrie Coon, more known for serious stage and screen work (like Weaver was before the original), is Egon’s abandoned daughter and struggling single mom Callie. She and newly crowned “Sexiest Man Alive” Paul Rudd, who plays teacher Gary Grooberson, are thrown together in a dating scenario that’s a stretch. Comic gold Rudd, with his appealing boyish charm, is the lazy summer school faculty who pops in VHS tapes of old scary movies.
Their respected skills help them turn into the gatekeeper and the keymaster, Zuul and Vinz, although this element gets ridiculous rather quickly. The demonic dogs do the bidding of Gozer, the shape-shifter destructive enemy from the first one, whom wealthy mine owner and land baron Ivo Shandor (J.K. Simmons) had a cult-like devotion to 37 years ago – and started the whole shebang. He’s entombed in an abandoned mine that’s a haven for paranormal activity.
While he has been gone for eight years, the talents and appeal of Harold Ramis looms large over this production, and modern technology enabled the salute to have sincere emotional pull.
Second City alum Ramis, who not only starred as the intellectual Egon but co-wrote the original, first worked with Ivan Reitman on “National Lampoon’s Animal House” in 1978 and went on to write “Meatballs,” “Stripes” and two “Ghostbusters” that he helmed.
A proud graduate of Washington University in St. Louis who stayed active as an alum, Ramis died in 2014 at age 69 from complications of autoimmune inflammatory vasculitis. He is acknowledged as one of the most gifted comedy writers of his time.
At 2 hours and 4 minutes, the film could have connected the dots better between post-big city Egon and his new saving-the-world mission in the middle of nowhere.
The dirt farm setting seems an odd choice when New York City was such a major part of the storytelling back in the 1980s. In fact, the original is cited for contributing to the perception shift to a more positive outlook about the Big Apple.
The scientific mumbo-jumbo exposition starts wearing thin when the good and evil forces collide in a battle royale for souls, as dark clouds swirl and electrical currents go berserk. But then, the cavalry arrives.
The joy at seeing Peter, Winston and Ray is palpable, and hearing the effervescent “Ghostbusters” theme song, a chart-topper for Ray Parker Jr., induces warm and fuzzies.
Reitman, a multiple Oscar nominee for directing “Juno” and “Up in the Air” (writing and producing too), has crafted a work from his heart to fellow fans reconnecting with their childhood heroes.
Yet, he has dispensed gluttonous Slimer for corpulent Muncher. Nevertheless, the movie provides a family-friendly vibe and a satisfying throwback – at least enough to make you want a Hi-C Ecto-Cooler.
“Ghostbusters: Afterlife” is a 2021 comedy directed by Jason Reitman and starring Carrie Coon, Paul Rudd, Finn Wolfhard, Mckenna Grace, Dan Ackroyd, Ernie Hudson, and Bill Murray. It is rated PG-13 for supernatural action and some suggestive references and runs 2 hours, 4 minutes. It opens in theaters Nov. 19. Lynn’s Grade: B-
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Filled with whimsy and good cheer, “A Year with Frog and Toad” is a delightful example of clever staging and accessible theater for multi-ages.
The innovative Fly North Theatricals is presenting this sweet, sentimental show about friendship for free to all who can show their vaccination card and matching ID at the door. No ticket needed but there is limited seating because of social distancing.
The musical continues this Friday and Saturday at 7:30 p.m. and Sunday at 2 p.m. at The Marcelle Theatre in the Grand Center Theatre District.
Colin Healy and Bradley Rohlf, two creatives who founded Fly North Theatricals in 2019, are making sensible, affordable art and have established a Theatre for All initiative as part of their mission.
In this make-believe adventure, they are doing double-duty as the two amphibious leads. Rohlf plays the popular perky Frog while Healy is the grumpy worry-wart Toad as they journey through four seasons.
They are joined in their woodland by a Snail, Turtle, Bird, Mouse, Mole and several other frogs. The young actors playing these characters sing and dance in musical numbers that recall vaudeville and merry make-believe.
The students of Fly North, who take voice and/or dance lessons, are cast members who bring a youthful energy to the production: Claudia Taylor, Trey Perlut, Ella Penico, Aislyn Morrow, Sarah Brown, Aiden Gildehaus and Julie Harris.
