’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.

Creepy ‘The Conjuring: The Devil Made Me Do It’ Takes Trilogy Beyond Haunted Houses

Creepy ‘The Conjuring: The Devil Made Me Do It’ Takes Trilogy Beyond Haunted Houses

By Lynn Venhaus
As in all “The Conjuring” movies, this sinister tale is based on a true story, which raises the chills.

But unlike the first two that involved haunted houses, this focus is on how a mild-mannered 19-year-old could viciously stab his neighbor/landlord to death in a small New England town without direction from the dark side?

Real-life paranormal investigators Ed and Lorraine Warren (Patrick Wilson, Vera Farmiga) investigate a murder that may be linked to demonic possession. The 1981 case is the first time in U.S. history that a murder suspect would claim demonic possession as a defense. It made national headlines as “The Devil Made Me Do It” trial, and the Arne Cheyenne Johnson (Ruairi O’Connor) case was one of the most sensational to involve The Warrens.

Oh, there are still creepy houses, with eerie things lurking in shadows, spooky basements/cellars and more delving into the occult – always disturbing. Production Designer Jennifer Spence is effective in building an ominous atmosphere and capturing the early ‘80s look.

Shifting between the real and paranormal worlds, this third film – and eighth overall in “The Conjuring” spin-offs (Annabelle, The Nun), provides the unsettling unease we have come to expect. Demonic possession gives me the heebie-jeebies anyway, and then when you add other supernatural elements, well, the sense of dread is unrelenting.

Only James Wan, responsible for the first two smash hits in 2013 and 2016, is not directing this macabre well-documented film, it is a protégé instead – Michael Chaves, who helmed “The Curse of la Llorona” in 2019, another spin-off film.

Chaves doesn’t veer off the path of a successful formula. Like Wan, he is good at escalating terror, although he spent more time setting up the spine-chilling jolts where you gasp, jump or scream.

Wan, however, is credited with the story, along with screenwriter David Leslie Johnson – McGoldrick. The characters are based on those created by Chad Hayes and Carey W. Hayes. The story does get rather complicated as the Warrens explore what a former priest, Kastner (John Noble), has stored away.

The movie starts out with an exorcism of a demon possessing an 8-year-old boy, David Glatzel (an angelic-faced Julian Hilliard), which is truly frightening and cuts to the chase in swift fashion. His sister’s boyfriend, Arne Cheyenne Johnson (Ruairi O’Connor), pleads with the spirit to enter him and leave David alone.

Thus starts the horrific transformation of Arne into a wicked presence, igniting a fight for his soul by “The Occultist,” who summons demons to satisfy the Prince of Darkness. With her severe skeletal build features, Eugenie Bondurant is menacing with just a quick glance.

The story takes on the structure of a crime procedural as the police involve the Warrens in a missing girls’ case in Danvers, Mass., that may be related, and broaden the research about Satanic cults.

Sometimes, it is a little too on the nose, and why people in big rambling old houses insist of not having too many lights on, I’ll never understand. Editors Peter Gvozdas and Christian Wagner set up the scares with flair and composer Joseph Bishara, who scored the first two, is back enhancing the action.

While Wilson and Farmiga excel in portraying this ordinary married couple with extraordinary abilities, some of the acting by lesser supporting characters gets a tad hammy, like the old-timey horror icons in early Hollywood.

Lorraine Warren, who served as a consultant on these films before her death at age 92 in 2019, was a clairvoyant, and her visions are an integral part of cracking these cases.

As the murder suspect, O’Connor is believable as someone caught up in forces beyond his control. Sarah Catherine Hook gives sincere support as his girlfriend Debbie Glatzel and as her brother, Hilliard is a natural as the innocent boy thrust into the supernatural world.

The trial is wrapped up quickly, almost like an afterthought, and there is plenty of archival footage on the case, including this gem – a clip of Tom Snyder of “The Tomorrow Show” interviewing the Warrens. (Stay to see it during the credits).

This third film delivers what it sets out to do and is convincing in its depiction of ghosts and Satanic worshippers. It will just depend on how skeptical you are about demons fighting for our souls.

Ruairi O’Connor as Arne Cheyenne Johnson

“The Conjuring” trilogy is the kind of movie best-suited to watch when you’re not alone in the dark.


