‘False Positive’ Fumbles The Ending in a Disappointing Thriller

‘False Positive’ Fumbles The Ending in a Disappointing Thriller

By Lynn Venhaus
With comparisons to a modern-day “Rosemary’s Baby,” expectations were heightened for “False Positive,” but whatever sinister vibe this psychological thriller wanted to build up in its first two-thirds, badly falls apart with a preposterous ending.

Fantasy and fiction collide in a disturbing way as an affluent young couple go through a first pregnancy that we already know is not going to end well because of the first scene, a flash forward. How they get there isn’t convincing either, although there are strong moments and good performances.

Ilana Glazer, best known for the comedy “Broad City,” plays a rising marketing specialist working for a boutique ad agency in Manhattan. She wants a baby but after two years of trying, she and her husband Adrian (Justin Theroux), a reconstructive surgeon, haven’t been able to conceive. His mentor in med school, Dr. John Hindle, is a fertility doctor who can work miracles, he tells his wife.

They will have a happy ending, they’re told. As the pompous doctor with a raging God complex, Pierce Brosnan deliciously chews the scenery. He clearly enjoys embracing the arrogance the role demands – and there’s something unsettling about how cheerful his assistants are, especially Nurse Dawn (Gretchen Mol). Shades of “The Stepford Wives”!

As if getting pregnant weren’t complicated enough, Lucy sets out to uncover the unsettling truth about her smarmy doctor and she starts to suspect her husband may be complicit

The script by Glazer and her “Broad City” writing partner John Lee, who also directed, is best as pointing out the anxiety and fears expectant mothers have, as well as how motherhood is viewed in the workplace.

While it’s believable that the hormonal Lucy would have concerns and we see that her intuition isn’t too far off – we only get her point of view. We don’t know much about Adrian and Theroux has little to work with or convey.

When Lucy begins having weird dreams –some presented as fantasies, which are mixed in with a nightmarish reality, it’s hard to keep straight what is just her imagination and what might have really happened.

Because we already have unanswered questions, that jagged tone doesn’t help in establishing her as a sympathetic character. She is trying to convince others she is not crazy when she does, in fact, seem delusional.

When it’s revealed that she is pregnant with twin boys and a single girl fetus, selective reduction is recommended – although she goes against the doctor’s suggestion to keep the boys, because she desperately wants a girl, to be named Wendy, a nod to her cherished late mother, who read her “Peter Pan.”

Pierce Brosnan as Dr. John Hindle

From the bizarre birth scene to the film’s ludicrous conclusion, we are expected to accept all these outlandish outcomes and absurd actions. It becomes so far removed from logic, why should we believe any of it?

The once-promising film devolves into a pathetic, icky, brutal bloodbath that can best be described as nonsense.

It’s run time is only 92 minutes, and the ending feels too abrupt, so they could have taken some more time in making it credible.

This is the kind of film that I wanted to really like, especially its points about modern moms. It had me, and then it lost me.

“False Positive” is a psychological thriller-horror film directed by John Lee and starring Ilana Glazer, Justin Theroux, Pierce Brosnan, Gretchen Mol and Josh Hamilton. It is rated R for disturbing/bloody images, sexual content, graphic nudity and language and has a run-time of 1 hour, 32 minutes. It begins streaming on Hulu starting June 25. Lynn’s Grade: C

Iliza Shlesinger Turns Bad Romance Into Comedy ‘Good on Paper’

Iliza Shlesinger Turns Bad Romance Into Comedy ‘Good on Paper’

By Lynn Venhaus
After years of putting her career first, a stand-up comic meets a guy who seems perfect: smart, nice, successful. Could he possibly be too good to be true?.

In the pantheon of all-time bad romances, comedian Iliza Shlesinger has a doozy to share. And as artists like to do, she has mined what happened to her for laughs.

The very funny lady is the only woman and youngest contestant, at age 25, to win NBC’s reality-competition show “Last Comic Standing,” in 2008, Since then, she has been a game show host, written comedy specials and acted in TV shows and movies, including last year’s “Spenser Confidential” and “Pieces of a Woman.”

In “Good on Paper,” she plays someone closest to resembling herself: Andrea, a comic who has focused on her career. The narrative is edited to include parts of her stand-up act, but as the character, working the comedy clubs.

Living in Los Angeles, she is auditioning for film and television roles but not having much luck and is getting angsty. She meets Dennis (Ryan Hansen) at the airport, and coincidentally, he sits next to her on the flight back home. Soon, he has ingratiated himself into her life.

Dennis, while not exactly her type physically, seems attentive and always there for her. He is a bit dorky but appears to talk a good game. He said he is in hedge fund management, a Yale graduate and recently bought a house in Beverly Hills. None of that is true – and in fact, most everything he says is a lie.

When she finds herself ‘catfished’ – or in her words, ‘cuddlefished,’ and everything starts to unravel, she and her pal, bar owner Margot, wonderfully played by comedian Margaret Cho, focus on a mission to expose his deceit.

