Ninth Annual St Louis Theater Circle Awards Returns March 28 To Honor Regional Work in 2020-2021

Ninth Annual St Louis Theater Circle Awards Returns March 28 To Honor Regional Work in 2020-2021

Annual Gala Not Held in 2021 Due to Coronavirus Pandemic

ST. LOUIS, February 2, 2022 – After a hiatus due to the coronavirus pandemic in 2020 and 2021, the St. Louis Theater Circle Awards will return in 2022 in a ‘virtual’ ceremony. That event will be streamed by HEC-TV at 7 p.m. on Monday, March 28, 2022.

Nominees in more than 30 categories will vie for honors covering comedies, dramas, musicals and operas produced by local professional theater and opera companies in the combined calendar years of 2020 and 2021.

For this year’s ceremony the Circle has revised the categories of its acting awards. They no longer are listed by ‘actors’ and ‘actresses.’ Those categories now are based on genders of the characters in the scripts rather than by the genders of the performers. For example, the category formerly titled “Outstanding Lead Actress in a Comedy” now is termed “Outstanding Lead Performer in a Comedy, Female or Non-Binary Role.”

Because the pandemic brought about the cancellation of so many productions by virtually all local professional theater companies, approximately 75 productions have been considered for nominations for the combined years of 2020 and 2021. This compares to roughly 120 to 130 productions normally considered in one year alone.

The eighth annual award ceremony, which was to have been held ‘live’ at the Loretto-Hilton Center on the campus of Webster University, was cancelled in February 2020 due to the escalating number of cases of COVID-19. Instead, that event was held virtually in a highly polished presentation produced by HEC-TV and streamed on HEC’s YouTube channel and web site.  There was no ceremony of any type by the Theater Circle in 2021.

For this ninth annual ceremony, members of the St. Louis Theater Circle considered nominees from shows produced in the first three months of 2020 and the last eight months of 2021 combined. In addition, a few shows produced between April 2020 and May 2021 were included. The total number of shows considered from the years 2020 and 2021 combined amounted to about 75 shows.

The nominees for the ninth annual St. Louis Theater Circle Awards are:

Outstanding Supporting Performer in a Comedy, Female or Non-Binary Role

  • Nicole Angeli, It Is Magic, The Midnight Company
  • Ani Djirdjirian, The Thanksgiving Play, Repertory Theatre of St. Louis
  • Colleen Heneghan, Bloomsday, West End Players Guild
  • Jennifer Theby-Quinn, Flanagan’s Wake, Playhouse at Westport Plaza
  • Chrissie Watkins, It Is Magic, The Midnight Company

Outstanding Supporting Performer in a Comedy, Male or Non-Binary Role

  • Chuck Brinkley, The Thing – A Live Parody, Cherokee Street Theatre Company
  • Stephen Cefalu Jr., The Gradient, Repertory Theatre of St. Louis
  • Joe Hanrahan, It Is Magic, The Midnight Company
  • Carl Overly Jr., It Is Magic, The Midnight Company
  • Jonathan Spivey, The Thanksgiving Play, Repertory Theatre of St. Louis
King Lear

Outstanding Leading Performer in a Comedy, Female or Non-Binary Role

  • Shayna Blass, The Thanksgiving Play, Repertory Theatre of St. Louis
  • Michelle Hand, It Is Magic, The Midnight Company
  • Stephanie Machado, The Gradient, Repertory Theatre of St. Louis
  • Ellie Schwetye, Tinsel Town, The Midnight Company
  • Jennifer Theby-Quinn, Jake’s Women, Moonstone Theatre Company

Outstanding Leading Performer in a Comedy, Male or Non-Binary Role

  • Jeff Cummings, Jake’s Women, Moonstone Theatre Company
  • Adam Flores, The Thanksgiving Play, Repertory Theatre of St. Louis
  • Jeremy Goldmeier, Art, Stray Dog Theatre
  • Jordan Moore, Dress the Part, St. Louis Shakespeare Festival
  • Garrett Young, Dress the Part, St. Louis Shakespeare Festival

Outstanding Lighting Design in a Play

  • Joe Clapper, Spell #7, The Black Rep
  • Mextly Couzin, The Gradient, Repertory Theatre of St. Louis
  • Jasmine Lesane, Mlima’s Tale, Repertory Theatre of St. Louis
  • Seth Reiser, A Christmas Carol, Repertory Theatre of St. Louis
  • John Wylie, King Lear, St. Louis Shakespeare Festival
Two Trains Running

Outstanding Sound Design

  • Avi Amon, Mlima’s Tale, Repertory Theatre of St. Louis
  • David R. Molina, King Lear, St. Louis Shakespeare Festival
  • Sadah Espii Proctor, The Gradient, Repertory Theatre of St. Louis
  • Nathan A. Roberts and Charles Coes, A Christmas Carol, Repertory Theatre of St. Louis
  • Rusty Wandall, Dress the Part, St. Louis Shakespeare Festival

Outstanding Costume Design in a Play

  • Dede Ayite, A Christmas Carol, Repertory Theatre of St. Louis
  • Mika Eubanks, King Lear, St. Louis Shakespeare Festival
  • Elizabeth Henning, Tinsel Town, The Midnight Company
  • Christina Leinecke, Dress the Part, St. Louis Shakespeare Festival
  • Brandin Vaughn, Spell #7, The Black Rep

Outstanding Set Design in a Play

  • Wilson Chin, King Lear, St. Louis Shakespeare Festival
  • Tim Jones, Sweat, The Black Rep
  • Carolyn Mraz, The Gradient, Repertory Theatre of St. Louis
  • Margery & Peter Spack, The Ville: Avengeance, St. Louis Shakespeare Festival
  • Margery & Peter Spack, Two Trains Running, The Black Rep

Outstanding Supporting Performer in a Drama, Female or Non-Binary Role

  • Kelly Howe, Sweat, The Black Rep
  • Amy Loui, My Name Is Asher Lev, The New Jewish Theatre
  • Alma Martinez, Mojada: A Medea in Los Angeles, Repertory Theatre of St. Louis
  • Elizabeth Teeter, The Glass Menagerie, Tennessee Williams Festival St. Louis
  • Sharisa Whatley, Two Trains Running, The Black Rep
The Glass Menagerie

Outstanding Supporting Performer in a Drama, Male or Non-Binary Role

  • Allen Gilmore, King Lear, St. Louis Shakespeare Festival
  • Brian McKinley, Spell #7, The Black Rep
  • Shane Signorino, A Piece of My Heart, West End Players Guild
  • Chauncy Thomas, The Glass Menagerie, Tennessee Williams Festival St. Louis
  • Chuck Winning, My Name Is Asher Lev, The New Jewish Theatre

Outstanding Leading Performer in a Drama, Female or Non-Binary Role

  • Velma Austin, Sweat, The Black Rep
  • Kari Ely, Comfort, St. Louis Actors’ Studio
  • Debby Lennon, Songs for Nobodies, Max & Louie Productions
  • Michelle Hand, Tiny Beautiful Things, Max & Louie Productions
  • Laurie McConnell, Annapurna, St. Louis Actors’ Studio

Outstanding Leading Performer in a Drama, Male or Non-Binary Role

  • Andre De Shields, King Lear, St. Louis Shakespeare Festival
  • Kambi Gathesha, Mlima’s Tale, Repertory Theatre of St. Louis
  • John Pierson, Annapurna, St. Louis Actors’ Studio
  • Spencer Sickmann, Comfort, St. Louis Actors’ Studio
  • James A. Williams, Two Trains Running, The Black Rep