Earnestly directed by Alicia Like with a young audience in mind, she keeps the 85-minute show bright and breezy. Music Director Jermaine Manor smoothly kept the focus on entertaining all ages.
Their year begins in the Spring, as they wake from hibernation. They plant gardens. They swim in the Summer, rake leaves in the Fall and go sledding in the Winter.
As the two best friends celebrate their differences that make them unique and special, they learn life lessons along the way. In a non-cloying way, they tackle anxiety and fears – blissfully free of corny cheesy jokes.
The musical, based on the beloved children’s book series by Arnold Lobel, was nominated for three Tony Awards in 2003, including Best Musical. Because of its success, it was heralded as mainstreaming a children’s production as “regular” theater.
An enchanting score by brothers Robert and Willie Real is brought to life by conductor Jeremy Jacobs, also on keyboards, who leads the four -piece band with aplomb. Luke Mankovich is on reeds, Jacob Mreen on bass and Matthew Clark handles percussion.
Choreographers Angela Brandow and Carly Niehaus used a light touch in the peppy numbers to keep the show up-tempo and fun.
Stellar work is evident from light board operator Mason Hagarty and sound board operator Matthew Garrison, with fine lighting and strong sound without any difficulty.
Lauren Perry has designed the simple set with imagination in mind while costumer Sam Hayes mixed 19th and 20th century outfits and included animal accoutrements, like turtle shells, when necessary. Old-timey hats complete Frog’s and Toad’s appearances well.
An appealing romp for those young at heart who see imagination as a wide canvas, “A Year with Frog and Toad” is a good way to ease back into bringing young people to the theater. And watching such a cheerful presentation will make you smile underneath your mask!
And/or attend their VIP fundraising brunch on Sunday, Nov. 14. Doors open at 11 a.m., and each ticket comes with one reserved seat for the closing performance of “A Year with Frog and Toad.”
The brunch will include a Breakfast Taco Bar from The Fifth Wheel of the Bailey’s restaurant family, bottomless mimosas and coffee and performances from cast members. The Studio Open House will be at 3617 Grandel Square in St. Louis.
Tickets are available on their website and all proceeds go toward future productions and resources for FNT students. Single tickets are available for a $100 minimum donation.
Part of FNT’s mission of promoting education through performance is to involve the students of its private voice and dance studio on and off stage in every show. This production has students work alongside their teachers to produce something wacky, fun, formative, and memorable. For more information, visit www.flynorththeatricals.com
NOTE: In accordance with the Kranzberg Arts Foundation’s recent COVID policy update, all attendees of “A Year with Frog And Toad” must show proof of COVID-19 vaccination or a recent negative test conducted less than 72 hours prior for admittance.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Trying to save the world shouldn’t be boring, but “Eternals” is one big giant yawn — and easily the worst film in the Marvel Cinematic Universe.
Eternals are immortal beings from the planet Olympia, who came to Earth 7,000 years ago, shaping history and civilizations—but are not to interfere with any conflicts or alter human events — unless it’s their nemesis, the Deviants, so says their creator, Arishem, a Celestial.
After what transpired in “Avengers: Endgame” in 2019, these ancient aliens, who have been living in secret, must come out of the shadows and reunite to battle Deviants, their ancient ferocious winged enemy that they thought was vanquished but has reappeared, more vicious than ever. The lines blur between who is good and who is evil.
A cumbersome, confusing, and unexciting plot sets up a battle for world domination, attempts to explain why this course of action is necessary and tries to assert itself in a superhero world.
Question: if they didn’t help when Thanos wreaked havoc, but name-drop Avengers, then why aren’t any of our beloved ‘other guys” there? As they zip around through time, space and continents, The Eternals explain their places and fix things, as rivalries and romances emerge. However, it’s a lot to absorb, and are we caring by now?
The story is based on comic book characters created by Jack Kirby in 1976, and follows the same trajectory of the familiar debates of destiny and free will, and is living forever a blessing or a curse – or both?
The main problem, besides this overblown spectacle feeling average, is a too-large unnecessarily complicated cast that appears based on Greek gods, with riffs on those names. Sersi not Circe, Ikaris not Icarus, Ajak not Ajax — get it?