“The Conjuring: The Devil Made Me Do It” is a 2021 horror thriller directed by Michael Chaves and starring Patrick Wilson, Vera Farmiga, Ruairi O’Connor and John Noble. Rated R for terror, violence and some disturbing images, the film runs 1 hour, 52 minutes. Lynn’s Grade: B. The movie is in theatres and steaming on HBOMax starting June 4.


‘Cruella’ A Bold Re-Imagining of Iconic Disney Villain Pops With Color

‘Cruella’ A Bold Re-Imagining of Iconic Disney Villain Pops With Color

By Lynn Venhaus
A cheeky live-action prequel that delves into the down-and-out origins of one of Disney’s iconic villains, “Cruella” is a dark tale of dueling divas hell-bent on revenge.

That’s an unexpected underdog twist – and this glossy reimagining bursts with a bold, brassy attitude.

Estella de Vil (Emma Stone) wasn’t born to be bad, but she was a nonconformist at an early age.

Born with the unmistakable two-tone hair, Estella’s a creative but mischievous child (a spunky Tipper Seifert-Cleveland) who is a handful for her mother (Emily Beecham).

When she strikes out on her own on the streets, that begins her relationship with Jasper and Horace, who are rakishly played by character actors Joel Fry of “Yesterday” and Paul Walter Hauser of “Richard Jewell” as adults — good-hearted blokes. They survive as grifters.

But the future fashionista has a dream and is singled out by superstar designer The Baroness (Emma Thompson), who likes her style – and appropriates it for her collections. Haughty and vain, the Baroness has destroyed everyone in her way – but has she met her match in Cruella? The rebellious alter ego of Estella, Cruella’s punk rock outfits are redefining fashion in 1970s London, and it is game on!

The story, long in the works, was first drafted by screenwriters Aline Brosh McKenna, Kelly Marcel and Steve Zissis. McKenna wrote “The Devil Wears Prada” and you see those fingerprints all over this latest chapter in the “101 Dalmatians” oeuvre by co-screenwriters Dana Fox and Tony McNamara.

This is where Emma Thompson takes over, commanding every frame she is in, with personality and pizzazz, as she forges Estella/Cruella’s identity.

A chance encounter with The Baroness von Hellman, the prima donna of haute couture, puts Estella on the path to realize a career as a designer. As played by Thompson, the wickedly evil Baroness is a despicable human and corrupt fashionista. As Cruella learns more, she stakes her claim as  “The Future” of fashion. She takes swinging London by storm.

This is when the movie explodes with fresh and fun outfits in a swirl of black, white and red — the notorious colors associated with all things Cruella. Jenny Beavan’s costume designs are marvelous, a big loud rebel yell of punk-inspired outfits and gorgeous evening garments perfect for dramatic entrances. Beavan’s won Oscars for “Mad Max: Fury Road” and “A Room with a View,” and her use of different fabrics and textures is stunning.

These costumes are worn with flair by two of our best actresses, Oscar winners Stone and Thompson, who have a ball with the campier aspects of their roles — but also vividly create their characters’ dead-serious nature.

As for the Dalmatians that first created the Disney franchise all the way back to 1961, three mean ones appear as the pets of the Baroness. Hence, Cruella’s aversion to the spotted creatures. Estella’s own pet dog is a beloved mutt named Buddy.

Stay past the credits to find more on Anita and Roger, a nod to Pongo and Perdita’s future family.

The source material for all of the successive movies, including the live-action “101 Dalmatians” in 1996 and the 2000 “102 Dalmatians” starring Glenn Close as the imperious villain, has been Dodie Smith’s 1956 novel.

She turned a character’s last name from Bram Stoker’s “Dracula,” Count de Ville, into this greedy villainess, driving a Rolls Royce and barking orders to her henchman, to fill her insatiable need for animal fur.

Where the franchise is headed after “Cruella” is anyone’s guess – because how would Stone’s character turn into the menacing de Vil that steals the dogs for their fur?

Well, that discussion is for another day, but it’s a logical question – where does it go from here after Cruella takes over Hell(man) Hall?

As for a stand-alone movie, “Cruella” is a vibrant creation with a banging period soundtrack and a game cast.