Outstanding New Play

  • Comfort, by Neil LaBute, St. Louis Actors’ Studio
  • The Gradient, by Steph Del Rosso, Repertory Theatre of St. Louis
  • Madam, by Colin Healy, Fly North Theatricals
  • Now Playing Third Base for the St. Louis Cardinals…Bond, James Bond, by Joe Hanrahan, The Midnight Company
  • Tinsel Town, by Joe Hanrahan, The Midnight Company
Comfort

Outstanding Achievement in Opera

  • Sean Curran, Gianni Schicchi, Opera Theatre of St. Louis
  • Levi Hernandez, Gianni Schicchi, Opera Theatre of St. Louis
  • Karen Kanakis, La Fanciulla del West, Winter Opera St. Louis
  • Patricia Racette, La Voix Humaine, Opera Theatre of St. Louis
  • Leonard Slatkin, Highway 1, U.S.A., Opera Theatre of St. Louis

Outstanding Production of an Opera

  • Gianni Schicchi, Opera Theatre of St. Louis
  • Highway 1, U.S.A., Opera Theatre of St. Louis
  • La Fanciulla del West, Winter Opera St. Louis
  • La Voix Humaine, Opera Theatre of St. Lousi
  • Les Contes d’Hoffmann, Union Avenue Opera

Outstanding Musical Director

  • Charlie Alterman, Chicago, The Muny
  • Colin Healy, Madam, Fly North Theatricals
  • Jeremy Jacobs, Jersey Boys, Stages St. Louis
  • Herve Samb, Dreaming Zenzile, Repertory Theatre of St. Louis
  • Nicolas Valdez, Head Over Heels, New Line Theatre

Outstanding Choreographer

  • William Carlos Angulo, On Your Feet!, The Muny
  • Kirven Douthit-Boyd, A Christmas Carol, Repertory Theatre of St. Louis
  • Marjani Forte-Saunders, Dreaming Zenzile, Repertory Theatre of St. Louis
  • Denis Jones, Chicago, The Muny
  • Dana Lewis, Jersey Boys, Stages St. Louis

Outstanding Supporting Performer in a Musical, Female or Non-Binary Role

  • Tielere Cheatem, Head Over Heels, New Line Theatre
  • Natascia Diaz, On Your Feet!, The Muny
  • Bryonha Marie Parham, The Sound of Music, The Muny
  • Elizabeth Teeter, The Sound of Music, The Muny
  • Zoe Vonder Haar, Always…Patsy Cline, Stages St. Louis
Jersey Boys

Outstanding Supporting Performer in a Musical, Male or Non-Binary Role

  • Brent Michael DiRoma, Jersey Boys, Stages St. Louis
  • Jason Michael Evans, Jersey Boys, Stages St. Louis
  • Adam Heller, Chicago, The Muny
  • Ryan Jesse, Jersey Boys, Stages St. Louis
  • Mykal Kilgore, Smokey Joe’s Café, The Muny

Outstanding Lighting Design in a Musical

  • Rob Denton, Chicago, The Muny
  • Shelby Loera, The Sound of Music, The Muny
  • Sean M. Savoie, Always…Patsy Cline, Stages St. Louis
  • Sean M. Savoie, Jersey Boys, Stages St. Louis
  • Yi Zhao, Dreaming Zenzile, Repertory Theatre of St. Louis

Outstanding Set Design in a Musical

  • Edward E. Haynes Jr. and Kevan Loney, Smokey Joe’s Café, The Muny
  • Tim Mackabee and Shawn Duan, Chicago, The Muny
  • Tim Mackabee and Kate Ducey, On Your Feet!, The Muny
  • Michael Schweikardt and Caite Hevner, Seven Brides for Seven Brothers, The Muny
  • James Wolk, Jersey Boys, Stages St. Louis

Outstanding Costume Design in a Musical

  • Leon Dobkowski, On Your Feet!, The Muny
  • Eileen Engel, Madam, Fly North Theatricals
  • Courtney Gibson and Sarah Porter, Head Over Heels, New Line Theatre
  • Sully Ratke, Smokey Joe’s Café, The Muny
  • Emily Rebholz, Chicago, The Muny

Outstanding Leading Performer in a Musical, Female or Non-Binary Role

  • Diana DeGarmo, Always…Patsy Cline, Stages St. Louis
  • J. Harrison Ghee, Chicago, The Muny
  • Kimmie Kidd-Booker, Madam, Fly North Theatricals
  • Kate Rockwell, The Sound of Music, The Muny
  • Somi, Dreaming Zenzile, Repertory Theatre of St. Louis

Outstanding Leading Performer in a Musical, Male or Non-Binary Role

  • Christopher Kale Jones, Jersey Boys, Stages St. Louis
  • Chris Kernan, The Story of My Life, New Line Theatre
  • James T. Lane, Chicago, The Muny
  • Omar Lopez-Cepero, On Your Feet!, The Muny
  • Jeffrey M. Wright, The Story of My Life, New Line Theatre
The Thanksgiving Play

Outstanding Ensemble in a Comedy

  • Art, Stray Dog Theatre
  • Dress the Part, St. Louis Shakespeare Festival
  • It Is Magic, The Midnight Company
  • The Thanksgiving Play, Repertory Theatre of St. Louis
  • Wildfire, Upstream Theater

Outstanding Ensemble in a Drama

  • King Lear, St. Louis Shakespeare Festival
  • Mlima’s Tale, Repertory Theatre of St. Louis
  • Spell #7, The Black Rep
  • Sweat, The Black Rep
  • Two Trains Running, The Black Rep

Outstanding Ensemble in a Musical

  • Chicago, The Muny
  • Head Over Heels, New Line Theatre
  • Jersey Boys, Stages St. Louis
  • Madam, Fly North Theatricals
  • Smokey Joe’s Café, The Muny

Outstanding Director of a Comedy

  • Eddie Coffield, Jake’s Women, Moonstone Theatre Company
  • GQ and JQ, Dress the Part, St. Louis Shakespeare Festival
  • Suki Peters, It Is Magic, The Midnight Company
  • Amelia Acosta Powell, The Thanksgiving Play, Repertory Theatre of St. Louis
  • Rachel Tibbetts, Tinsel Town, The Midnight Company

Outstanding Director of a Drama

  • Carl Cofield, King Lear, St. Louis Shakespeare Festival
  • Ron Himes, Sweat, The Black Rep
  • Brian Hohlfeld, The Glass Menagerie, Tennessee Williams Festival St. Louis
  • Annamaria Pileggi, Annapurna, St. Louis Actors’ Studio
  • Ed Smith, Two Trains Running, The Black Rep
Jeffrey Wright, Chris Kernan. Photo by Jill Ritter Lindberg

Outstanding Director of a Musical

  • Marcia Milgrom Dodge, Smokey Joe’s Café, The Muny
  • Michael Hamilton, Always…Patsy Cline, Stages St. Louis
  • Michael Hamilton, Jersey Boys, Stages St. Louis
  • Denis Jones, Chicago, The Muny
  • Scott Miller and Mike Dowdy-Windsor, Head Over Heels, New Line Theatre

Outstanding Production of a Comedy

  • Dress the Part, St. Louis Shakespeare Festival
  • It Is Magic, The Midnight Company
  • Jake’s Women, Moonstone Theatre Company
  • The Thanksgiving Play, Repertory Theatre of St. Louis
  • Tinsel Town, The Midnight Company

Outstanding Production of a Drama

  • The Glass Menagerie, Tennessee Williams Festival St. Louis
  • King Lear, St. Louis Shakespeare Festival
  • Mlima’s Tale, Repertory Theatre of St. Louis
  • Sweat, The Black Rep
  • Two Trains Running, The Black Rep

Outstanding Production of a Musical

  • Always…Patsy Cline, Stages St. Louis
  • Chicago, The Muny
  • Head Over Heels, New Line Theatre
  • Jersey Boys, Stages St. Louis
  • Smokey Joe’s Café, The Muny
Chicago

The mission of the St. Louis Theater Circle is simple: To honor outstanding achievement in St. Louis professional theater. Other cities around the country, such as Boston, Chicago, Los Angeles, Philadelphia, San Diego, San Francisco and Washington, D.C., pay tribute to their own local theatrical productions with similar awards programs.