These generic characters, in various shades of virtuousness and villainy, are created from a grab bag of qualities and mass produced in a comic book assembly line. To its credit, Marvel has assembled its most diverse cast yet, including a gay character who is in a same-sex marriage.
While the ensemble has some very talented and interesting performers – including the versatile Brian Tyree Henry as Phastos, a genius scientist, and the poorly used Barry Keogan, so creepy in his breakout role in “The Killing of a Sacred Deer,” as a very crabby Druig whose superpower is mind control, several are under-utilized.
Angelina Jolie seems like a waste of money as window dressing playing Thena, who can wield a sword and a spear very well in intense combat but has memory issues. And I couldn’t figure out Selma Hayak’s Ajak, for she is set up as the leader but mystery ensues about her intentions.
While others took on more than they could handle: Gemma Chan is one-note as omnipotent Sersi, who is desired both by her British professor boyfriend Dane (Kit Harrington aka Jon Snow in “Game of Thrones,” barely in it) and her former lover Ikaris (Richard Madden, also a “Game of Thrones” alum), who is in full swagger mode.
Nevertheless, a few charmed in their roles, including a buff Kumail Nanjiani humorous as Kingo, a Bollywood superstar and Lia McHugh as the shapeshifter Sprite. Don Lee has fun as the hulking Gilgamesh, who has turned into a skilled chef/homebody taking care of Thena.
Phastos’ son Jack is winningly played by Esai Daniel Cross, and Lauren Ridloff is pleasant as the deaf Makkari.
Despite the gifts of Oscar-winning director Chloe Zhao, known for her visual style and was so distinct in “Nomadland,” this film has an undistinguished look. Sure, there are shots of beautiful landscapes, but we’re globe-trotting so much that it begins to look like stock footage advertisers use to entice us on vacations.
She was part of the screenwriting team too, that included Patrick Burleigh and Ryan Firpo. Complex and unwieldy, the script features lots of exposition inserted in between the customary superhero banter.
The soundtrack has some unusual ‘on-the-nose’ choices, including good use of “Time” by Pink Floyd but really, Skeeter Davis’ “The End of the World”?
The computer-generated graphics are repetitive, the battles are bloated, and two hours and 37 minutes later, I could not wait for it to end (and with a Foreigner song?). But you have to stay for the obligatory revelation scene during the credits.
Filmmakers promise that the Eternals will return. I wouldn’t be so presumptuous about that.
“Eternals” is a 2021 action-adventure-sci-fi-fantasy directed by Chloe Zhao and starring Gemma Chan, Richard Madden, Brian Tyree Henry, Angelina Jolie, Barry Keogan, Kumail Nanjiani, Selma Hayak, Kit Harrington, Lia McHugh, Don Lee and Lauren Ridloff. Rated PG-13 for fantasy violence and action, some language and brief sexuality, its run time is 2 hours, 37 minutes. It opens in theaters on Nov. 5. Lynn’s Grade: D.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Join Her Scavenger Hunt in Her First Book, “STL Scavenger”
By Lynn Venhaus
Portions of this article were published in the Belleville News-Democrat onAug. 22, 2021.
“How far you go in life depends on your being tender with the young, compassionate with the aged, sympathetic with the striving, and tolerant of the weak and strong. Because someday in your life you will have been all of these.”
~ George Washington Carver ~ Born in Diamond Grove, Missouri
Talk to Dea Hoover for five minutes, and it’s apparent she is a one-woman tourism bureau.
She has turned her passion for the bi-state region into operating two local tour companies and has written her first book, “STL Scavenger.”
In the spiral-bound softcover book, subtitled “The Ultimate Search for St. Louis’s Hidden Treasures,” she features 17 neighborhoods in both Missouri and Illinois areas of the St. Louis metropolitan region, providing clues and photos of buildings, businesses, statues, and architectural details for a scavenger hunt.
Hint from Hoover: look up!
“I want people to find new places that they might not have seen before,” she said. “Plan a day for each section and linger to enjoy the shops, restaurants and parks along your trail of discovery from St. Charles to Edwardsville, and many destinations in between.”
