Max and Louie’s ‘Tiny Beautiful Things’ Resonates In Mighty Waves

Max and Louie’s ‘Tiny Beautiful Things’ Resonates In Mighty Waves

By Lynn Venhaus

Heart-tugging and hopeful, “Tiny Beautiful Things” strikes universal chords as it reverberates through a darkened theater.

Now playing at The Grandel, the deeply personal journeys of people who cared enough to reach out to another human, to make that connection in cyberspace, even when they were confused or desperate or sad or angry, will smack you upside your head, resonate emotionally, and may elicit a few tears and some smiles – if you let it pull you in (and why resist?).

Perhaps listening to four people be vulnerable will prompt the proverbial light bulb to come on, illuminating what’s going on in your life. Or by hearing about others’ experiences, you will be comforted too.

The well-worn themes of love and loss provide perspective in this adaptation of Cheryl Strayed’s best-selling self-help book, served up by Nia Vardalos with sprinklings of humor and heaping amounts of compassion. This is not your mom’s yellowed Ann Landers’ clippings.

“Tiny Beautiful Things: Advice on Love and Life from Dear Sugar” was published in 2012, a collection of essays from Strayed’s “Dear Sugar” advice column, which she wrote anonymously on The Rumpus, an online literary magazine. She took it over from her friend, Steve Almond, in 2010. The book also includes essays not previously published.

With a nudge from director Thomas Kail, who was given the book by journalist Marshall Heyman, Vardalos conceived it as a play, mixing in the author’s memoir along with the dating advice and grieving support.

It premiered at The Public Theater in December 2016, starring Vardalos as Sugar and three actors playing various e-mail letter writers, directed by Tony Award-winner and Emmy nominee Kail (“Hamilton,” “In the Heights,” “Fosse/Verdon”), and a revised version returned the next year.

The story’s framework is simple: The writer dispenses words of wisdom, an understanding achieved after many battles of her own, and because she is willing to expose herself to strangers, they in turn disclose their inner-most thoughts and feelings.

With such candid material to work with, producing artistic director Stellie Siteman and managing director De Kaplan knew it was the right choice for their company, Max and Louie Productions, to return with after a harsh 16 months that has changed us all.

Because we endured a pandemic period filled with isolation and self-reflection about our own lives, being with others post-coronavirus quarantine reinforces what we all know but need to be reminded about: We are not alone.

Even with the best of intentions, this could come across very Hallmark cards-like, reducing sentiments to those home décor signs urging us to “Forgive and Forget” or “Live Laugh Love,” but Vardalos and Strayed are too smart to settle for repeating platitudes, as are the women involved in this production.

Vardalos struck gold writing and starring in “My Big Fat Greek Wedding” two decades ago, earning an Oscar nomination in 2003, and Strayed, who was a troubled soul trying to come to terms with her past and present through a 1,100-mile hike in 1995, published that life-changing trek in the 2012 bestseller “Wild: From Lost to Found on the Pacific Crest Trail.” Both are grounded women who have achieved success representing their own lives so authentically, which is the foundation here.

Director Sydnie Grosberg Ronga understood the challenges of this piece and did not embellish it with any unnecessary frills. She approached the play in a straightforward and sincere manner, which is affecting and skillfully presented by this veteran cast, anchored with authority by Michelle Hand.

Greg Johnson and Michelle Hand. Photo by Patrick Huber

The creative team’s collaboration is subtle. The minimal scenic design by master of detail Dunsi Dai suits the intent. Ronga moved, with purpose, the actors around furniture that represents their characters’ homes – including a couch, a bed, a desk and a table. Everything appears lived in, with key items placed by props designer Katie Orr, and exudes a comfortable atmosphere, accented by lighting designer extraordinaire Patrick Huber. Costume designer Eileen Engel selected casual outfits appropriate to the roles.

Two large panels rise above – are those windows to the soul? Hmmm…This isn’t supposed to resemble a psychiatrist’s office, and the set intriguingly widens the reach while narrowing the focus.

As letter writers, versatile stage actors Greg Johnston, Wendy Renee Greenwood and Abraham Shaw strike different tones as they reveal what their assorted characters are looking for or what has defined each of their lives.

As the human faces of email exchanges, they present their questions and responses in a natural way, becoming a de facto support system and sounding board. One of Johnston’s characters blurts out WTF several times, amusing the audience with such a declaration. (The play contains some strong language and adult content).

As Sugar, Hand wrestles with confidence and her conscience, showing the growth of Cheryl and depicting the raw honesty for which the writer is known. That draws the other characters in, and us, too.