Members of the St. Louis Theater Circle include Steve Allen (stagedoorstl.com); Mark Bretz (Ladue News); Bob Cohn (St. Louis Jewish Light); Tina Farmer (KDHX); Michelle Kenyon (snoopstheatrethoughts.com); Gerry Kowarsky (Two on the Aisle, HEC-TV); Chuck Lavazzi (KDHX); Rob Levy (Broadwayworld.com); Judith Newmark (judyacttwo.com); Ann Lemons Pollack (stlouiseats.typepad.com); Lynn Venhaus (PopLifeSTL.com); Bob Wilcox (Two on the Aisle, HEC-TV); and Calvin Wilson (St. Louis Post-Dispatch). Eleanor Mullin, local performer and arts supporter, is group administrator.

For more information, contact stltheatercircle@sbcglobal.net or ‘like’ the St. Louis Theater Circle on Facebook.

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Hokey Long-Delayed ‘The King’s Daughter’ Is Good-Looking Turgid Drivel

Hokey Long-Delayed ‘The King’s Daughter’ Is Good-Looking Turgid Drivel

By Lynn Venhaus
Once upon a time, a romantic fantasy based on the 1997 book, “The Moon and the Sun” by Vonda N. McIntyre, sat on some studio’s shelf for eight years.

But to deprive moviegoers craving a ‘so-bad-it’s-fun-to-watch’ movie in pandemic times would be another cruelty, so “The King’s Daughter” hit the multiplexes in January. Yes, exclusive to theaters. None of this video on demand or DVD release — yet. But oh, it will be here soon enough digitally, and it may entice more unsuspecting viewers, because on paper, it seems harmless enough.

Hoping to achieve immortality, King Louis XIV (Pierce Brosnan) captures a mermaid and plans to steals her life force during a solar eclipse, but a discovery by his illegitimate daughter threatens to ruin the king’s plan.

“How can it be that bad, with Julie Andrews the narrator (I was thinking “Bridgerton”); former James Bond Pierce Brosnan as a King (he played one in Amazon Prime’s original “Cinderella,” though last year, and that was another trainwreck); Oscar winner William Hurt as the king’s priest and confidante; Tony and Emmy nominee Pablo Schreiber as the palace doctor; hunky musical theater star Benjamin Walker (“Abe Lincoln, Vampire Hunter”) – and major Chinese star Fan Bingbing as a mermaid in captivity?” I thought.

Well. Let’s point out what is packed into its 96 minutes: Mermaids! Lost City of Atlantis: A solar eclipse! King Louis XIV of France! An illegitimate daughter! The stunning palace of Versailles (real footage!) and pretty young people.

This Harlequin Romance meets fantasy fiction is given the glossy Hallmark treatment in a film that can’t easily be described. Part legend, part adventure and all preposterous, this does the good people connected with it no favors.

However, in seeking something positive to mention – the cinematographer is Conrad W. Hall, son of the late great Conrad L. Hall, the heralded cinematographer whose work spanned 50 years and won three Oscars for “Butch Cassidy and the Sundance Kid,” “American Beauty” and “The Road to Perdition.” He makes the film look beautiful.

The daughter, Marie-Josephe, whose mother died in childbirth so she was raised in a Catholic orphanage and doesn’t know she’s the king’s daughter – but comes to the court as a cello player. She’s played by the engaging Kaya Scodelaria, who has enough spunk to fit the fearless, feisty heroine role who soon becomes involved in a love triangle, forced to marry a rich, albeit nefarious, duke but instead is n love with the long-locked sea captain Yves (Walker). Apparently, he won her heart in real-life too, for they fell in love during the movie shoot, married a year later and now have two children!

But here’s the real story. It was made in 2014. And only released now. If you do the math, that means eight years. So, what happened? I would love to know because that story is likely more fascinating than this turgid drivel.

Oscar-winning screenwriter Ron Bass, who wrote “Rain Man,” was listed in the earlier screenplay credits but in the film, his name has been removed, with Barry Berman and James Schamus the sole remaining writers. Hmmm…

Despite the film’s lush look, the ridiculous dialogue and a puzzling fashion design make it really hard to like. Not to mention Brosnan’s frighteningly bad rock star wig – I guess going for a Fabio book cover look?

The CGI for the mermaid, living underwater in an underground lair of the palace (!?!), is awful. As are the wigs and clothes of all the humans.

The costumes appear as if they’ve just been in a Vogue magazine shoot – or rejects from the Madonna “Vogue” music video, take your pick.

The court’s populated with mean girls who mock Marie-Josephe’s modest convent garb, but then she’s suddenly donning red-carpet looks from the modern age.

OK, it may be a bunch of hooey, but I do have girlfriends who watch every Hallmark Channel Christmas movie and love historical romances, so I don’t want to be unkind to fans of this genre. I’m not a film snob, and I actually am a fan of soap operas, a fun guilty pleasure for escapism.

But this is so bad, it’s not good – even as comical entertainment. (And you know who you are).

Fan Bingbing and Kaya Scodelaria

“The King’s Daughter” is a 2014 film released in 2022, a romance, fantasy, drama directed by Sean McNamara. It stars Pierce Brosnan, Kaya Scodelaria, William Hurt, Benjamin Walker, Pablo Shreiber and Rachel Griffiths and runs 1 hour, 36 minutes. Rated PG for some violence, suggestive material and thematic elements. In theaters Jan. 21. Lynn’s Grade: D

Sightlines: Remembering My Sundance Volunteer Experience

Sightlines: Remembering My Sundance Volunteer Experience

By Lynn Venhaus

At the 27th Annual Sundance Film Festival, my two sons, Tim and Charlie, and I, were accepted as ushers for the fest. We had never been. They stayed for the duration, I was only there for a week. Tim called it the greatest time of his life — he saw 23 movies in 11 days, worked those screenings around his volunteer shifts. We look back on that time fondly. We were asked back – that doesn’t always happen, so we were grateful. But Charlie had moved to New York City two weeks after Sundance and began a career in advertising, and Tim returned to school to obtain a bachelor’s degree in cinema production. We’ve kept up with friends we made there, and are grateful we had that experience. I told Tim that I wanted to go back when he had a film accepted there — and that was a fun goal, but that dream died when he did, in 2018. I can go back as a film journalist. Just don’t know if I will. Here are my thoughts from that time — I wrote a blog for the Belleville News-Democrat website on that time, brought my laptop to the volunteer lounge to put my thoughts together every day. This is the first one. I hope I can find the others, but this is a good start that encapsulates the first few days.

DATELINE: SUNDANCE FILM FESTIVAL, DAY ONE

Opening Night, Jan. 20, 2011

Italian director and fellow Sundance rookie Roberta Torre sat next to me on the shuttle as we looped around snow-covered but well-manicured Park City, Utah, late Thursday night. Her first submission for the World Cinema Dramatic Competition, “Lost Kisses,” would screen Friday.

Her previous work – a musical on the Mafia – had been at Venice and Cannes, but as Sundance is synonymous with risk-taking and exciting emerging filmmakers, this satire focusing on a 13-year-old girl’s vision and a statue of the Blessed Virgin Mary is one of 115 features that will be screened during the 10-day festival. (Update: Her film was a Grand Jury Prize nominee).