The movie gets a bit wobbly in the resolution, but in the final act, there is a twist that enlivens this incredulous account up. Hansen excels at portraying a duplicitous dweeb. He’s certainly got some explaining to do.

Director Kimmy Gatewood astutely plums some indignities that women in a traditionally male-dominated field must endure. The crackerjack timing of Cho and Shlezinger helps propel the story considerably.

With her knack for recognizing universal truths among women, particularly when it comes to guys, Shlesinger has turned her painful reality into a relatable and amusing romantic comedy.

Rebecca Rittenhouse is in fine support as a lovable actress, Serrena, who is the flavor of the month with casting directors. Naturally, she drives the insecure Andrea crazy with jealousy.

While Dennis’ red flags become easy to spot, the best bits are not from his ruse – but the career hurdles Andrea faces trying to make it in showbiz. Now that would make a terrific series, like Pete Holmes did in “Crashing” on HBO.

Iliza Shlesinger, Margaret Cho, Rebecca Rittenhouse in “Good on Paper”

Shlesinger, who has already proven that she is a likeable performer who has something to say, is able to showcase all her talents as a writer, stand-up comic and actress in “Good on Paper.”

“Good on Paper” is a 2021 romantic comedy based on a true story by writer Iliza Shlesinger. She stars in the film, as does Ryan Hansen, Margaret Cho and Rebecca Rittenhouse. Directed by Kimmy Gatewood, the film is rated R for language throughout, sexual references, and brief drug use and nudity, and runs 1 hour, 32 minutes. Streaming on Netflix starting June 23. Lynn’s Grade: B.

Impassioned Doc ‘LFG’ Makes Plea for Equal Pay For Women’s Soccer Team

Impassioned Doc ‘LFG’ Makes Plea for Equal Pay For Women’s Soccer Team

By Lynn Venhaus
Three months before the 2019 FIFA Women’s World Cup, on March 8 (International Women’s Day), all 28 players of the U.S. National Women’s Soccer Team filed a class-action gender discrimination lawsuit against the U.S. Soccer Federation.

“LFG” is about the legal battle and features interviews with players Megan Rapinoe, Jessica McDonald, Becky Sauerbrunn, Kelley O’Hara, Sam Mewis and Christen Press, among others, and their attorneys and representatives.

In this hard-hitting documentary, the U.S. National Women’s Soccer Team gives their side of the inflammatory story on their legal fight for equal pay that is considered one of the most important women’s rights issues for athletes since Title IX.

Mixed in with their accomplishments on the playing field – four World Cups (Men 0)  and four Olympic medals — are what happens regarding their case from March 2019 to March 2020, with legal updates through March 2021.

Directed by the Oscar-winning husband-and-wife team of Andrea Nix Fine, who also wrote the screenplay, and Sean Fine, who was the cinematographer too, the movie showcases the players’ boundless energy, unflinching courage and their tenacity about fighting for social change.

This inside look at the pressures of being world-class athletes, the physical and mental demands of their sport and their commitment to each other is compelling.

Their arguments are passionately presented – and they respond to their critics through optimum performance.

Whatever their secret sauce is that makes them extraordinary is exemplified through their character, and their strength is remarkable – as is their deep-rooted loyalty to each other. We have seen how resourceful they are as players and now we see how much integrity they have as people.

Considered game-changers, these women compete with both their heads and hearts. On camera, their belief in themselves and each other comes through – and with candid clarity. They are frank, articulate and not afraid to express how they really feel.

Of course, this documentary is pointedly in the women’s favor. The directors, who won an Academy Award for Best Documentary Short Subject in 2012 for “Innocente,” take an in-your-face approach to the story. They start the film off by saying no one in the U.S. Soccer Federation agreed to an on-air interview.

Using tight close-ups of the players as fervent talking heads, this allows viewers to connect with the players on a very personal level.

They use high-energy music by a female band called Barn Owl, which feels contemporary and urgent.

Through their editing, they show the players’ impact on future generations, and the final montage of devoted little girls honing their ball skills solidifies the impact they are striving for – it is these children that will benefit from the changes they seek.

“It’s so much bigger than this group of people,” said Molly Levinson, the communications director for the women’s team. “We have a lot to lose if we don’t succeed.”

As in all documentaries, the use of archival footage and many newspaper clippings and media cut-outs helps fortify their position.

Lead attorney Jeffrey Kessler and co-counsel Cardella Spangler make convincing arguments. They stress the disparity between the men’s and women’s players and set the record straight on facts and figures. The women must win many more games and tournaments to come close to earning what the guys do, yet still receive less pay per match.

The players acknowledge naivety regarding the U.S. Soccer Federation’s attempts to do right.

When President Carlos Cordeiros said: “We hear you, we believe in you,” they thought agreeing to fair and equitable pay would follow. After all, fans got behind the team. But the executives did not take responsibility and hired lobbyists to fight the team.