Hoover wanted to provide a one-of-a-kind experience, and with her expert eye and appreciation for the region, she used her extensive knowledge in a new way.
Reedy Press came up with the format so she could ‘gamify’ the experience – an entertaining and educational interaction with local sites. She credits Barbara Northcott, production manager of the St. Louis-based publishing company, with the concept.
“I would have been a rudderless ship without her. I am very grateful,” she said. “She made it so much better. We shortened the rhymes.”
The format allows for taking notes and multiple people participating, she said.
The book was so popular in its initial printing in May that they followed up with a second printing 13 days later, she said.
“The feedback has really made me happy,” she said. “It means something to people here.”
And while the country deals with a continuing coronavirus pandemic, she said that most neighborhoods included are known for their ‘walkability.”
Among her fun facts:
St. Louis is home to the second most free attractions after Washington D.C.
The Gateway Arch is the tallest national monument (630 feet), and the St. Louis Cardinals are the winningest team in the National League.
The St. Louis metropolitan region has 36 colleges and universities.
Join the Hunt
She has provided an incentive to answer all 366 clues – a contest, running now through Nov. 15 for submitted entries. On Dec. 1, the contest will conclude with a drawing for $500, first prize. Gift bags from STLMade.com, with tickets to local attractions and gift certificates, will be given for the second and third prizes.
For each correct answer you submit, you receive 1 point. The individual with the most correct answers will win the grand prize, and if there is a tie between multiple individuals, Hoover said they will randomly select the winner. Same goes for the local swag prize packs.
To join the hunt, submit answers and check out a bonus puzzle challenge, visit www.stlscavenger. You can submit the answers as an individual, even if you played as a group. You can’t change your answers once submitted.
You can purchase the book online for $20.95. Order at discover-stlouis.com or to pay by check, call her office at 314-522-6367 or email. Dea said $20.95 + tax puts it at about $23.
The book is also available at local bookstores and gift shops.
You can follow along on social media @STLScavenger and #stlscavenger for extra points, challenges, giveaways, scoring updates, and special events.
The book has an accessible smartphone map.
And even if you do not participate in the contest, the book makes a delightful family activity at any time of year and is a gift idea this holiday season.
With an added twist of intrigue, the book makes a staycation more fun – and is a great way to learn the way for new residents.
“Whether you are a native or just arrived, this book will lead you to new places near and far,” she said.
Dea’s Mom Donna
‘Never Come Back the Same Way You Came’
As a tour company operator, Hoover has spent more than 20 years sharing the world with others.
Her love of adventure began while growing up in Vandalia, a small town in Missouri. Her wanderlust blossomed while attending Washington University in St. Louis, majoring in business administration and minoring in English literature.
“I always loved going places and reading. I am always learning whenever I am traveling. It feeds my soul,” she said.
Her childhood was spent in her parents’ Main Street Firestone Tire and Appliance business, where she was involved starting at age 5. A 1965 limited edition Mustang was her pride and joy as a teenager. For Firestone fans, she says she is “gum-dipped.”
Her mother still operates the Main Street retail business; her father is deceased.
“My parents gave me a great gift. Every year, we would come to St. Louis. We’d go to a ballgame, the Zoo and Six Flags,” she said.
“Never come back the same way you came” is her mantra.
Her full-service tour company, Are We There Yet? expanded its operations in 2008 when she acquired St. Louis’s first local receptive tour operation, Discover St. Louis LLC, which was founded in 1975.
She enjoys living a whirlwind existence on the go. For instance, this summer, she was on a day trip to Grafton, and then the next morning, left for a week’s tour in Delaware.
She is past president of the St. Louis Professional Tour Guide Association and previously served on the board of the Missouri Travel Association.
Hoover teaches classes on travel and tour conducting at St. Louis Community College and is a frequent guest speaker for corporations and private organizations.
Her father enrolled her in a Dale Carnegie public speaking course at 16, and she considers that “one of the bedrocks of my success in sales and public speaking.”
She spoke about Missouri’s past in The History Channel’s documentary, “The States.”
Dea and her husband, Declan Rutan, live just across from The Hill in the Southwest Garden neighborhood. She plays on a league at the Italia-America Bocce Club weekly and is vice president of The Hill Business Association.