Every January, this old silver mining town in the shadow of the Rockies becomes a mecca for movie lovers from around the globe and the epicenter of the entertainment business. Lives change overnight – filmmakers fortunate to strike a chord with a Hollywood mogul in the audience can depart with a multi-million deal. Ever hear of “Little Miss Sunshine” and “Reservoir Dogs”? Household names and unknowns with a dream vie to be the toast of the town.

But the ideals on which the festival began hold true today. Robert Redford, president and founder of the Sundance Institute, summed it up this way in our program:

I’ve always believed that our best chance to understand the world around us comes in the form of stories and, in particular, stories that represent a unique perspective and are told with an authentic voice. So my first and continued hope for the Sundance Film Festival is the same: to provide a vital platform for these kinds of stories and a community for these kinds of artists. And because a film is not complete until it finds its audience, the film lovers who join our community each January are key to making this platform vital.”

Then he told us to be careful crossing the streets.

The local newspaper referred to the fest as “controlled chaos” and residents say it’s their shot to ski without any lines at the three nearby resorts.

Charlie, Tim and Lynn Venhaus


But it’s unlike anything I’ve experienced. This year, my two sons and I are working as ushers.

We’re among the 1,670 volunteers who help make this the premier fest in the U.S. celebrating independent cinema. Upon our arrive from Salt Lake City, we were handed hats, scarves, gloves, water bottles, transit maps, grub stubs (free food at designated restaurants), movie ticket vouchers, credentials, and thick film guides.

Since our selection the first week of December, we’ve been training online, and now have the hands-on details.

Everyone has been so incredibly helpful and friendly, from helping us navigate the free bus routes to advice on drinking lots of water. And those who are in charge are supremely organized.  It’s a marvel to observe how it all comes together.

Besides a full-time year-round staff, the festival relies on volunteers for a multitude of tasks. Every fall, 3,000 apply, they fill the slots with returning volunteers first, then pick newbies for remaining slots.

We met interesting folks from around the world at our volunteer kick-off party – an Australian bartender, a student from Brazil, a Spanish filmmaker who’s on our theatre team, an aspiring actress from L.A., a Kentucky housewife, a bus driver from Canada, a Cornell grad who runs an event-planning business, an Oregon artist, and a former St. Louisan who never comes back.

Six of 10 volunteers are from Utah. They sure love their state. What’s not to love about the clean, crisp air and wide-open spaces with breathtakingly gorgeous views of the mountains? Park City is 800 feet higher elevation than Salt Lake City, so the weather pattern in the valley is totally separate.

We’re all here for various reasons but we have at least one thing in common: We love movies. To show their appreciation, the festival staff screened the comedy “Submarine” strictly for us volunteers Thursday night. We were jam-packed into the theater, and you could have heard a pin drop – everyone was enthralled. And most everyone stayed in their seats after applauding to read the credits.

The welcoming programmer spoke of the feeling of ‘community’ every year at the fest, and you sense a strong cool vibe too, but it is comparable to a summer camp or old home week – old friends connecting.

What a delightful movie to start the fest with (more on that later), but we will be hearing about this charming, clever coming-of-age tale. Remember the protagonist’s name: Craig Roberts.

The movies that create the biggest buzz here probably won’t arrive in St. Louis until the summer or fall – if past years are any indication.

Last year’s Sundance introduced St. Louisan Davis Guggenheim’s “Waiting for Superman,” which is now considered a leading contender in the Oscar category for best documentary.

And the dramatic jury prize winner “Winter’s Bone” has received numerous nominations and year-end critics’ awards.

The major (and minor) celebrities supposedly arrive on the weekend, and Main Street becomes this wall-to-wall place to be seen.

And if that’s not enough excitement, trying to spot James Franco or Demi Moore, the Westboro Church based in Topeka, Kansas, plans to protest Kevin Smith’s new horror film “Red State,” starring John Goodman, on Saturday afternoon.

A ruggedly handsome lad working at the lodge where volunteers got their groove on Wednesday night told me: “Get ready for an incredible journey.”

Toto, I don’t think we’re in Kansas anymore.

Farhadi’s Shrewd ‘A Hero’ Explores Life’s Messy, Many Shades of Gray

Farhadi’s Shrewd ‘A Hero’ Explores Life’s Messy, Many Shades of Gray

By Lynn Venhaus
While actions usually have consequences, what is it that we can live with – the choices we make that aren’t always so black-and-white.  The superbly crafted “A Hero” is about that gray area, which we all have experienced. Aarrgggghhh, Life!

Rahim Soltani (Amir Jadidi) is in jail for a debt he can’t repay. On a weekend furlough, desperate to erase the debt, his plan goes awry – and he gains notoriety over finding a bag of money. That, too, goes south because he doesn’t keep the story straight. A misunderstanding then spirals out of control, and as he attempts to restore his reputation, he must make some tough decisions.

Iranian writer-director Asghar Farhadi knows this subject very well. He has explored dilemmas of conscience in his two Oscar-winning films, “A Separation” in 2011 and “The Salesman” in 2016.

“A Hero” won the 2021 Grand Prix at the Cannes Film Festival and will likely be an Oscar nominee.

In “A Hero,” the stakes are high, and Farhadi convincingly builds a compelling case about a decent (we think) guy who is beset by a series of unfortunate events, which at times is subtle and other times is heart-wrenching.

A smart, perceptive filmmaker, Farhadi tackles the complexities of morality in his home country, for the lines drawn aren’t always so definitive, but it is that universality that grabs us.

At first, soulful actor Amir Jadidi depicts Rahim’s frustration with the system and with the unyielding stance of the creditor that we are sympathetic to his plight. Rahim is in prison because of a debt he was unable to repay. During a two-day leave, he tries to convince his creditor to withdraw his complaint.

He has served three years. During his brief respite he sees his girlfriend Farkhondeh (Sahar Godust), a secretive relationship so far, who found money on the street – 17 gold coins! They are euphoric about this stroke of luck because they think they’ll be on easy street – sell them and pay off the debt, they can marry, but the fluctuating gold prices won’t cover what he still owes to Bahram (Mohsen Tanabandeh), a thoroughly unsympathetic man who turned against Rahim very early. He does not want a partial payment – he demands it in full. (Oh, and he’s Rahim’s ex-wife’s brother-in-law. Like I said, it’s complicated.)

Farhadi’s realistic approach includes unfolding Rahim’s motives clearly at first, but as the story takes a few unexpected detours, we see this desperate yet good-hearted man shift his priorities. Is it better to do the right thing for us or the right thing for others? Can they co-exist or that impossible?

Like such much of life, things do not always go as planned. Add to this race against time complicated family dynamics, which gives the film a broader viewpoint.

Rahim can’t catch a break. He sees his son ((Saleh Karimai), who has been staying with his sister and brother-in-law. Their reunion is rocky, and that’s just one of the plot threads that add up to a significant messy situation.

Rahim’s sad young son stutters, and there are simmering emotions, exasperating conflicts and a boy who needs his father. Karimai grabs our hearts, and you feel where both guys are coming from, and trying to work through.

And just sometimes, children teach their parents. And parents need their children as much as the kids need them.

The prison finds out Rahim tracked down the real owner of the coins and contacts a TV station for them to feature such an upstanding prisoner. The publicity backfires. Of course. Let’s follow down the rabbit hole.

Jadidi’s eyes are windows to Rahim’s soul, and with his beautiful smile, his performance is key to how your feelings shift through the weekend.

Should our loyalties be with him? Is he sincere or is he playing people, strings attached? Is he honorable or is he a schemer? We change our minds about him as doubts creep in– and it’s a deft display of Farhadi’s gifts. But if he is a good man, why should he go through such hell?