Then came the unfortunate statement that biologically, women were inferior to men.

That touched off a firestorm that they had to walk balk. The lack of respect irked the players, who dug in. They wonder have women been brainwashed to be grateful for the basics?

The gender arguments will get under any woman’s skin, no matter what occupation. It’s inevitable.

Because of the pandemic, there have been delays, but the saga continues. A judge rejected the unequal pay claims part of the lawsuit, now in appeal. The movie fills everyone in as much as possible on what has transpired.

Their fight is not over, and their rallying cry continues. Most of the team will play in the 2021 Tokyo Summer Olympics. LFG! And about that title — it’s for “Let’s (Expletive Deleted) Go!”

Jessica McDonald

The documentary premiered at the recent Tribeca Film Festival and is now available on HBO Max. However, it is co-produced by CNN Films, so expect it to land there at some point.

“LFG” is a documentary co-directed by Andrea Nix Fine and Sean Fine. It’s rated TV-MA, for language, and runs 1 hour, 44 minutes. Lynn’s Grade: B

Nature Gets Its Revenge in Eerie South African Horror-Fantasy ‘Gaia’

Nature Gets Its Revenge in Eerie South African Horror-Fantasy ‘Gaia’

By Lynn Venhaus

A revenge horror-fantasy where the natural world has the upper hand, “Gaia” has much to say about mistreatment of the earth.

The title comes from Greek mythology — Gaia is the ancestral mother of all life.

On a surveillance mission in a primordial forest, an injured Gabi (Monique Rockman) is rescued by two survivalists who adhere to a post-apocalyptic lifestyle. She has lost contact with her partner Winston (Anthony Oseyemi) as she searches for a disabled drone.

The renegade father Barend (Carel Nel) and obedient son Stefan (Alex Van Dyk) have a mysterious relationship with nature and seem to follow their own religion. But this female forest ranger discovers there is a greater threat in the wilderness than the philosophical rants of an off-the-grid dad.

Set in South Africa, director Jaco Bouwer builds suspense with a sure hand. A foreboding sense of dread permeates every frame, and grotesque creatures who can viciously attack people, leading to strange outcomes, creates a frightful mood.

Because of her unfamiliarity with the terrain and lack of preparation, tough Gabi’s every move, every step outside the primitive cabin is met with trepidation. Even when the story is murky, the atmosphere sustains the terror, whether seen or unseen.

The technical crew work is superb. Yet, the film ultimately fumbles because of some half-baked notions and unclear motivation that should have been rectified to maintain the momentum.

The screenplay by Tertius Kapp makes points about science and divinity but veers in such weird trippy directions that we rarely have a firm grasp on the plot’s intentions. Do the fever dreams materialize into reality or stay in fantasy?

Stefan’s crush on Gabi, and her growing attachment to the teenage boy, is rather unsettling, and just what are the father-and-son’s intentions?

All three main characters do a good job in portraying their conflicted natures – with Monique Rockman’s doubt and suspicion as realistic as Carel Nel’s explosive temper revealed in his rambling manifestos. The former chemical engineer appears to hide too many secrets, especially about what happened to his wife. The son’s lack of experience in civilization is obvious.

While the always present danger in the form of icky screeching marauders who come out at night to hunt, using sound (sound familiar?), is disturbing, the characters’ inner turmoil adds another layer to the creepy vibe.

Because of the old-growth forest and illusion that not much has been disturbed, the crisp sound design by Tim Pringle is crucial, and the music score by Pierre-Henri Wicomb escalates the anxiety.

However, the visuals are the real stars here. The make-up and special effects departments create elaborate and bizarre ecological growth after people are infected — but the contagion threat is not explained.

Jorrie van der Walt and Film Initiative Africa won the ZEISS Cinematography Award at the 2021 SXSW Film Festival in mid-March, and his work is exceptional contrasting light and darkness in the Tsitsikamma Forest along South Africa’s coast.

The amount of detail is captivating. Rocco Pool’s production design creates believable scenarios in several worlds.

Yet, it’s the lack of satisfying answers to the growing number of questions we ponder that let us down in the end. Still, the unusual topic and its other-worldly setting engage in mysterious ways. It’s not nice to fool Mother Nature.

Carel Nel as survivalist father

“Gaia” is a 2021 horror-thriller directed by Jaco Bouwer and starring Monique Rockman, Carel Nel, Alex Van Dyk and Anthony Oseyemi
Rated R for some violence and bloody images, sexual content, nudity and language, its run time is 1 hour, 36 minutes. Lynn’s Grade: B-. It premiered at the SXSW Festival in March. In theaters on June 18 and available Video on Demand June 25.

An Inspired ‘Feast’ Melds Myth and Culture for Virtuoso Solo Show

An Inspired ‘Feast’ Melds Myth and Culture for Virtuoso Solo Show

By Lynn Venhaus

It is tempting to use food metaphors to describe “Feast.” After all, we are the invited guests at a banquet presided over by a glamorous and flamboyant hostess, who appears to be gracious and welcoming.