Writers are often hard to portray, especially typing at a computer, for the work is such an internal process — unless there are major conflicts. With this format, we don’t follow the 80-minute show like regular storytelling — nor does it reach a dramatic conclusion – but is moving nonetheless.

What makes this so touching then? Could it be as plain as seeking meaning while we find our way, holding on to ideals and keeping faith that things will turn out all right? Or it’s OK to say we aren’t OK? Because having lived through the uncertainty and anxiety of a public health crises, something we are still processing, this performance on Friday night seemed as warm as your grandma’s chunky hand-knit afghan and as familiar as a hug from a cherished loved one.

Strayed doesn’t profess to have all the answers, nor does she say she can fix everybody and everything. But by offering examples of her struggles, exposing herself so openly, somehow, we come out of the dark and into the light. It’s that simple, but that profound.

Hand approaches each role so genuinely that you believe whatever situation she is going through, whether she is Tami, the exasperated mother of an autistic son in “Falling” at Mustard Seed Theatre; Toril Grandal, a cook serving her family’s special pancakes with strawberries and whipped cream to world leaders, in “Oslo” at The Rep; or the broken-hearted lesbian artist Pickles in “Life Sucks” at New Jewish Theatre.

She is best at bringing the humanity out in her characters, real people portraits — (cases in point, Maggie Dalton in St. Louis Shakespeare Festival’s “Into the Breeches!”, who discovers her mettle while her husband is fighting in World War II, St. Louis Theater Circle Best Actress in a Comedy Award 2019; and innocent Rose Mundy, the intellectually challenged sister in “Dancing at Lughnasa” at Mustard Seed).

Anyone with a heart – lonely, heavy, hungry, normal – can relate to the personal stories shared. In a world where empathy seems to be in short supply, this work restores the belief that we get to carry each other, and through that, the broken can be healed.

If you crave the intimacy and insight that live theater can supply, “Tiny Beautiful Things” will reward you.

Wendy Renee Greenwood, Michelle Hand and Abraham Shaw. Photo by Patrick Huber

“Tiny Beautiful Things” is presented without intermission at the Grandel Theatre, 3610 Grandel Square in St. Louis, from July 29 to Aug. 8. Performances are at 2 p.m. on Aug. 1 and 8; at 7:30 p.m. on Wednesday and Thursday, Aug. 4 and 5, and at 8 p.m. Friday and Saturday, Aug. 6 and 7.

Tickets are on sale at www.metrotix.com or by phone at 314-534-1111 or at the box office an hour before curtain. Socially distanced reserved seating is restricted to groups of 2 and 4 consecutive seats, and booth seating is available for groups of 4 and 6. Masks are required.

Max & Louie Productions has received its Missouri ArtSafe certification. To ensure that they may create safely, present safely, and attend safely, they pledge to Covid-19 safe protocols which patrons are encouraged to view at Max & Louie Productions’ website at www.maxandlouie.com.

Johnson and Blunt Elevate the Silly Escapist Disney ‘Jungle Cruise’

Johnson and Blunt Elevate the Silly Escapist Disney ‘Jungle Cruise’

By Lynn Venhaus
“Jungle Cruise” is junk, as plastic as those animatronic animals and plants that are part of theme park rides.

This big-budget movie, based on Disneyland’s theme park ride where a small riverboat takes a group of travelers through a jungle filled with dangerous animals and reptiles, adding a supernatural element, has been in development and turn-around for years, so what audiences are getting is a movie patched together and written by a committee.

A hodgepodge of other – and better – movies, this Disney action-adventure really wants to be “Raiders of the Lost Ark.” Throw in nods to “Pirates of the Caribbean,” another movie based on a Disney ride, “Lost City of Z” and “The Mummy,” and the experience is derivative, not special.

The film’s saving grace is its two leads, Dwayne Johnson, aka “The Rock,” as Frank Wolff, a con artist riverboat captain with a penchant for puns and a hardened heart, and Emily Blunt as headstrong botanist Dr. Lily Houghton, whose altruistic nature leads her on a search through the Amazon to find “Tears of the Moon,” a plant cure-all so that she can heal the sick.

The story is part of a larger mythology that involves Spanish conquistadors and a whole lot of snakes, with cartoonish melodramatic villains eager to wreak havoc as they lust for world domination.