Farhadi’s well-constructed ambiguous drama shows us what a slippery slope life is, and how, even with the best of intentions, no good deed goes unpunished.

This international film is such a fascinating account of a thorny situation with ripple effects, which translates to other cultures and speaks to our humanity – in any language.

“A Hero” is a 2021 international drama directed by Asghar Farhadi and stars Amir Jadidi, Sahar Godust, Mohsen Tanabandeh, Saleh Kanmai. It is rated PG-13 for some thematic elements and language and its run time is 2 hours, 7 minutes. It is in select theatres Jan. 7 and streaming on Amazon Prime Jan. 21. Lynn’s Grade: A

Bold ‘Scream’ Requel Playfully Pokes Fun At Horror Fans and Formulas

Bold ‘Scream’ Requel Playfully Pokes Fun At Horror Fans and Formulas

By Lynn Venhaus

“What’s your favorite scary movie?” Uh-oh.

If hearing that menacing modified voice on the other end of a landline (!) sends shivers down your spine, you may be pleasantly surprised by this “Scream,” for it delivers on the franchise’s terror and laughs.

Especially the opening scene, which skillfully amplifies the suspense, only with a couple different twists. The new home-alone heroine Tara (Jenna Ortega, of “Yes Day”) says she likes “elevated horror,” such as the 21st century game-changers “The Babadook,” “It Follows” and “Hereditary.” Touche!

But the iconic “Scream” world is among the highest-rated and most popular B-movies, those dubbed “slasher” because of the high body count, and they do not wander out of that lane here.

Round 5 is excessively stabby – those squeamish about pools of blood are warned – and the deft editing by Michel Aller puts the thrill in thriller. Why Wes Craven’s innovative original stood out in 1996 is because it flipped the formula with a wink and a smile but didn’t skimp on the scares.

|Twenty-five years after the original killing spree in Woodsboro, a new killer begins a series of murders, and first-target and ‘final girl’ Sidney Prescott (Neve Campbell) returns to help find out why that creepy Ghostface mask is back.

So is the distinct malevolent voice of Roger L. Jackson. Fasten your seatbelts, and we’re off on a nostalgic wild ride, waiting to see if the new team has the right stuff. That’s the thing with series – fans are very invested and vocal, and these filmmakers know this – and run with it, mock it, and set up their own path with the serial-killer curse in the sleepy small-town of Woodsboro.

Hotshot co-directors Matt Bettinelli-Olpin and Tyler Gillett, who made the cheeky “Ready or Not” in 2020 and are part of a film collective called Radio Silence, are obviously fond of Craven, who died in 2015. Astute fans of scary movie tropes, they are inspired enough to craft a quick-witted reboot-sequel hybrid.

At once fresh and familiar, the ‘requel’ doesn’t reinvent the slasher horror genre in the way Craven did, but its playful poking fun at how self-aware it is helps smooth over its shortcomings.

Emulating the old tricks and jolts, this thriller has clever reveals, very gory and gruesome murders, snarky humor, and well-orchestrated tension.

Without a number, this fifth bold and brazen installment may be the most brutal, funniest, and is even more meta than “The Matrix: Resurrections.”

Its cynical commentary on internet fandom and social media outrage over major franchise missteps slyly riffs on David Gordon Green’s rekindled “Halloween” and Rian Johnson’s “The Last Jedi” chapter of the new “Star Wars” trilogy.

Bettinelli-Olpin and Gillett succeed in how self-aware this is, as do the screenwriters Guy Resick (also of “Ready or Not”) and James Vanderbilt, who wrote “Zodiac,” “White House Down” and the two Andrew Garfield “Spider-Man” movies.

However, getting the surviving original characters back together – Sidney Prescott (Neve Campbell), Gale Weathers (Courtney Cox) and Dewey Riley (David Arquette) – seems to be an opportunity squandered.

They’ve been an enduring trio since 1996, including sequels in 1997, 2000 and 2011, so they lend a legitimacy to the new one.

Ex-sheriff Dewey is a bigger part of the story this time – and while a welcome sight, he’s a sad shell of his former self. The quirky Arquette plays the retired and reclusive lawman both for laughs and pathos. But the trio’s much-too-brief insertion as supporting players doesn’t do them, or their legacy, justice.

As in the previous four, the main roster is filled with screen-savvy young talent who engage as best they can, given the structure limitations. Nevertheless, we should care more about the two sisters at the center — Tara is the younger sister to Samantha, capably portrayed by Melissa Barrera (Vanessa in “In the Heights”) as somewhat of a mess.

She’s been carrying a big secret around with her, so she acted up in high school, tarnished her reputation, and skedaddled out of town. It must be an in-joke that she moved to Modesto, not exactly ‘bright lights, big city,” and works at a bowling alley.

When she gets a call that her estranged sister’s been attacked, Sam rushes home with her boyfriend Richie (Jack Quaid) in tow. He’s never seen a “Stab” movie – the faux franchise based on what happened in Woodsboro that was filming in the first sequel. For the record, “Stab” is up to seven movies referenced here.

Richie gets up to speed quickly. As Sam reconnects to her past, the screenwriters introduce us to the new characters that have links to the old gang. Twins Mindy ( Jasmin Savoy Brown) and Chad (Mason Gooding) are the niece and nephew of victim Randy Meeks (Jamie Kennedy) and Amber (Mikey Madison) lives in the former home of killer Billy Loomis’ accomplice Stu Macher (Matthew Lillard)

Kevin Williamson, who created the original characters that launched many a career, was back for the second and fourth films, and is a current executive producer. He had a knack for capturing youth behavior and culture – and that hallmark continues, even with more jaded kids. His stamp is evident. After all, he went on to create “Dawson’s Creek” in 1998, which ran for six seasons (Does anyone else think the offspring of Meg Ryan and Dennis Quaid looks like Pacey?) – and develop “The Vampire Diaries” in 2009, which ran for eight seasons.

The teen party scenes, a staple, propel the funhouse jumps. A character goes into the basement alone! A character says he’ll be right back! The kids generally pay for ridiculous decisions.

And we all know what happens when characters open doors, cabinets, and refrigerators. In one of the best scenes, Wes Hicks (Dylan Minnette), son of Sheriff Judy Hicks (Marley Shelton, another returnee), filmmakers ingeniously stretch it out as he prepares for dinner.

One of my hesitations about embracing these tales fully is that I never totally buy into the whodunit. I like how they get there, but I’m usually let down by the identity and motivations of the murderers. There are many dots to connect and sometimes they don’t.

Will this movie set sequels in motion? Time will tell, but we need to care about the new characters as much as we did the core group

One must remember what the horror movie landscape was like in the 1990s to appreciate how groundbreaking “Scream” was – a lackluster crop of stale Jason Voorhees, Michael Myers, and Freddy Krueger sequels. But after “Scream” rejuvenated the genre, M. Night Shamylan introduced “The Sixth Sense” in 1998 and “The Blair Witch Project” kicked off the found-footage subgenre in 1999.

Jack Quaid as Richie

Lessons will hopefully be learned about annoyance over cash-grab sequels that they make a point about so well.

“Scream” is a 2022 horror thriller that is fifth in the series. Directed by Matt Bettinelli-Olpin and Tyler Gillett, it stars Neve Campbell, Courtney Cox, David Arquette, Melissa Barrera, Jenna Ortega and Jack Quaid. Rated R for strong bloody violence, language throughout and some sexual references, its runtime is 1 hour, 54 minutes. It opens only in theaters on Jan. 14. Lynn’s Grade: B.