The carefully crafted experience is not unlike a tasting menu prepared by a Michelin- starred chef. Playwright Megan Gogerty and dramaturg Melissa Trepa have deftly mixed textures and flavors to create bold statements and subtle undercurrents.

A St. Louis premiere, this unusual and provocative one-woman show is an ambitious work by the intrepid Gogerty, written in 2019. She has woven a tapestry using images of an ancient myth, revisionist thinking on the classic literature “Beowulf” and a cultural reckoning.

In an Old English epic poem set in the 6th century, the valiant Beowulf is lauded for his strength over demons and beasts. He has traveled to help a king whose hall is terrorized by a monster, Grendel. He slays Grendel and later kills his mother, but not before she has crushed an advisor, Aeschere, in retaliation. Later, the hero becomes king, ruling for 50 years, but is eventually defeated by a dragon. Despite his death, a feast goes on in his honor.

In one of her finest performances yet, a fiery Donna Parrone reveals a personal tale of vengeance, in vivid details. We witness a maelstrom of outrage, grief and feminist comeuppance as she seethes with anger – and is gleeful about her perceived victory against a mighty enemy.

This unnamed character, the “She” here, is mother to Grendel. She might be a magical mythological creature disguised as a middle-aged woman, trying to reconcile past actions. As she reflects on what she has done, there are greater implications regarding humanity.

At first, she comes across as mercurial, and as she discloses the reasons behind her rage, she delves deeper into her emotions, recalling past grievances. Hell hath no fury liked wronged mothers.

Gogerty, using the tragedy as power, makes the case that maybe Beowulf is not such a good guy after all – especially if you read between the lines and view it from the eyes of a mother.

The Tesseract Theatre Company, which specializes in presenting new plays in intimate settings, always has something to say – using drama to create a new point of view.

Maybe you haven’t thought about “Beowulf” since college. Perhaps you have never read it (I admit my ignorance). Even with the “Feast” reimagining, it’s worth knowing the basic plot — but you can enjoy the presentation as a newbie, especially as a universal truth about dominant male patriarchy and how society views motherhood.

That’s because director Shane Signorino, no stranger to the classics, has made sure the political overtones can be translated to the present. As we have sadly been forced to confront, authoritarianism isn’t just in the past. Kayla Bush is the assistant director.

Donna Parrone in “Feast”

Signorino moves Parrone all over the small space with purpose – pleading, scoffing, distressed. This woman refuses to be ignored. It’s one of those virtuoso portrayals where you are mesmerized by the nuances, the change in tempo and tone – and the interpretation of every mood and meaning.

This absorbing production is challenging in ways we have missed during the pandemic. Parrone demands that we listen. Quiet, please – there is a lady on stage! She has been wronged in the worst possible way. After the loss of a child, mothers have an unfathomable depth of sorrow, and this woman, on the periphery of a dark abyss, must be heard.

Parrone has specialized in strong women roles during the past few years, particularly at Tesseract, and one of her finest performances was as Lee Harvey Oswald’s controlling mother Marguerite in “Mama’s Boy” by Rob Urbanati, presented in the fall of 2018.

But this demanding role is on another level and requires a special reserve of stamina.

The technical elements – scenic and lighting design by Taylor Gruenloh and Brittanie Gunn, sound by Megan Barris, music – all create an atmosphere that is highly theatrical.

Watching Parrone’s physicality makes the show very real. She interacts with the audience, with some seated at a few tables, and in chair groupings. You can’t not be a part of the dinner party.

Yes, it’s serious – but it is inspired and not devoid of humor. Consider the presentation as food for thought. If you are hungry for an uncommon drama, “Feast” is worth tasting.

The play runs from June 11 to 27, with performances at 8 p.m. on Fridays and Saturdays and at 4 p.m. Sundays at the .Zack Theatre, 3224 Locust. Tickets are available at MetroTix.com

You can request socially distanced seating, and they ask that your masks remain on during the performance for the safety of all patrons.

’12 Mighty Orphans’ Is Satisfying But Not Quite Mighty Sports Drama

’12 Mighty Orphans’ Is Satisfying But Not Quite Mighty Sports Drama

By Alex McPherson
An uplifting, inspiring, though unremarkable sports drama, director Ty Roberts’ new film, “12 Mighty Orphans,” meets expectations without going the extra mile.

Based on Jim Dent’s novel of the same name and inspired from true events, the film transpires within the grimy, dust-swept landscape of Texas during the Great Depression of the 1930s. Many orphaned children were sent to such places as Fort Worth’s Masonic Home until able to join the workforce.

Rusty Russell (Luke Wilson), an orphaned World War I veteran himself, begins teaching math and science there. He is accompanied by his wife, Juanita (Vinessa Shaw), who teaches English, and his young daughter. He also becomes the new football coach, with kind-hearted physician Doc Hall (Martin Sheen) taking on assistant duties. Rusty believes the sport can help give the teenaged players a sense of community despite their hardships. 