Likeable and charming on their own, Johnson and Blunt have an easy chemistry paired together, although it appears more platonic than romantic. As ordained in this opposites-attract framework, they tussle and the snappy banter is comical – he calls her “Pants” and she calls him “Skippy.”

Their feisty-but-familiar relationship is reminiscent of Michael Douglas and Kathleen Turner in “Romancing the Stone” (1984 — really fun, check it out) and the Oscar-winning classic “The African Queen” featuring Humphrey Bogart and Katharine Hepburn (1951 – magical).

The plucky Lily has brought along her dandy brother, MacGregor, well-played by Jack Whitehall. In a stunning development, although played for laughs, this gay character comes out to the cynical Frank.

In a bit of odd casting, Jesse Plemons plays the obnoxious and lethal Prince Joachim (refer back to the Nazis in “Raiders.” Connected to Kaiser Wilhelm, for it is set at the start of World War I, the evil German progeny is maniacal and hell-bent on power.

Another head-scratcher is barely-in-it Paul Giamatti as a greedy boss, using a thick Italian stereotype accent that’s rather offensive.

The characters are broadly written. Three screenwriters, Michael Green, Glenn Ficarra and John Requa, cobbled together this throwback caper, with the stars injecting some heart and humor, along with the requisite derring-do and danger.

Other than briefly pointing out the obvious misogyny and homophobia of that early 20th century era in King George V England, the film shies away from anything deeper. It does, after all, have roots in a Disneyland tourist excursion. But at least it shows the haughtiness of the male-dominated scientific establishment at that time.

There is a supernatural element that might not be suitable for young children, hence the PG-13 rating. Dark and frightening sequences involve reptiles, ghosts, poison darts and grotesque deaths.

The movie’s focus is on action, and while it zips along once you get past the ancient set-up, 2 hours, 7 minutes seems far too long for this excursion.

Director Jaume Collet-Serra, who made the generic Liam Neeson action movies “The Commuter,” “Non-Stop” and “Run All Night,” knows how to blow things up. He favors quick cuts, which can be traced to his music video-TV commercials background.

Like most summer blockbuster escapism, the film’s main purpose is to string together explosions and other big stunt pieces on land and water.

And the caves. waterfalls and lush landscapes are gorgeously shot by cinematographer Flavio Martínez Labiano. He has imbued an old-fashioned look, not unlike early “Tarzan” movies and Saturday morning serials.

The production design carries that through as well. Designer Jean-Vincent Puzos, who did “The Lost City of Z,” knows his way around dusty museums and mysterious civilizations. Most impressive is a massive stone structure rising out of the water.

But the CGI is so obvious. I can’t get past the fake-looking bees and not-real pet leopard.

Composer James Newton Howard has ramped up the dramatic swells of music in the manner of the Indiana Jones franchise.

(L-R): Dwayne Johnson as Frank Wolff, Emily Blunt as Lily Houghton and Jack Whitehall as MacGregor Houghton in Disney’s JUNGLE CRUISE. Photo courtesy of Disney. © 2021 Disney Enterprises, Inc. All Rights Reserved.

Without the jolly fun of watching Blunt and Johnson wriggle out of tough situations and give some spark to their green-screen acting, the slick “Jungle Cruise” would be just another visual effects-heavy escapade that we have seen many times before.

“Jungle Cruise” is a 2021 action adventure fantasy romantic comedy directed by Jaume Collet-Serra and starring Dwayne Johnson, Emily Blunt, Édgar Ramírez, Jack Whitehall, Jesse Plemons, Paul Giamatti and Veronica Falcón. It has a 2 hour, 7 minute runtime and is rated PG-13 for sequences of adventure violence. It opened in theaters and streaming on Disney Plus (premium access) on July 30. Lynn’s Grade: C+

Despite Damon’s Efforts, Vague and Implausible ‘Stillwater’ Runs Dry

Despite Damon’s Efforts, Vague and Implausible ‘Stillwater’ Runs Dry

By Lynn Venhaus
A blatant rip-off of the sensational Amanda Knox student exchange murder case, the morally ambiguous “Stillwater” wants us to care about people not worth the investment.

That’s the biggest problem that this film can’t recover from – and a lack of redemption will leave an audience dissatisfied.  Because of a misleading trailer, this 2-hour and 20-minute film is not what one expects and when it falls apart in the third act, a huge letdown.

A father, unemployed oil rig worker Bill Baker (Matt Damon), travels from Oklahoma to France to help his estranged daughter, Allison (Abigail Breslin), a student who is in prison for a murder she claims she didn’t commit. This is intense, but not action-driven like “Taken,” and while the romance is reminiscent of Robert Duvall’s Oscar winner, “Tender Mercies,” it begins to overshadow the central storyline.