“Declan jokes they moved the line when they found out he was Irish,” she said.
Hoover described him as her “partner in tourism and rhyme.” Together, they have visited six continents, with Antarctica next on the list.
He helped rhyme the questions.
Dea and her husband, Declan
Answers to the Take Ten Questionnaire:
1. Why did you choose your profession?
“Serendipity. I was working at Saturn and a customer worked for a tour company. I realized being a tour guide might be a good fit. I started 18 months before 9/11 as an over the road tour director. It was tough to continue but it is my passion. I hunger to learn and traveling feeds that hunger. And what makes learning fun is sharing it with others. I am gregarious and love helping people. I’ve found my home.
“I love TV, movies, and live theater. I grew up in a small-town tire and appliance store. We had the first VCR in town and had the first big screen. Our movie theatre was built by two doctors who saw that there needed to be some sort of entertainment in town to keep the kids employed and occupied. As a teenager I saw two plays that I will never forget, ‘Joseph and the Amazing Technicolor Dreamcoat’ at a Washington, D.C. Dinner Theater and ‘Cabaret’ at Stephens College in Columbia, Mo. I acted in plays in high school and participated in drama competitions. I love and support live theatre, even having served on two boards!
And of course, I read. These days I listen since I can check books out of the library, and it gives my eyes a rest.
4. What is your current obsession?
“Goliath” — love Billy Bob Thornton.
Podcasts – “Terrible, Thanks for Asking” (Nora McInerny) and “Unlocking Us” (Brene Brown)
5. What would people be surprised to find out about you?
“That I love to knit.”
6. Can you share one of your most defining moments in life?
“Winning the Olin Cup Championship as a sophomore at Washington University. As a first-generation college student, Wash U. was a deep pond, more like an ocean for me. I was on a team with twin brothers who had graduated from the Illinois Math and Science Academy. I graduated from Van-Far R-I School District, which is quite a difference. When we won, we beat the seniors. They were not happy. We had a professor who had coached us through the process. It taught me that if you know someone with experience*, ask for it and use it. Dad had the foresight to send me through Dale Carnegie at 16 and that made a huge difference. He and Mom were Dale Carnegie graduates when they were selling insurance and it made a big impact on their lives. That education set me up to succeed at the Olin Cup event. It also prepared me for my life, which is public speaking every day, all day, about 60% of the year.”
When I sold cars at Saturn, my used car manager Ron Weltig taught me: “Experience is what you get right after you need it.” So true! I learned early to ask as many people as I could so I didn’t have to make every mistake in the book.
7. Who do you admire most?
Ruth Bader Ginsburg and Sandra Day O’Connor, along with all the women that paved the way for my generation.
Both of my grandmothers. They raised kids under tough circumstances and lived to their 70s and 80s. Their lived hard lives. I’m not sure I would have made it.
8. What is at the top of your bucket list?
Travel to Antarctica, my seventh and last continent.
Write 10 books before it’s all over.
9. What is your favorite thing to do in St. Louis?
Visit the Zoo.
10. What’s next?
A Walking Tour book of Hannibal, Mo., with Reedy Press
(I was born there because Vandalia, Mo., was too small to have a hospital and Dr. Dougherty had closed his office that had makeshift hospital rooms. And yes, I’m only 50. But it sounds like a pioneer childhood, doesn’t it?
The family business in Vandalia, Mo.
More about Dea (DEE-uh) Hoover
Age: 50
Birthplace: Hannibal, Mo., but my home was Vandalia, Mo., until I was 22
Current location: The Hill in St. Louis
Family: Husband – Declan Rutan and Mom – Donna Hoover, Vandalia, Mo., and proprietor of Vandalia Firestone, Appliance and Furniture at age 81!
Education: Bachelor of Science degree in Business Administration – Olin School of Business at Washington University, with a minor in English Literature.
Day job: Tour Operator
First job: Taking the mail to the post office for Vandalia Firestone. I sold Fuller Brush in high school and then was a server at restaurant.
Favorite places you have been: Ireland, Galapagos Islands and Australia. And I love NYC.