With the kids lacking shoes, protective gear, and footballs to practice with, Rusty immediately realizes the challenges ahead of him. Difficulties are exacerbated by the abusive treatment the boys receive from superintendent Frank Wynn (Wayne Knight), who forces the boys to operate an in-house printing press, as well as by the tempers of several players, including the mentally scarred Hardy Brown (Jake Austin Walker). Will they be able to overcome these challenges and acquire a renewed sense of purpose in their lives?

Offering neither surprises nor genuine thrills, “12 Mighty Orphans” rides on its crowd-pleasing cliches and likable performances to score touchdowns. While Rusty’s team pioneered innovations in football that became widely used later on, “12 Mighty Orphans” plays much more to tradition, for better and worse. Some viewers might be left underwhelmed, but Roberts’ film delivers a sentimental story of comradeship and hope during crushing times.

Luke Wilson as Rusty Russell

Indeed, “12 Mighty Orphans” offers a sense of comforting predictability that’s difficult to fault, even though there isn’t much to ponder once the credits roll. All the expected plot beats of the “inspirational sports film” genre are covered, including the value of perseverance and the true meaning of victory, with ample speechifying to boot. The cast of characters — especially Rusty, Hardy, and the other orphans on the team — are largely sympathetic and likable, with fine acting across the board. 

Wilson gives a fittingly sincere effort as Rusty, conveying a stubborn optimism that yields both frustration and life-affirming joy, belying deeper insecurities. Sheen is decent, swigging alcohol and providing dry-humored remarks, in addition to delivering the film’s simplistic narration. Less strong are Shaw, not given much to work with, and Knight — rendered a one-note antagonist whose subplot doesn’t meaningfully add to the themes being explored. Lane Garrison is amusingly over-the-top portraying a petty rival coach from a nearby, wealthy high school.

The true standouts are the kids themselves. Walker brings a shattered, tormented quality to his performance as Hardy, portraying an individual suffering from impossible grief thrust into a new environment. His arc over the course of the film, as he discovers a passion for football and gradually bonds with his teammates, is moving and heart-warming, albeit easy to foresee. Jacob Lofland is excellent as Snoggs, a lean sap with a penchant for immaturity who nevertheless deeply cares for his peers.

Although “12 Mighty Orphans” fails to delve into its time period or the inner-workings of the Masonic Home with much nuance, it’s easy to root for “The Mighty Mites” as they grow closer as a family unit and achieve national attention. Still, overdone narration sometimes breaks the flow, especially when Sheen bluntly explains themes near the end, as do some eye-rollingly trite bits of dialogue and abrupt flashbacks to Rusty’s wartime past. 

Fortunately, the film is so heartfelt in its ambitions, and ultimately affecting in its execution, that the numerous criticisms I have don’t detract much from the experience. Not everything needs to be an unforgettable, emotional powerhouse, and “12 Mighty Orphans” succeeds where it counts.

“12 Mighty Orphans” is a 2021 fact-based sports drama directed by Ty Roberts and starring Luke Wilson, Martin Sheen, Vinessa Shaw, Wayne Knight, Jake Austin Walker, Jacob Lofland and Lane Garrison. It is rated PG-13 for violence, language, some suggestive references, smoking and brief teen drinking, and the run time is 1 hour, 58 minutes. Alex’s Grade: B. The film is in theatres June 18. 

Playful ‘Luca’ Sweeps Us Away to Italian Adventure on Land and Sea

Playful ‘Luca’ Sweeps Us Away to Italian Adventure on Land and Sea

By Lynn Venhaus
Of all this summer’s films, “Luca” might be the one that gives you a serious case of wanderlust – and nostalgia for the summers of your youth.

The playful computer-generated animated feature sweeps us away into two exotic worlds – under the sea and on land – for a fun, fast-paced teenage adventure. You will wish Portorosso was real – not just a reference to Hayao Miyazaki‘s film “Porco Rosso” from 1992.

Set in a beautiful seaside town on the Italian Riviera, “Luca” is a sea monster-turned-little boy experiencing an unforgettable summer filled with gelato, pasta and scooter rides. Luca Paguro (Jacob Tremblay) shares adventures with his new best friend, Alberto (Jack Dylan Grazer), who is also a sea monster, and meets Giulia (Emma Berman), who will change his life, and her fisherman father Massimo (Marco Barricelli), while he’s hiding from his fretful parents Daniela and Lorenzo (Maya Rudolph, Jim Gaffigan). Can he still live in both worlds without fear?

Following a long line of Disney dreamers, Luca Paguro is a charmer – coming of age as he straddles his natural sea world and the picturesque fishing village he discovers during an escapade with his new best friend, the worldlier and more mischievous Alberto.