“Life is brutal” is the disingenuous daughter’s deep thought about going through tough times. Well, duh. Doesn’t take Jean-Paul Sartre to figure that out.

At odds are the two main storylines – writer-director Tom McCarthy can’t decide on the focus, so it winds up feeling unfinished and lacks cohesiveness. Pick a lane – is this a vigilante hunt for the real killer thriller or is it a late-in-life romance and daddy do-over for a good old boy?

Three other screenwriters – Marcus Hinchey, Thomas Bidegain, who wrote the gripping French prison drama “A Prophet,” and Noe Debre – are credited, so no wonder it’s uneven.

Is the resemblance to the Knox case intentional? To refresh, the murder of her roommate took place in Italy in 2007 and the Italian Supreme Court overturned her conviction in 2015.

The French setting adds other layers besides the language barrier, which are interesting points to include. McCarthy, responsible for two exceptional fish-out-of-water films, “The Visitor” in 2008 and “The Station Agent” in 2003, knows how to craft an endearing character study featuring disparate individuals that fate has brought together.

This doesn’t measure up, which is so disappointing because McCarthy won an Oscar for writing “Spotlight,” which deservedly won Best Picture in 2016, one of the most important films of the decade.

Absent the sheen of a noble cause, “Stillwater” is a frustrating effort without a point.

Abigail Breslin, Oscar nominee for “Little Miss Sunshine,” is not convincing as the smart American lesbian who wanted to get far away from her troubled life in Stillwater, Okla., and wound up in a student exchange program in Marseille, a port city is southern France. She fell in love with Lina, a French-Arab student, and they moved in together.

However, Lina cheated on Allison with other people, and one night, she is found stabbed to death. Neither the press nor the courts had any sympathy for Allison, now serving her fourth year of a nine-year sentence.

Her estranged father, Bill, Damon in a redneck aw-shucks mode, arrives from France to help.  At first, he is bankrolled by Allison’s maternal grandmother Sharon (Tony Award winner Deanna Dunagan of “The Visit”), whose health won’t allow her to travel, but later, he gets construction work.

Sharon raised Allison after Bill’s wife, her daughter, committed suicide. This is glossed over, and the screenplay suffers from a lack of key information.

Apparently, Bill’s been messing up his whole life. He has served time too, for an undisclosed felony. No longer drinking, he is trying to be the dad he wasn’t while Allison was growing up. He takes it upon himself to investigate the case, arranging to meet locals who may know something.

His daughter has asked her lawyers to re-open the case because someone overheard a guy at a party claiming he did it, and in her letter to attorney Leparq, indicates she doesn’t trust her father. She has a deep resentment – but again, it’s not explored.

Because the main characters are extremely dysfunctional, it would have been nice to have some context.

Which leads us into the story’s secondary plot (or is it?) – Bill bonds with a single mother, Virginie (Camille Cottin), and her 9-year-old daughter, Maya (a wondrous Lilou Siauvand).

The kind, helpful woman, a French stage actress and activist, becomes his interpreter, then savior as a roommate and eventually, lover. Cottin is appealing and Siauvand, as her sweet daughter, is the scene-stealer.

Not unlike Amy Adams in the woefully misguided “Hillbilly Elegy,” Damon tries his mightiest to breathe humanity into a deeply flawed ordinary Joe trying to make up for past mistakes.

Despite Damon’s efforts immersing himself into the role with vigor, Breslin’s limited emotional depth and a wobbly defense propel this film off the rails. The slow pace doesn’t help it either.

Missed opportunities and miscasting make “Stillwater” a disheartening watch. It’s comparable to an extended “Law & Order” episode or a true-crime Lifetime movie, and I expected much more.

“Stillwater” is a 2021 drama directed by Tom McCarthy and starring Matt Damon, Abigail Breslin, Camille Cottin and Lilou Siauvand. Rated R for language, the film’s run time is 2 hours, 20 minutes. It opened in theatres on July 30. Lynn’s Grade: C-.

The Muny Keys in on Nostalgic Songbook, Setting in its Joyous Return

The Muny Keys in on Nostalgic Songbook, Setting in its Joyous Return

By Lynn Venhaus
With the nostalgic glow of scrapbook memories, the toe-tapping and hummable “Smokey Joe’s Café” opened The Muny’s eagerly anticipated 103rd season.