Dream vacation: A trip around the world over a year’s time.
Awards/Honors/Achievements: 2015 Groups Today Innovator of the Year
“How far you go in life depends on your being tender with the young, compassionate with the aged, sympathetic with the striving, and tolerant of the weak and strong. Because someday in your life you will have been all of these.” ~ George Washington Carver ~ Born in Diamond Grove, Missouri
And the quote earlier about experience.
A song that makes you happy: “Uptown Funk” – Mark Ronson with Bruno Mars; “Shambala” – Three Dog Night; and “Best Day Ever” – Sly and the Family Stone.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus Think New Yorker meets Highlights for the literary geek chic. As a paean to print, “The French Dispatch” is a glorious reminder of how turning pages, enraptured in an article, can take us away to other worlds.
Set in an outpost of an American newspaper – the Liberty, Kansas Evening Sun — in a fictional 20th century French city. It brings to life a collection of stories published in the final edition of the newspaper empire’s Sunday magazine, following the death of the editor (Bill Murray).
Experiencing a Wes Anderson film is like being transported into an illustrated picture book with stunning artistically complex worlds both familiar and of wonder – feeling new and nostalgic at the same time.
It is always a unique event that I look forward to with great anticipation, having listed “The Royal Tenenbaums,” “Moonrise Kingdom” and “The Grand Budapest Hotel” among my favorite movies of the 21st Century. And his whimsical stop-animation features “The Fantastic Mr. Fox” and “The Isle of Dogs” (his last movie in 2018) are genius.
No matter if they connect or not, all his films of the past 30 years are painstakingly detailed works of art that offer something different – and feature wit, eccentric characters, superb music accompaniment, and striking composed visuals as common threads.
Therefore, it pains me to say that while “The French Dispatch” is a love letter to journalists and has considerable quirky charms, with dizzying fanciful techniques and the director’s distinctive symmetrical style, color palette and designs, it is at once too much and not enough.
Set in the truly inspired metropolis Ennui-sur-Blasé (which translated, means “Boredom-on-Apathy,” with a wink), this sophisticated exercise is an overstuffed toy box that melds too many concepts to be as satisfying as his top three. And despite its splendid cast, there isn’t a single character that emotionally resonates.
This anthology, running 1 hour 48 minutes, is crowded with enough content for 10 movies. Anderson’s offbeat screenplay, with a story conceived with Roman Coppola, Jason Schwartzman, and Hugo Guinness, is divided to fit the magazine’s sections: arts and artists, politics/poetry and tastes and smells, but starts and ends with the life and death of diligent editor Arthur Horowitz Jr. – played by Anderson all-star Bill Murray, just as droll as ever.
In “The Concrete Masterpiece” by J.K.L. Berensen (Tilda Swinton), which goes off the rails two-thirds in, Benicio del Toro plays Moses Rosenthaler, a psychopathic artist who paints critically acclaimed abstracts in prison, uses Simone (Lea Seydoux), a female prison guard as a nude model, and attracts the attention of Cadazio, an imperious, impatient art exhibitor played by Adrien Brody, backed by his two businessmen uncles (brief appearance by Henry Winkler and Bob Balaban).
“Revisions to a Manifesto” has student radicals protest, which leads to “The Chessboard Revolution,” with rebel leader Zeffirelli (Timothee Chalamet), who gets the attention of no-nonsense scribe Lucinda Krementz (Frances McDormand). This meanders and should have ended midway.
The third is “The Private Dining Room of the Police Commissioner,” as recounted by urbane food writer Roebuck Wright (Jeffrey Wright) in a television interview with talk show host (Liev Schreiber). This is a complex crime caper involving multiple characters, many locations, and quite a roster of talent.
At times, these short stories seem indulgent, rambling, and tedious. Sharper pacing would have helped with the storytelling, which does benefit from the gifted performers who find their rhythm and deliver crisp dialogue in the earnest manner one expects in these idiosyncratic tableaus.
Owen Wilson, who has been in eight Anderson movies, second only to Murray, is good-natured staff writer Herbsaint Sazerac, who takes us on an amusing tour of the city. Anjelica Huston, aka Mrs. Tenenbaum, capably handles narration duty this time –a lovely addition.