Just as he did with “I, Tonya,” director Craig Gillespie zigs when you expect him to zag.

The Baroness’ actions are too frightening for young children, so parents be aware. There is nothing remotely cute about this movie.

But as it is Disney, expect lots of merchandise, tie-ins and another one in the works. That’s about the only predictable element to this film.

“Cruella” is a 2020 comedy-drama directed by Craig Gillespie. Starring Emma Stone, Emma Thompson, Joel Fry, Paul Walter Hauser, Emily Beecham, Kirby Howell-Baptiste and Mark Strong. Rated PG-13 for some violence and thematic elements and the run time is 2 hours, 14 minutes. It is available in theaters and on Disney Plus for a one-time premium access fee on May 28. Lynn’s Grade: B+

In theaters and on Disney Plus with Premier Access one-time additional fee May 28

‘A Quiet Place Part II’ Ramps Up Terror in Satisfying Sequel

‘A Quiet Place Part II’ Ramps Up Terror in Satisfying Sequel

 By Lynn Venhaus
For a pulse-pounding 97 minutes, “A Quiet Place Part II” delivers a satisfying sequel that broadens the original story with clever moves and adds to its superb cast.

Writer-director John Krasinski, who directed and co-wrote the original, has built more tension-filled sequences and delivered well-timed jump scares. He maintains what made the 2018 film uniquely scary when any noise would attract the monsters.

The Abbotts – Evelyn, her children Regan, Marcus and infant, leave their home to try to find a safer haven in the outside world. With the creatures who hunt by sound still wreaking death and destruction, it is a precarious journey – and they discover these creepy aliens are not the only threats lurking on their post-apocalyptic path.

Now, after a 14-month delay because of the coronavirus pandemic, the film has eerie parallels to what we went through in quarantine – but had been completed for a March 2020 opening.

It may be the first movie to entice people back to the local multiplexes, kicking off the traditional summer movie season. It’s comforting to share the suspense with others in a communal setting, as we emerge from our isolation to be frightened by a vastly different world.

With masterful editing from Michael Shawver, the fear is palpable, and the importance of keen sound design magnified by what may be waiting for the humans if detected. Every snap, crackle and pop are excruciating.

For the first scene, we are taken back to the Before Times – an ordinary Saturday afternoon in the small town where kids and parents are on the local ball diamond, when the sky fills with a mysterious visual as something hurtles towards earth. Quickly, parents grab their children and attempt to head home when the invading aliens pounce. The danger escalates, which leads to the events of the first film. In this flashback, Krasinski returns briefly as Lee, trying to herd his family to safety.

Part II takes up at Day 474, when the surviving Abbotts venture from their farmhouse cocoon to explore the outside world, in hopes of finding people at bonfire encampments while not attracting the marauding predators.

While the first film was stingy in its reveal of the grotesque beasts, which are giant fast-moving spidery lizard-like forms whose lethal big bite is as sharp as knives, this time they are often shown up-close. Their ferociousness is on full display, which ratchets up the terror.

The smart and resourceful Abbotts get out of numerous jams but are never far from being dinner.

Daughter Regan (Millicent Simmonds), who is deaf, hatches a plan after suspecting Bobby Darin’s song, “Beyond the Sea,” heard repeatedly on a radio station, is a signal. She takes off to save her family – and humanity – while mom Evelyn (Emily Blunt) implores their former friend and neighbor Emmett (Cillian Murphy) to go after her.

The casting of the Irish actor is genius. Almost unrecognizable with a shaggy beard and blue-collar wardrobe, Murphy convincingly plays a grieving husband and father whose undercurrent of sadness provides an emotional depth, and his expressive eyes aid in the nonverbal acting.

Emmett has made a solitary fortress in an old steel mill that he reluctantly shares with the Abbotts. Haunted by losing his family, he spends his days drawing photos of his little boy and protecting his turf. He has a pessimistic view of civilization.

As Regan’s protector on their journey to find an oasis, Emmett is challenged as well – but fights like hell to survive as his strength builds. When the pair reach a coastal island, Djimon Hounsou – in a small but pivotal role — plays a helpful resident.

Because of widening the scope, Krasinski has less for Blunt to do, but she is effective as the panic-stricken mother trying to protect her children at all costs.