Formidable Female Dream Team Needs a Better Script in ‘The 355’

Formidable Female Dream Team Needs a Better Script in ‘The 355’

By Lynn Venhaus
In the international spy game, girls can take a licking and keep on ticking – that’s the calling card of “The 355,” a wildly uneven full-throttle action thriller.

Four women from different countries with spy agency experience join forces to save the world from cyber-catastrophe, the kind that would cause World War III. The action rockets from Columbia to Virginia to Paris to London to Shanghai on this deadly mission, as a mysterious woman tracks their moves.

The concept here is that women can be lethal weapons and front action movies, just like Tom Cruise and Jason Statham. Their task is to outsmart mercenaries up to no good. Cue the propulsive music score by Tom Kolkenborg, aka “Junkie XL,” as we watch chases, shootouts, stick-fighting, and explosions just like a “John Wick” or “Jack Reacher.”

A quartet of top-shelf actresses unite for this rogue mission: two-time Oscar nominee Jessica Chastain, in full “Zero Dark Thirty” mode, as fiery CIA agent Mason “Mace” Browne; two Oscar winners, Lupita Nyong’o as crackerjack cyber-sleuth Khadijah, formerly M16, and Penelope Cruz as compassionate Graciela, a psychologist who works with DNI agents in Colombia; and Diane Kruger as cunning German operative Marie Schmidt of the Bundesnachrichtendienst, or BND, the foreign intelligence service.

They slip into their roles with ease, and genuinely develop a bond working together in a frantic race against the clock. Their action scenes are quite impressive – as is the editing of Oscar-winner John Gilbert.

The bold and brave mavericks show off sharp skills as they try to prevent a top-secret weapon — a computer drive with a master key —  from falling into nefarious hands. They can do everything 007 and other secret agent boys can do while globe-trotting. The movie gets far more interesting when Bingbing Fan, as the mysterious Lin Mi Sheng, is added to their girl power grid. However, Sebastian Stan, as Mace’s CIA partner, is unconvincing.

Like Beyonce sang, girls can run the world – and co-writer-director Simon Kinberg seized upon the idea pitched by Chastain when he directed her in the worst “X-Men” movie sequel ever, “Dark Phoenix.” She wanted to see women get the rock-star action-goddess treatment and is one of the producers here.

“The 355” refers to the codename of an unidentified female spy in the American Revolution. (They tell us this fact far into the film).

Huzzah! Any time girls are shown on equal footing with the guys, it’s a good thing – even if it’s a pedestrian project. Last year’s “Gunpowder Milkshake” comes to mind, and the ruthless aspects of the superior “Widows” in 2018.

The plot is convoluted and often implausible, but the fight scenes are well-choreographed and are entertaining when they have the upper hand and slip out of harm’s way. The movie could have ended at least three different times, so it feels long at 2 hours and 4 minutes.

Comparisons to “Charlie’s Angels” for the 21st century are fair. The women are having such a good time kicking butt and getting names that it’s a shame that the formulaic plot devices slow it down.

Major characters shockingly get killed early, there are betrayals you see coming a mile away, and then of course we have the tough bosses and the clueless co-workers who are making bad assumptions (do these creaky tropes work anymore?).

And the main villain is a weak one — a generic billionaire fueled by greed and power. We don’t ever know much about him, and he is as bland as those stock photos companies put in their frames to entice purchasers. I couldn’t find his name in the credits, that’s the impression he makes.

Kinberg has many producing and writing credits, but as a director, hasn’t exhibited much to get excited about – yet.

Two screenwriters, Theresa Rebeck – Emmy-nominated for TV work, with a long resume including “Law and Order” and “NYPD Blue,” and Bek Smith, joined Kinberg on the script. They pile on the cliches about the women not necessarily enjoying being lone wolves and trust issues. When protecting everyone from danger, it’s tough to have what people regard as a conventional lifestyle. Their pity parties are short-lived, though, because they like being Girl Bosses.

They leave the film open-ended for a sequel, just in case they want to get the band back together. The dream team would need a better script, but seeing them triumph in this long-delayed film is an OK escape during the dreary part of frosty winter.

“The 355” is an action thriller directed by Simon Kinberg. It stars Jessica Chastain, Lupita Nyong’o, Diane Kruger, Penelope Cruz, Sebastian Stan, Edgar Ramirez and Bingbing Fan. Rated: PG-13 for sequences of strong violence, brief strong language, and suggestive material, it opens only in theatres on Jan. 7. Lynn’s Grade: C.

Tedious, Airless Prequel Lacks Series Charm in ‘The King’s Man’

Tedious, Airless Prequel Lacks Series Charm in ‘The King’s Man’

By Lynn Venhaus

Devoid of the first two’s offbeat charm, an airless and choppy prequel loses its way and winds up a tedious mess, despite a feisty Ralph Fiennes (Duke of Oxford) and tony cast in “The King’s Man.”

Don’t expect more oomph in the same manner as the playful spy adventure energetically captured in “Kingsman: The Secret Service” in 2014 — and less so in “The Kingsman: Golden Circle” in 2017, because it only feebly imitates some of that style and cheeky fun.

Like the original one and its sequel four years ago, “The King’s Man” is based on the comic book “The Secret Service” by Mark Millar and Dave Gibbons, with a story by director Matthew Vaughn, who co-wrote the screenplay with Karl Gajdusek.

In the early years of the 20th century, the Kingsman agency, the first independent British intelligence agency, is formed after founders were part of a secret group that takes on a cabal plotting a war to wipe out millions. The group includes some of history’s worst tyrants and criminal masterminds, and one man will race against time to stop them.

Taking creative license with the events leading up to World War I, and exaggerating the leaders involved, “The King’s Man” uses the link between Kaiser Wilhelm, King George of England, and Tsar Nicholas II of Russia as cousins to frame its conflicts between might and right and the pursuit of political agendas.

It covers too much territory, too many people without a distinguishable identity and doesn’t rely on the truth behind “the war to end all wars.” England and Russia did team up as allies against Germany but other than a few references, it isn’t interested in being clear with the facts, bending the story to suit its alternate reality arc.

Though Fiennes is all-in and leads a solid British cast that features Matthew Goode, Tom Hollander, Gemma Arterton, and Charles Dance. Harris They can’t salvage a thin premise.

Standouts include Dickinson as Oxford’s son, Conrad (played as a youngster by Alexander Shaw) and Djimon Hounsou as the noble Shola, in loyal service to the Oxfords, who also has a secret identity and shows his deft combat skills.

Dickinson, who played Pete in another recent release, “The Souvenir, Part II,” shows much promise as the brave lad, and displays a strong relationship with Fiennes. He also portrayed J. Paul Getty III in the TV series “Trust” and was Prince Philip in “Maleficent: Mistress of Evil.”

Initially protecting Conrad, whose mother was killed in an ambush in South Africa in 1902, has been Oxford’s mission, but the stand-up son’s ambition to serve can no longer be ignored.

He is shown the secret room at the tailor shop, and soon becomes a courageous warrior in seeking out useful information to help the war effort.

First is a dangerous trip to Russia, meeting with the unstable Rasputin, zestfully played by Rhys Ifans as a cartoonish madman. His over-the-top portrayal seems thrown together as a comic interlude, more in line with a Mel Brooks movie, while the rest of the movie is dead serious (and mostly dull).

Although it doesn’t have the panache and zing of that first film, the swordplay and fight choreography are as impressive as before. So is the cinematography by Ben Davis, a Marvel veteran who has been director of photography on “Doctor Strange,” “Captain Marvel,” “Eternals,” and “Guardians of the Galaxy,” among others.