One of the pleasures of this film is to see such a star-studded array of repertory players, and more – among them, Saoirse Ronan, Tony Revolori, Christoph Waltz, Willem Dafoe, Edward Norton, Steve Park, Lois Wilson, Fisher Stevens, and Griffin Dunne.
The pandemic delayed this film’s release by a year, which heightened expectations and allowed a clever literary marketing campaign to enchant with graphics and snippets, modeled after venerable periodicals from days gone by. The film premiered at the Cannes Film Festival in July, where it received a nine-minute standing ovation.
Having spent nearly a half-century working at publications, the editorial office setting was the most intriguing yet the least focus — an aperitif instead of an entrée. With every bon mot that Murray tossed off as the veteran editor corralled correspondents, I wanted more of that colorful staff.
The sight of Murray taking a pencil to hard copy, as ink-stained editors once did in non-cubical newsrooms, should make journalists yearn for a grizzled authority figure to cut their long-winded prose and hand the typed papers back with gruff remarks and certain expectations. Writers may weep at the sight of a proofreader and a layout guy trying to fit linotype into a grid, for it’s part of a cherished past.
As a film, tightening those long-winded vignettes would have made a difference.
Nevertheless, the production elements are exceptional, especially from frequent Anderson cinematographer Robert D. Yeoman, flipping between black-and-white and color, and other collaborators Oscar-winning production designer Adam Stockhausen (for “Grand Budapest Hotel”) and costume designer Milena Canonero, four-time Oscar winner including “Grand Budapest Hotel,” and composer Alexander Desplat’s score.
Still, a Wes Anderson movie is like hanging out with erudite English Literature majors, some of whom are raconteurs and iconoclasts, who motivate you to add books and adventures to your to-do lists.
“The French Dispatch” is a 2021 comedy-drama directed by Wes Anderson and starring Bill Murray, Benicio del Toro, Lea Seydoux, Timothee Chalamet, Frances McDormand, Tilda Swinton, Adrien Brody, Jeffrey Wright, Owen Wilson and Elisabeth Moss. It’s run time is 1 hour, 48 minutes and is rated R for graphic nudity, some sexual references and language. In theaters Oct. 29. Lynn’s Grade: B. Portions of this review were published in the Webster-Kirkwood Times and discussed on KTRS Radio.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Three actors deliver brilliantly nuanced performances in “Blue/Orange,” a multi-layered satirical comedy-drama that focuses on madness, health care and race within a framework of frustrating bureaucracy and power struggles.
William Humphrey, Ben Ritchie, and Jason Meyers turn in some of their best work by grasping every shifting thought, trigger and changing attitude in conversations that blur lines on mental health.
The discourse is hefty and the roles demanding, for the characters are opaque. Allegiances switch as reasoning seems plausible – but one can’t ever be certain in these fiery exchanges.
Stray Dog Theatre is presenting this intellectually stimulating material as its first indoor show inside the Tower Grove Abbey, their longtime home, in 2021. With a contemporary focus that is more tragic than comic, that tone suits the production’s interpretation of this thorny material.
Shrewdly written by British playwright Joe Penhall, known primarily for several “fringe” works, and set in a UK institution, the play, first staged by the National Theatre in 2000, went on to win the Laurence Olivier Award for Best New Play, with Bill Nighy, as Robert, and Chiwetel Ejiofor as Christopher, nominated for several acting awards.
(More fun facts: Andrew Lincoln played Bruce and the three moved on to the London West End in 2001. The next year, the show opened off-Broadway, with Harold Perrineau Jr. as Christopher, and an acclaimed British revival in 2016 starred Daniel Kaluuya as the patient.)
Stray Dog has wisely decided to forego British accents, so that we are not distracted from the dense amount of dialogue that rapidly volleys back and forth.
The day before Christopher (William Humphrey) is supposed to be discharged from a psychiatric ward, his doctor (Jason Meyers) begins to have reservations that he shouldn’t be released. He shares his concerns with a senior colleague (Ben Ritchie).
Practically jumping for joy as the hyper Christopher, Humphrey is gleefully ready to go – and already packed. He still insists his father is former Ugandan dictator Idi Amin Dada Oumee and sees the pulp inside an orange as blue. In his mind, is this real or delusional? Thus begins a bureaucratic battle.