In this spirited localized production of the longest-running musical revue in Broadway history, the creative team imagined a soulful stroll down memory lane, intersecting a generation’s familiar soundtrack with Gaslight Square, one of the city’s most iconic neighborhoods.

And just like that, the U.S.’s oldest and largest outdoor theater demonstrated why it’s an essential part of St. Louis summers.

It had been over 700 days since we were last gathered under the stars in Forest Park – at “Matilda,” to be exact, which ran Aug. 5-11, 2019.

Nobody does what the Muny does, and did we miss it! On Monday, warm-and-fuzzy feelings energized the crowd of 5,956, who collectively exhaled and shared a glorious moment, sprinkled with pixie dust, during a pleasant July evening.

“You’re here. You made it through!” exclaimed Mike Isaacson, executive producer and artistic director, with palpable joy.

One glance at that expansive stage and we were home.

Photo by Phillip Hamer

The impressive scenic design by Edward E. Haynes Jr., who was responsible for the bright and playful fantasy world of “The Wiz” in 2019, included realistic facades of Crystal Palace, Jack Carl’s 2¢ Plain (a New York-style deli), Annadel’s Olde-Fashioned Ice Cream Parlor, Smokey Joe’s Grecian Terrace and a Sinclair service station built into the streetscape.

That bygone-era theme continued in Kevan Loney’s video design and Rob Denton’s lighting design, which bathed the nightclub scenes in neon and stardust.

In its heyday, Gaslight Square was the entertainment district in St. Louis – located between Olive and Boyle in the eastern portion of the Central West End. Attracting bohemians, hipsters and the well-heeled, it was known for comedy, dining and dancing. Such rising stars as Barbra Streisand, Lenny Bruce, Woody Allen and The Smothers Brothers appeared in venues there. By the late ‘60s, urban decay took over and people were flocking to the suburbs.

Astute observers will be able to pick out “Easter eggs,” those clever nuggets from the past that mean something to fans — and a major find is shopping bags with the Stix, Baer and Fuller logo. There’s a Sealtest Dairy ad on a back cover – and more blasts from the past.

Never underestimate the emotional connection shared by a live audience, listening to a talented mix of performers sing their hearts out.

As we are all aware of how a global coronavirus pandemic disrupted our lives during the past 16 months, The Muny had been forced to cancel its 102nd season in 2020 – for the first-time ever – and moved five shows to this year, which received the green light when it was deemed safe to do so. Isaacson noted that the performers hadn’t been able to “do what they do” either.

Enter an eclectic cast of nine (five guys, four women), who could be classified as “acting singers” – and their strong interpretations created easily identifiable vignettes during musical numbers. All but three were making their Muny debut.

Photo by Phillip Hamer

Robust ovations began early, even before they harmonized in the first number “Neighborhood,” and continued through the enduring catalogue of prolific lyricist Jerry Leiber and composer Mike Stoller, for a total of 39 songs, mostly hits from the 1950s and 1960s.

Mutual fans of rhythm-and-blues, Leiber and Stoller collaborated on a pop-rock sound known as “crossover” music back in the day. Their catchy melodies and tender ballads are thread together without a storyline or a chronological order.

From the dance party that is “Baby, that is Rock and Roll” to the classic Drifters’ chart-climber “On Broadway,” the songs vary in mood and tempo.

For the most part, they reflect a more innocent time, especially the amusing novelty songs heard on transistor radios — golden oldies “Charlie Brown,” “Yakety Yak,” “Poison Ivy” and “Love Potion No. 9.”

The assembled artists are a balanced group of pros with Broadway and national tour credits. By the time they united for a moving finale of “Stand by Me,” each performer had a knockout rendition.

First-timer Charl Brown. who was nominated for a Tony for his portrayal of Smokey Robinson in “Motown: The Musical,” showcased his smooth style and wide register with “There Goes My Baby” and “Young Blood.”

Immediately, the audience reacted to Christopher Sam’s rich, deep baritone, and his silky delivery wowed on “Spanish Harlem,” “Loving You” and “Dance with Me.” It’s easy to picture him as Mufasa in “The Lion King” on Broadway.

Photo by Phillip Hamer

Belter Tiffany Mann was sensational with “Fools Fall in Love” and “Hound Dog,” soaring with the gospel tinged “Saved,” which closed the first act with a flourish. Mann, quickly a favorite, was in “Be More Chill” and “Waitress” on Broadway.