Apparently, the pandemic isn’t the only reason behind this prequel’s long delay – it’s just not a well-constructed film, so why a Christmastime slot? It had been slated for release on Nov. 15, 2019, then pushed back to a couple dates in 2020 and this year, then finally now.

Rhys Ifans as Rasputin in 20th Century Studios’ THE KING’S MAN. Photo credit: Peter Mountain. © 2020 Twentieth Century Fox Film Corporation. All Rights Reserved.

“The King’s Man” is a 2021 crime thriller, action-adventure directed by Matthew Vaughn. Starring Ralph Fiennes, Gemma Arterton, Rhys Ifans, Matthew Goode, Harris Dickinson, Daniel Bruehl, Djimon Hounsou, and Charles Dance.. Rated: R for sequences of strong/bloody violence, language, and some sexual material, its runtime is 2 hours, 11 minutes.. In theatres on Dec. 22 and on Hulu Feb. 18. Lynn’s Grade: C-

‘Being the Ricardos’ A Lush Look at Legends Lucy and Desi At Crossroads

‘Being the Ricardos’ A Lush Look at Legends Lucy and Desi At Crossroads

By Lynn Venhaus

One of the best films of the year, “Being the Ricardos” defies expectations, and it’s exhilarating.

During one critical production week of their groundbreaking sitcom “I Love Lucy,” Lucille Ball (Nicole Kidman) and Desi Arnaz (Javier Bardem) are threatened by shocking personal accusations, a political smear, and cultural taboos in Aaron Sorkin’s behind-the-scenes drama “Being the Ricardos.”

Because this biographical drama focuses on richly textured storytelling, an extraordinary ensemble goes beyond impersonations of the “I Love Lucy” cast to seamlessly weave potential personal and professional crises within one week’s time.

Writer-director Aaron Sorkin has brilliantly constructed how household names Lucille Ball and Desi Arnaz coped with damaging headlines while filming their groundbreaking television series that was seen by 60 million viewers each week.

The sitcom, which ran for six seasons from 1951 to 1957, was the first scripted television program shot on 35mm film in front of a studio audience and the first to feature an ensemble cast.

It was a big deal. One of the most influential shows in history, it was voted Best TV Show of All Time in a 2012 survey conducted by ABC News and People magazine. Fans remember certain episodes fondly – the unforgettable candy factory, Vitameatavegamin and grape stomping to name a few. (Don’t worry – fans get a taste).

Sorkin incorporates the Red Scare, courtesy of the hysteria caused by the House Committee on Un-American Activities by now disgraced Sen. Joseph McCarthy, as tabloid headlines screamed Lucy was a Communist – and powerful gossip columnist Walter Winchell announced it on his weekly radio show.

Sorkin also depicts how cavalierly women were treated in Hollywood in a sharp script that can resonate with modern audiences.

After five Emmy Awards for “The West Wing” and multiple Oscar nominations – and one win for “The Social Network,” his style is familiar – “Sorkin speak” – and it remains riveting.

Above all, the film concentrates on the relationships. The actors nimbly deliver the material to make it sing – and zing.

Lucille Ball is portrayed as a talented creative force who struggled to be taken seriously in a male-dominated business in the early days of a young industry. She was tough, but she had to be, and fought for what she wanted.

The time is 1952, and the creative team gets everything right about the period – including attitudes and social mores.

And so do the actors — three Academy Award winners and one Tony Award winner deliver a master class on portraying four real people from the inside out.

Proving the naysayers wrong, Nicole Kidman may make believers out of her harshest critics with her multi-layered portrayal. She shows us different facets of Lucy’s life – the wife, mother, performer, and producer.

Kidman works fluidly with equally magnetic Javier Bardem as her mate and business partner, and he’s an indelible Desi Arnaz – he captures the savvy producer, protective husband, charismatic singer, vivacious musician, and a Cuban immigrant torn from his former life.

A pioneering power couple, both were driven, intelligent people who blazed trails and envisioned the big picture. They had a tempestuous hot-cold relationship that affected their careers and didn’t last in their personal lives. Sorkin honors them as visionaries while not sugar-coating their issues.

As the show’s sidekicks Fred and Ethel Mertz — the Ricardos’ landlords – William Frawley and Vivian Vance were further from their character’s reality than the public knew.

As hard-drinking, sarcastic veteran Bill Frawley, ace character actor J.K. Simmons is a terrific grumpy old guy with little tolerance for fools – yet a softer, wiser man when letting his guard down. He’s a certain supporting actor nominee, and awards nominations should be forthcoming for all.

A spirited Nina Arianda, 2011 Tony Award winner for “Venus in Fur” in her first Broadway role, knows exactly who Vivian was and honors the second-fiddle actress while announcing her arrival in a major way.

TV was just beginning to be a force for societal change, and “I Love Lucy” was the biggest show on television at that time, the gem in CBS’s crown.

Back then, the sitcom’s premise was different – As the wife of Cuban bandleader Ricky Ricardo, Lucy tries to help him succeed in show business but usually gets in a pickle, driving her husband crazy. She usually enlisted best gal pal Ethel Mertz – her neighbor – in the shenanigans.

When the Ricardos welcomed little Ricky back in 1953, it was a major TV event. This film shows how the sausage was made, so to speak – the network brass dealing with Lucy’s real-life pregnancy in a typical tone-deaf way indicative of the times.

The supporting cast excels at revealing the period restrictions, and the dilemmas involved in running a successful TV show. Tony Hale, Alia Shawkat and Jake Lacy play crucial staffers Jess Oppenheimer, Madelyn Pugh, and Bob Carroll Jr. as their young selves while John Rubinstein, Linda Lavin and Ronny Cox play them as older retirees looking back.

As director, Sorkin shows us the writers’ room and the soundstage, then opens the doors on their personal life – and their Hollywood back stories. It’s a revealing glimpse into the personalities as well as Lucy’s comedic genius and Desi’s practicality focused on moving the show forward.

This is only his third film directing, and most accomplished work to date (“Molly’s Game” and “The Trial of the Chicago 7” preceded it.)

In a clever move, Sorkin displays Lucy’s thought process on making scenes work – and often better. Alan Baumgarten’s editing and Jeff Cronenweth’s cinematography are exceptional in this regard, but every element – Jon Hutman’s production design, Susan Lyall’s costume design and Daniel Pemberton’s music score come together in a top-tier polished way. Most have worked with Sorkin before.

As is well-documented, the Arnaz’ marriage didn’t survive – and we see why here. In this case, Desi has more explaining to do than Lucy.

And Sorkin took creative liberties with the storyline – the events happened, but not in seven days. But it’s fascinating nonetheless and a well-crafted showbiz drama. Comedy is not pretty, Steve Martin titled his third comedy album in 1979, and this film certifies that to be true.

Above all, the film serves up a fresh appreciation for the talented pair. Engaging and entertaining, “Being the Ricardos” is a lush look at legends Lucille Ball and Desi Arnaz and the way they were at a crossroads time in America.

“Being the Ricardos” is a 2021 drama directed and written by Aaron Sorkin. Starring Nicole Kidman, Javier Bardem, JK Simmons, Nina Arianda, Tony Hale, Alia Shawkat, its run time is 2 hours, 11 minutes and is Rated R for Language. In theaters on Dec. 10 and on Amazon Prime on Dec. 21. Lynn’s Grade: A.

Heavy and Dull ‘Swan Song’ Messes With Fate Despite Virtuoso Ali

Heavy and Dull ‘Swan Song’ Messes With Fate Despite Virtuoso Ali

By Lynn Venhaus

Sometime in the future, Cameron (Mahershala Ali), diagnosed with a terminal illness, contemplates an alternative solution by his doctor (Glenn Close) – a clone will take his place, sparing his wife Poppy (Naomie Harris) and his young son Cory (Dax Rey at 8) the grief of his loss. They must not discover the deception. In this heavy — and heavy-handed “Swan Song,” altering their fate has consequences. Can he let go, and how much can we sacrifice in such cases?