The child actors stand out, particularly Millicent Simmonds as the deaf girl who is very intuitive. Her lack of hearing is crucial to the story, as in the first, and so is her cochlear implant.

While you can be cynical about that plot device, and think the film resembles M. Night Shyamalan’s “Signs” from 2002 because of another plot twist, I think the characters are worth following. Original co-screenwriters Scott Beck and Bryan Woods had helped create memorable characters that we cared about and still engage three years’ later.

Krasinski counts on moviegoers to remember key elements of the first film without too much rehashing and gives a few hints. He keeps the film moving at a good clip.

The film leaves us wanting more and is set up for a third installment. What happens in that bubble could still intrigue because of the ensemble’s outstanding work.

“A Quiet Place Part II” is even more unsettling than the first as we can really feel the uncertainty based on our own COVID-19 experiences.



“A Quiet Place Part II” is a 2020 sci-fi, horror film directed John Krasinski, starring Emily Blunt, Cillian Murphy, Noah Jupe, Millcent Simmonds and Djimon Hounsou. Rated PG-13 for terror, violence and bloody/disturbing images, the run time is 1 hour, 37 minutes. Only in theaters May 28. Lynn’s Grade: A.

‘Georgetown’ Intersects Murder Mystery with Theatrical Politics

‘Georgetown’ Intersects Murder Mystery with Theatrical Politics

By Lynn Venhaus
The movie shows its cards right away: “This story does not in any way claim to be the truth,” we read on the screen. “Nonetheless, it is inspired by actual events.”

Washington D.C. social climber Ulrich Mott (Christoph Waltz) has conned his way into the upper echelons of politics and society, including marrying wealthy and much-older widow Elsa Brecht (Vanessa Redgrave). When she is found dead one evening after a triumphant dinner party, her daughter Amanda (Annette Bening) suspects foul play. The police investigation will uncover a large web of deception.

As we’re immersed into D.C.’s political maneuvering, we see the slick grifter Mott ingratiating himself with movers and shakers. The charming Mott is being hailed as “Lawrence of Arabia with a Blackberry,” regaling stories of his diplomatic exploits to the doyens of society.

Remarkably, his schtick works – until it doesn’t, but he can sure spin whoppers. In a truth is stranger than fiction way, “Georgetown” looks at the power plays in Washington D.C., where an ambitious German-born swindler can bamboozle the smart and important. And it’s a remarkable story how he got as far as he did – if we are to believe it all.

Based on the 2012 New York Times article, “The Worst Marriage in Georgetown,” by Franklin Foer, the film shows how Albrecht Gero Muth took advantage of Viola Herms Drath, a journalist, author, advisor to public figures and a wealthy widow. Although their names have been changed, the story is a tragic and bizarre true-crime headline.

Playwright David Auburn, who won a Tony Award and Pulitzer Prize for “Proof,” has adapted the sordid events into a dark comedy but the tone isn’t consistent, and there is little insight into the odd flim-flam man’s schemes and backstory.

In real life, Muth was 44 years younger than Drath and was convicted of her murder in 2014. You can dig deeper into that case on your own if you want more reality context.

As for the marriage, the movie offers a ‘familiarity breeds contempt’ scenario – a couple’s close relationship that disintegrates as more of Muth’s deceit is revealed.

Waltz, winner of two Oscars, and Redgrave, winner of one, delectably tango when she’s done with his charade and he’s not pretending to be devoted. They can make a three-course meal out of scenery chewing – and it’s fun to watch. Waltz also directed.

Not so fortunate is Annette Bening, whose Harvard law professor daughter character is underdrawn and is reduced to glaring at Mott with total disdain every time she’s on screen which isn’t much.

Because Redgrave, now 84, is playing a 91-year-old journalist, we see her sharp mind at work. The legendary actress might have slowed down but she’s still one of the best.

With such a lauded cast, you expect the outcome to be better but the film runs out of gas – maybe it’s because Mott is such an odd, pathetic character. It’s the kind of role that gave Waltz a film career, and he’s good at playing a schuyster. But even this guy can’t drum up any sympathy.

It is funny, however, when he’s donning an eye patch, claiming of service in the French Foreign Legion and as a brigadier general in the Iraqi Special Forces.