Jim Gaffigan and Maya Rudolph voice parents Lorenzo and Daniela

Luca herds goatfish by day, trying to stay safe, warned by his protective mother (Maya Rudolph) about dangers of the outside world. But he yearns to see what’s out there for himself. When he ventures above the surface, he appears to be a human, but once wet, he reverts to his sea monster scales.

With wide-eyed wonder and an insatiable curiosity, Luca wants to explore the vast universe that he is only now experiencing. It turns into an unforgettable summer on the sun-kissed shores of Italy, set in the ‘50s – captivating us in the grand time-honored tradition of a hero’s far-away journey.

The vivid animation matches the creators’ limitless imaginations, and the swift shapeshifting between the ‘human’ boys and the sea monsters is remarkable. During the credits, watercolor drawings, reminiscent of old picture books, dot the frames.

Pixar’s latest and 24th feature, “Luca,” isn’t as profound or ground-breaking as “Soul,” “Coco” or “Inside Out,” but is a pleasant excursion into a gorgeous nook of land-and-sea, as refreshing as an ocean breeze.

The characters, conceived by director Enrico Casarosa and co-writers Jesse Andrews (“Me and Earl and the Dying Girl”) and Mike Jones (“Soul”), are distinguished by colorful personalities and exaggerated physical features – whether it’s a brawny dad bod with a thick mustache or a swaggering pompadoured bully in sunglasses.

The appealing voice cast imbues characters with warmth and humor, and particularly amusing are Sandy Martin, Mac’s Mom on “It’s Always Sunny in Philadelphia,” as the saucy grandma, and Sacha Baron Cohen as the hulking gravel-voiced Uncle Ugo (stay for the credits for more on this imposing creature).

 Tremblay, now age 14, conveys enthusiasm and amazement over everything Luca sees and does. The guileless Tremblay broke through in “Room” (2015) and has followed up with the earnest “Wonder” and the hilarious “Good Boys.” He is a natural fit for the sea creature-out-of-water Luca.

He pairs well with Jack Dylan Grazer, Eddie in the “It” movies, who is the headstrong Alberto, and Emma Berman as the smart and lively Giuilia. Their silly shenanigans recall vintage cartoons – and even “Stand By Me.”

Casarosa’s directorial debut was the lush moonlit “La Luna,” an animated Pixar short shown before “Brave” in 2012 and nominated for an Academy Award. Inspired by his childhood in Genoa for both the short and feature, he has infused this film with a marvelous sense of atmosphere.

Through a big-hearted approach, Casarosa has expanded on the themes of family, friends and community, while also bathing it in a gorgeous glow at nighttime. The lighting here is exquisite.

Cultural touches – on food, lifestyle and landscape – add to the film’s precise sense of style.

The music is another memorable aspect – Dan Romer’s score blends Italian opera, folk music and spirited instrumental pieces to amplify the jolly and jaunty elements.

An original story that may be more of a pastiche and feels like a beach read, “Luca” is an enchanting take on celebrating differences and youth friendships.

If you notice nods to “The Little Mermaid,” “Finding Nemo” and “Pinocchio,” so be it, but it also is an homage to Casarosa’s major influence Miyazaki — plus Fellini and other Italian cinema greats too.

Dive in and just have fun with it, an Italian ice optional.



“Luca” is a 2021 animated feature and comedy-adventure. Directed by Enrico Casarosa, it has voice work from Jacob Tremblay, Jack Dylan Grazer, Emma Berman, Maya Rudolph, Marco Barricelli and Jim Gaffigan. Rated PG for rude humor, language, some thematic elements and brief violence, it has a run time of 1 hour, 35 minutes. Lynn’s Grade: A-. The film is streaming on Disney Plus beginning June 17 at no extra premium fee.

Rita Moreno Doc Honors a Trailblazer

Rita Moreno Doc Honors a Trailblazer

By Lynn Venhaus
EGOT winner Rita Moreno, who will turn 90 on Dec. 11, traveled from Puerto Rico to America with her mother when she was 5 years old. She would go on to a legendary career as an actress, singer and dancer that has spanned 70 years.

A candid documentary, “Rita Moreno: Just a Girl Who Decided to Go for It,” is a loving and illuminating look at her life and struggles.

Just when you think this will be a fawning showbiz portrait, Moreno matter-of-factly points out the bumps in the road in a difficult journey to stardom. She shares intimate details about the racism and sexism she endured on Broadway and in Hollywood, reveals jaw-dropping abuse and a toxic relationship with Marlon Brando.

Her resilience, and talent, would help her triumph over adversity – but what a remarkable, strong woman. Fiesty and fearless now, the former Rosita Dolores Alverio is still going strong. She is an executive producer on Steven Spielberg’s remake of “West Side Story,” to be released this December, and was on the rebooted sitcom “One Day at a Time” from 2017 to 2020.

 Often cast as a stereotypical ethnic minority early in her career, she discusses her efforts to break barriers, fight for representation and forge a path for other artists.