With its daring premise and showing the technology to back up messing with fate, “Swan Song” takes us on an unusual journey. However, without two-time Oscar winner Mahershala Ali delivering a heart-wrenching performance – and this time in a dual role, this film would be a slow-moving ‘what if?’ storyline without much to recommend.

Writer-director Benjamin Cleary, who won an Oscar for his short “Stutterer” in 2015, raises ethical questions but fumbles by not fully develop any answers, or explain certain aspects about the likelihood of technology overreach and those inherent implications. Playing God has its costs. (And shouldn’t we know this?)

The tone is all over the place. It’s cold and clinical with a lot of fancy high-tech, slick 3-D graphics (Cam is a graphic designer) and sterile surroundings, but then it’s warm and fuzzy when depicting happy family scenes.

Dax Rey, as 8-year-old cute-as-a-button Cory, melts your heart during the time he spends with his father. As his wife Poppy, Naomie Harris has terrific chemistry with Ali – they were both Oscar-nominated for their performances in “Moonlight,” with Ali winning Best Supporting Actor in 2017. He won two years later for “Green Book.”

That trio’s emotional earnestness goes a long way in softening such disconcerting material. But it’s not enough to overcome what is, for the most part, a dull slog.

Mahershala Ali and Awkwafina

The small ensemble includes Awkwafina as a glum participant in the experiment who becomes friends with Cam.

The replica, who has been programmed with all of Cam’s memories, emotions, and experiences, is groomed to take over and will assume his place in the family. Two weeks after that, everything will seem normal – like there was no replacement and the clone won’t think he is a clone.

Some of the movie’s puzzling elements include not explaining his illness, and it’s just weird that the doctors have a compound where the dying live out their final days without their loved ones, who will never know about the secret experiments.

With any loss, not being able to say goodbye is always a regret. Therefore, this seems cruel, not helpful. Are we saying loss is too painful so let’s live a lie so that others, oblivious, will live longer happily ever after (up to a point).

Isn’t death an inevitable part of life? How we cope is key to the human experience.

Here, Ali’s Cam is jealous of the clone – and suspicious, and it’s all gone too smooth, except for him getting testy about the clone’s ease in assimilating into his former life. One of the reasons he wants to shield his wife is that her twin brother had died a year earlier, and she fell into a deep depression over his death.

These kinds of scientific fiction films are always trippy mind-benders, only this one happens to be just ‘meh.” We need more of a satisfying story to understand and accept it.

“Swan Song” appears incomplete, leaving out crucial details and then ending abruptly. Nevertheless, Ali has become one of our most reliable and exciting actors, so his performance is a standout in an otherwise tepid film.

“Swan Song” is a 2021 sci-fi drama written and directed by Benjamin Cleary. It stars Mahershala Ali, Naomie Harris, Glenn Close, Awkwafina and Dax Rey and is rated R for heated language. In select theaters and streaming on Apple TV+ starting Dec. 17. Lynn’s Grade: C

The Warners’ Made-for-Hollywood Life Inspires in ‘American Underdog’

The Warners’ Made-for-Hollywood Life Inspires in ‘American Underdog’

By Lynn Venhaus

:Believe. In your dreams, in where your heart leads, in your talents and in what you can do as a teammate. That’s the satisfying take-away from “American Underdog: The Kurt Warner Story,” which takes us on a remarkable journey from homespun Iowa to a glorious shining moment in Super Bowl XXXIV in 2000.

Obviously, there is more to his life, but for a tidy 1 hour, 52-minute film, this is a worthy timeline. With a real Hollywood ending and a movie-script-like life, the major beats of  Kurt and Brenda Warner’s pinch-me-I-must-be-dreaming story has been turned into an inspirational drama that’s more about overcoming adversity and less about football action – but all of it equally compelling.

The NFL two-time MVP and Hall of Fame quarterback went from stocking shelves at a supermarket to becoming an American football star, but that’s not the only thing covered — so is his courtship and marriage to his wife Brenda.

The movie kicks into high gear when an undrafted Kurt is signed by the then-St. Louis Rams, and hometown fans will remember with pride and revisit with glee what happened that miraculous season, when the second-string quarterback lead the Greatest Show on Turf to a 13-3 record, a thrilling playoff run and stunning 23-16 Super Bowl championship victory.

Because we lived through it, that story is unforgettable, and the filmmakers do the St. Louis team’s first title justice.

Both directors Jon Erwin and his brother Andrew Erwin, started out as camera operators, filming the Crimson Tide’s games in Alabama for ESPN, so they have well-honed skills in that regard.

The feel-good aspect of the Warners’ tale about their struggles and how their faith and close-knit family helped them get through the tough times is bona fide, largely due to the skills of Zachary Levi and Anna Paquin. And like the Warners themselves, they are easy to admire.

Levi is best known as the star of TV series “Chuck,” the leading role in “Shazam!” and a Tony nominee for the musical “She Loves Me.” Paquin won an Oscar for best supporting actress at age 11 for 1993’s “The Piano,” and originated the role of Sookie in HBO’s “True Blood” (2008-2014).

This film adaptation could have been cheesy and sappy, but it’s rooted in reality. And you cheer for the couple – especially if you regarded Kurt and Brenda during their exciting years in St. Louis. Traded away, they left in 2004, Kurt eventually played for the Arizona Cardinals, and was part of their first-time Super Bowl appearance in 2009. Now living in Phoenix, they remain involved in local charity work here.

Based on Kurt’s book, “All Things Possible: My Story of Faith, Football and the First Miracle Season,” written along with Michael Silver and published in 2009, the screenplay co-written by Jon Erwin, Jon Gunn, and David Aaron Cohen, who wrote the 2004 film adaptation of “Friday Night Lights,” is as much Brenda’s story as it is Kurt’s.

The former Brenda Meoni served in the Marines and was a divorced mother of two when she met Kurt at a country music bar. Her son Zach, well-played by newcomer Hayden Zaller, had been injured as a baby and was partially blind with some brain damage, and Kurt developed a special relationship with him.

Their sweet love story chronicles how they supported each other through difficult patches and how strong they became together.

Their relatable circumstances tug on the heartstrings as it must, but the film isn’t preachy. It’s better than most people – worried about that approach – will find. The Erwin brothers have made Christian faith-based feature films since 2010, so stories about redemption and the human spirit triumphing are in their wheelhouse. I just wanted it to be believable and not mawkish, and I think it strikes the right balance..

The football storyline brings in Dennis Quaid as Dick Vermeil, and while he’s fine, his make-up and prosthetics are horrible, and Chance Kelly plays Assistant Coach Mike Martz as a villain, which is eye-opening.

Cynics may stay away, but for the most part, St. Louisans who are Warner fans, will embrace it. The Warners’ impact on St. Louis is undeniable, and the movie is a good example of how perseverance sometimes makes things happen.

Zachary Levi as Kurt Warner and Dennis Quaid as Dick Vermeil in American Underdog. Photo Credit: Michael Kubeisy/Lionsgate

And in this case, a movie was made about their lives – which is a testament to the kind of people they are and what they achieved, and the movie makes sure we know they didn’t do it alone.

“American Underdog” is a sports biopic directed by Jon and Andrew Erwin, starring Zachary Levi, Anna Paquin, Dennis Quaid, Chance Kelly and Bruce McGill. Rated PG for some language and thematic elements, it runs 1 hour, 52 minutes. It opened in theatres Dec. 25. Lynn’s Grade: B+.