The attorneys are practically rolling their eyes over his antics — one of them being the exceptional Corey Hawkins, frustrated by Muth’s grandiosity and his clear-cut motives.

The movie was made in 2018, premiered at the 2019 Tribeca Film Festival, and is finally out now. Not sure what that all means, and while it has its flaws, the story is intriguing  – and just to see Redgrave and Waltz tussle is worth it.

“Georgetown” is a 2019 true crime drama directed by Christoph Waltz and starring Waltz, Vanessa Redgrave and Annette Bening. Rated R for language and brief sexual material, with a runtime of 1 hour, 39 minutes. It was available Video on Demand beginning May 18.
Lynn’s Take: B-

‘The Dry’ Is Riveting Murder Mystery Set in Australian Outback

‘The Dry’ Is Riveting Murder Mystery Set in Australian Outback

By Lynn Venhaus
The air is heavy with a sense of dread, for not only what Mother Nature has done to the land but also what man-made messes are haunting the townsfolk in fictional Kiewarra in “The Dry.”

When a childhood friend is found dead, Aaron Falk (Eric Bana) returns to his hometown for the funeral. It has been 20 years, and apparently, there is unfinished business. During their teen years, Aaron and his pal Luke were friends with a girl whose drowning death in 1991 was suspicious. His presence conjures up unpleasant memories for the flinty locals, who have their own secrets.

Aaron is still an outsider but sticks around to see if there would have been any motive for Luke and his family to be murdered. After all, in Melbourne, he is a federal police officer. This small farm town has been ravaged by a drought, and rain hasn’t fallen for 324 days, which adds to the distress.

The devastation has taken a toll on the town – and the conditions are a tinderbox waiting to happen in the dusty Australian outback. Their predicament has created a moody, unsettling atmosphere, with exceptional camera work from cinematographer Stefan Duscio, who did brilliant work in “The Invisible Man.”

The parched landscape and the isolated town are important to the story. Aaron teams up with young police sergeant Greg Raco, a fine Keir O’Donnell, whose dogged determination helps reveal clues as they figure out if the cases, 20 years apart, are connected.

The story unfolds methodically, and is based on a bestselling whodunit from Jane Harper, her debut novel in 2016. It’s a solid story, building tension as more people are put under the harsh interrogation glare.

Director Robert Connolly, who also helped write the adaptation, along with Harry Cripps, uses copious amounts of flashbacks of Aaron, Luke, Gretchen and Ellie at age 17. Samantha Strauss contributed additional writing.

The characters are well-drawn, and the supporting ensemble serve the story to create suspicion and doubt about certain townsfolk until the film’s dramatic climax. Noteworthy are John Polson as the school principal, Renee Lim as his wife Sandra, William Zappa as Ellie’s dad Mal Deacon and Rita Tapsell as the police officer’s pregnant and outspoken wife.

Eric Bana, who hasn’t been in a heroic leading man role for a while, displays the gravitas needed as a conflicted man confronting his past. As his friend, Genevieve O’Reilly gives a nuanced portrait of Gretchen, another one hiding details about their tragic losses.

The quartet portraying the four central characters as teens are key to this film working, and they excel at showing the pent-up energy of youths with hopes and dreams bigger than their environment (and those raging hormones). Joe Klocek as Aaron, Sam Corlett as Luke, Claude Scott Mitchell as Gretchen and BeBe Bettencourt as the troubled Ellie are memorable in those roles.

Bettencourt also sings a haunting version of “Under the Milky Way,” a 1988 hit for the Australian alternative rock band The Church. Her superb rendition also plays over the credits.

A score by Peter Rayburn punctuates the growing sinister tone, and is not overdone.

By the film’s conclusion, most loose ends are effectively resolved. The film’s strong sense of time and place, grounded acting, and captivating yarn make this murder mystery a cut above.

“The Dry” is an Australian film directed by Robert Connolly and adapted from Jane Harper’s 2016 debut novel. Starring Eric Bana, Genevieve O’Reilly, Keir O’Donnell and John Polson, this 2020 murder mystery is Rated R for violence and language throughout, and runtime is 1 hour, 57 minutes. It is in theaters and Video on Demand as of May 21. Lynn’s Grade: A-