Winning the Oscar in 1962

The talking heads include George Chakiris, fellow Oscar winner for “West Side Story” (1961) as Bernardo to her Anita; Morgan Freeman, who appeared with her on PBS’ “The Electric Company,” for which she won a Grammy; and Latino performers who consider her a role model: Gloria Estefan, Eva Longoria, Justina Machado. Karen Olivo and Lin-Manuel Miranda, who is one of the executive producers on the documentary.

The spry Moreno, a widow and mother of one daughter, is a marvel of movement. An activist ready to take to the streets, she chronicles her early involvement in civil rights and how she continues to fight injustice.

The career achievements are vast – including two Emmys, for ‘The Rockford Files” and “The Muppet Show,” and a Tony for “The Ritz” in 1975. The director has inserted copious amounts of archival footage, and Moreno’s body of work is impressive.

For 89 minutes, this fascinating and inspiring documentary shows how the gutsy Moreno survived – and thrived – in a cutthroat business. I’m eager to see the next chapter.

“Rita Moreno: Just a Girl Who Decided to Go for It” is a 2021 documentary directed by Mariem Perez Riera.
It is rated PG-13 for mature thematic content, some strong language including a sexual reference, and suggestive material, and has a run-time of 1 hour, 30 minutes. Lynn’s Grade: A

Available in local theatres June 18 and at the Tribeca Film Festival June 9-20, with virtual screenings at Tribeca at Home through June 23.

Quirky ‘Here Lies Henry’ May Tell You Something You Don’t Know

Quirky ‘Here Lies Henry’ May Tell You Something You Don’t Know

By Lynn Venhaus
Oh the irony. Henry, who is an off-kilter sort, likes to sing “On the Sunny Side of the Street” when his life is anything but – or at least appears that way. That sets the tone for “Here Lies Henry,” a kooky one-man show that opened by The Midnight Company at the Kranzberg Arts Center’s blackbox theatre last weekend.

Part jester, part blowhard, Henry’s personality is central to his act, a freeform stream of conscience where he wonders aloud why there are yellow fire trucks and repeats his schtick with some twists. He wants to tell you something that you don’t already know. He can rant but he’d rather get a laugh. Did he really say that? Did he commit any of the crimes he takes credit for?

Henry is an entertainer created by the fertile mind of quirky Daniel MacIvor, a Canadian playwright, actor and screenwriter. MacIvor specializes in solo pieces, just like Joe Hanrahan, a St. Louis theater veteran, who acts, directs, writes and produces. He adds the peculiar and curious Henry to his repertoire of uncommon characters.

Hanrahan likes choosing works that aren’t part of the mainstream, and as The Midnight Company’s latest one-man show, the first since the coronavirus public health restrictions lifted, it’s a good fit.

Hanrahan has previously performed MacIvor’s other works, “Cul-de-Sac” and “House,” and understands the rhythm the playwright attains in this 1995 work.

As he tackles love and death, Hanrahan displays Henry’s awkwardness, his impish penchant for odd jokes and puns, and builds more confidence as he weaves tall tales. Henry might be “not quite right,” but will we know?

Director Ellie Schwetye, who has worked with Hanrahan multiple times, is also familiar with the off-center and the screwball. There is an ease to the presentation, maintaining a mood where you don’t quite know what’s happening or where it will go, but you’re willing to take the ride.

That uncertainty is the chief tone throughout – as Henry, who admits he lies, embellishes stories about his parents and life. Is he serious? Is this a TED talk? Or is this a comedy club’s open-mic night? It has that feel of a guy telling big whoppers at a bar – but you can’t ignore him here as he is compelled to get on your good side.

As always, Hanrahan is entertaining in his unconventional, idiosyncratic way. “Here Lies Henry” doesn’t necessarily answer the Big Questions, but you’ll have fun with the asking.

Technically, the show flows smoothly, with Tony Anselmo’s lighting design and Kevin Bowman’s production design. Anselmo designed lighting for Midnight Company’s past works, “Popcorn Falls” and “A Model for Matisse.”

“Here Lies Henry” is an interesting look at one man’s point of view. The play is presented without intermission and runs 70 minutes.

Photo by Joey Rumpell

“Here Lies Henry” will be performed at 8 p.m. Thursday through Saturday, from June 10 to June 26, with a 2 p.m. matinee on Sunday, June 27, at the Kranzberg Black Box. For tickets, visit MetroTix.com or MidnightCompany.com. Call 314-487-5305 for more information.

Exuberant ‘In the Heights’ Pops with Charismatic Performances and Heartfelt Story

Exuberant ‘In the Heights’ Pops with Charismatic Performances and Heartfelt Story

By Lynn Venhaus
“In the Heights” is indescribably delicious — and one of the best movie musicals of the 21st century, splendidly transferred from stage to screen.

Bursting with exuberance and featuring a bustling street tableau, this long-awaited adaptation of Lin-Manuel Miranda’s 2008 Tony-winning musical is teeming with colorful sights and sounds.