As the now confused patient becomes increasingly agitated, is he having an acute psychotic episode or is he being unduly provoked? What must happen to prevent him from leaving?
Christopher was diagnosed with a borderline personality order, and on day 28 at the London National Health Service mental hospital, he is due for release – unless a diagnosis changes.
As Dr. Bruce Flaherty, Meyers sees red flags and makes a convincing case that Christopher could be a paranoid schizophrenic. His superior, Dr. Robert Smith, doesn’t detect it. Exuding authority and clinical acumen. Ritchie recites reasons why psychiatry can fail black men like Christopher. After all, Dr. Smith is writing a book – interesting! – on the cultural and ethnocentrism factors that come into play in these situations.
Perhaps drum beating and seeing himself as a “white savior,” the imperious Robert thinks Christopher should return to his neighborhood for the cultural support – even though he lives alone and doesn’t know that many people. Sure, his behavior is odd, but is it cause for alarm?
Smith is worried that if Christopher stays longer, he could get worse and thus begin a never-ending cycle — or is that more of a reflection on the lack of beds and prevalent bottom-line thinking?
Christopher would really like to return to Africa, where he says he has a job, but will settle for his diverse London borough neighborhood if it means his freedom. And there is a probable threat of being attacked by racist thugs, so his fear seems real, but is it indicative of instability – and is pompous Robert being patronizing?
England’s cultural population includes Caribbean and African expatriates, and there are statistics that more black people, percentage wise, are in mental and penal institutions.
And what exactly causes seemingly stable Bruce’s third-act meltdown – and earlier blurting out the “N” word, which could fill an entire act with discussion. This really complicates the narrative, not just exposing an ugly prejudice and stereotypical thinking.
However, the roots of the problems are in the eye of the beholder. As the two professionals argue, drawing Christopher, pawn-like, into a tug of war of damaging rhetoric – clearly emotional scars are being inflicted.
Is this in any way beneficial and do the doctors think this will advance their careers?
Penhall’s incendiary words, written more than two decades ago, seems as urgent now as they were relevant then. This is a living, breathing work that changes direction throughout its two acts, and the verbal dexterity required is admirable.
In a bracing portrayal, Humphrey straddles the line of helpless vulnerability and angry advocate for getting his life back on track. Both instinctive, Ritchie and Meyers convincingly earn and lose their characters’ credibility.
Associate Artistic Director Justin Been deftly moves the actors around so that we are caught off-guard as characters reveal their positions, transferring the ‘edge’ around – and the performers never get ahead of the script, not tipping their hand about what’s next.
The cast has smartly constructed their roles. It’s an exemplary showcase of control, and lack of, as perceptions differ and speeches flow.
“Blue/Orange” could have easily turned preachy but keeps its intensity, although the second act gets weighed down somewhat with repetitive opinions. And while it’s not predictable, the ending may not satisfy those who have become invested in Christopher’s well-being.
Besides directing, Been also designed the claustrophobic set and the sound, and both he and Artistic Director Gary F. Bell gathered the props. Lighting designer Tyler Duenow maintained the setting’s institutional glare.
The hell that is the ever-present boondoggle for those suffering from mental illness shows no sign of improvement in today’s uncertain world. As this riveting production demonstrates, it’s a difficult subject to ponder, and “Blue/Orange” daringly takes a stand.
Jason Meyers, William Humphrey and Ben Ritchie in “Blue/Orange.” Photo by John Lamb.
“Blue/Orange” is presented Thursday through Saturday, Oct. 7-9, 14-16 and 21-23 at 8 p.m., with a 2 p.m. matinee on Sunday, Oct. 17, at the Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis, 63104.
Limited tickets are available because of physical distancing throughout the theater. For more information or tickets, visit www.straydogtheatre.org, or call 314-865-1995.
Safety precautions because of the COVID-19 public health crisis are in place for guests, actors, and staff. Masks are required to be worn by all guests, regardless of vaccination status. Stray Dog Theatre recommends, but does not require, that all guests be vaccinated. The up-to-date guidelines can be found on their website.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