Besides a richly textured, pulsating score with primarily hip-hop lyrics and a salsa beat, what made the musical special is how it captures a universal story of people chasing their dreams with a specific sense of place.

Usnavi de la Vega (Anthony Ramos) is the owner of a small bodega in New York City’s Washington Heights. As the neighborhood braces for changes and people follow their dreams, family stories are revealed.

Usnavi has a crush on Vanessa (Melissa Barrera), who dreams of being a designer and wants to live in the West Village. His childhood friend, Nina (Leslie Grace), the “one who made it out” by landing a scholarship to Stanford University, thinks she is disappointing her dad, Kevin Rosario (Jimmy Smits), who owns a local car service company. Nina’s love interest, Benny (Corey Hawkins), works for her dad. Meanwhile, Abuelo Claudia (Olga Merediz) dispenses love and advice as the neighborhood’s matriarch. Merediz played the role on Broadway.

And Usnavi discovers his store has sold a winning lottery ticket for $96,000 – money that could make a lot of dreams possible.

Anthony Ramos and Melissa Barrera

As a celebration of Latino heritage, from Caribbean islands, Dominican Republic, Cuba, Puerto Rico and Mexico, this film arrives at the perfect time – it’s a valuable immigrant representation and a major achievement in 2021.

Set during a blistering summer heat wave in the barrio over the course of three days, you feel “all the feels” — You will fall in love with these characters and their devotion to family, culture and finding their place in the world.

Showcasing an abundance of charisma, three stars are born: Anthony Ramos as Usnavi, Melissa Barrera as Vanessa and Leslie Grace as Nina. Ramos, most known as John Laurens and Alexander’s son Philip in “Hamilton,” sings and dances up a storm, but also has the emotional heft for good-hearted, hard-working Usnavi. Barrera and Grace dazzle in every musical number – and their personal stories tug at the heartstrings.

The entire cast is terrific — Corey Hawkins as Benny, Daphe Rubin-Vega as Daniella, Olga Merediz as Abuela Claudia, Jimmy Smits as Kevin Rosario and Gregory Diaz IV as Sonny, among them.

Jon M. Chu, who directed “Crazy Rich Asians,” has a flair for keeping things moving at a brisk pace in massive musical numbers but also creating an intimacy with the duets and personal struggles. For a movie with a running time of 2 hours and 23 minutes, that is no small feat.

Quiara Alegría Hudes, who wrote the musical’s original book plus the screen adaptation) brings it into today, with references to Dreamers (DACA), activism and current class struggles. The women characters are all strong role models, too.

Best of all are the energetic dance scenes. Vibrant choreographer Christopher Scott will have you moving and up from your seat! He brings so much joy to these lively street scenes, and their precise moves – on asphalt, park, water or sand – are striking. He is a Busby Berkeley for the modern age, keen on making the action ‘pop.’

And for Miranda’s devotees and “Hamilton” fans, there are a few tasty in-jokes. Check out the phone muzak while Jimmy Smits is on hold – recognize a signature tune? — and there is a rivalry between his “The Piragua Guy” and a Mr. Softee truck (with a certain actor once known as Mr. President – and who played Benny in the original cast). Christopher Jackson and Miranda go way back to 2002.

Miranda was the first composer to put hip-hop lyrics in a Broadway show — and the youngest to win the Tony for Best Music Score in 2009. While that is remarkable in itself, what he has managed in his career to date is awe-inspiring — and means a lot is expected from him. Next up, his directorial debut with “Tick, Tick…Boom,” basically the Jonathan Larson story, which will premiere on Netflix this fall. He credits the “Rent” composer with being one of his influences.

His “Hamilton” Dream Team of Tommy Kail, Alex Lacamoire and Andy Blankenbuehler worked together on all the stage versions of “In the Heights,” so while not specifically involved in the movie, their influence can be felt.

Miranda wrote a new song, “Home All Summer,” which plays over the credits and features Marc Anthony, who has a minor role as Sonny’s father, in addition to Ramos and Grace.

Sonny’s father wasn’t in the original musical, and there are a few alterations here, including a new framing device and ending, but it only adds to the material, not detracts. A few songs were cut from the 25, and the soundtrack now includes 17, including the new one.

Movie musicals can be a dicey proposition these days, for every “Chicago” (Oscar winner) and “Les Miserables” (Best Picture nominee), there is an epic failure like “The Phantom of the Opera” and the unwatchable “Cats.”

This is a fun, global experience that will be a certain summer sizzler. After a pandemic delay, “In the Heights” is a welcome refresher in the magic of music and movies.

“In the Heights” is a musical directed by John M. Chu and starring Anthony Ramos, Melissa Barrera, Leslie Grace, Daphne Rubin-Vega,  Corey Hawkins, Marc Anthony and Jimmy Smits. It is rated PG-13 for some language and suggestive references, and runs 2 hours, 23 minutes. Lynn’s Grade: The movie is in theaters starting June 10 and on HBO Max June 10 – July 11.