The charismatic Mykal Kilgore brought the house down with a passionate “I (Who Have Nothing).” He was Annas in the Muny’s 2018 “Jesus Christ Superstar” and part of the NBC live television concert version earlier that Easter, and also in the network’s live “The Wiz.”  

Excellent dancers Hayley Podschun and Michael Campayno stood out with “Teach Me How to Shimmy.” Podschun, the dance captain, starred as Dainty June in the Muny’s 2018 “Gypsy,” and touched with her sweet solo “Falling.”

Campayno, who played opposite Tony winner Stephanie J. Block in “The Cher Show,” channeled his inner Elvis Presley to lead a peppy “Jailhouse Rock,” and charmed with “Ruby Baby.”

Podschun teamed with Nasia Thomas on a sassy “Trouble.” Thomas, who was in the 2015 “Hairspray” Muny ensemble and played Little Eva in “Beautiful: The Carole King Musical” on Broadway, sang “Don Juan” solo.

In a take-note debut, Dee Roscioli, a long-running Elphaba in “Wicked,” showed versatility in “I Keep Forgettin’” and “Pearl’s a Singer.”. The females all have frisky fun in “I’m a Woman.”

A Smokey Joe’s veteran, expressive Jason Veasey paired with Thomas on “You’re the Boss,” and lead the men in the burlesque homage, “Little Egypt.”

Mykal Gilmore sings “I (Who Have Nothing)” — Photo by Phillip Hamer



Many of the lyrics, being from a different time decades ago, feature sexual innuendo and set society roles. That means it is preferable for more mature audiences, not the wee ones.

Music Director Abdul Hamid Royal, a Tony Award nominee and NAACP Image Award winner for “Five Guys Named Moe,” nimbly conducted the skilled musicians placed on stage, initially behind a storefront and then in plain view during the second act.

Choreographer Josh Walden designed the movements based on original choreography by director Marcia Milgrom Dodge, with whom he has worked before. He wove in the buoyant Muny Teen youth ensemble with aplomb.

Dodge, a frequent Muny collaborator, had helmed “Smokey Joe’s Café” in Chicago, winning a Jefferson Award. Her vision here added oomph to the characters’ stories, and the ensemble seamlessly slipped into specific archetypes.

Costume designer Sully Ratke created characters’ backstories with a keen eye for vintage wardrobes, and the retro apparel captured their personas, especially snazzy hats. Their looks were accented with spot-on wig design by Kelley Jordan.

The sound design by John Shivers and David Patridge was crisp and did not have any noticeable issues.

At an estimated run time of two hours, 11 minutes, the Tony-nominated musical from 1995 zipped along in swift fashion.

Those who like a beefier story with their musical interludes will not be satisfied by the structure, but if you expect a concert-type experience, then you know what is in store.

What is surprising is how the elements all came together to elevate a conventional revue into a more layered theatrical experience. By expanding on what’s considered routine entertainment, the show — directed and performed with verve — is a cut above the ordinary.

Projecting genuine affection for the material and each other, this cheerful cast and splendid creative team achieved its shining moment. And voila! A community was reborn and welcomed back.

I will never take this tradition for granted ever again.

A Muny premiere, “Smokey Joe’s Café” opened July 26 and runs through Sunday, Aug. 1 at 8:15 p.m. on the outdoor stage in Forest Park. Emerson is the 2021 season sponsor.

For more information, visit www.muny.org. For tickets, visit muny.org or call (314) 361-1900 ext. 1550.

To stay connected virtually and to receive the latest updates, please follow The Muny on their social media channels, including Facebook, Instagram and Twitter.

Jack Carl’s vintage postcard of Gaslight Square.

Muny Photos by Phillip Hamer.

Dispatch from The Hills: Anti-Vaxxers Are Risking Freedom for All

Dispatch from The Hills: Anti-Vaxxers Are Risking Freedom for All

By Lynn Venhaus
I don’t mind putting my mask on again to follow public health rules and private business restrictions, but I resent the selfish anti-vaxxers who have doubled down on being against the shots, following gross misinformation, and creating a dangerous situation for the vulnerable population in this war against the coronavirus pandemic.

There are people, who for medical reasons, can’t take the vaccine, which I understand, and there are people not old enough yet, but to blindly cling to false rhetoric is infuriating and mind-boggling.

And those in opposition are extremely belligerent about their refusal to ‘take one for the team’ — and themselves. They are going to get people killed. Do they have a death wish as well?

We can’t return to whatever passes for normal if cases rise, and they are at an alarming rate. During 2020, we had such economic hardships and further divides in politics, not to mention the loss of life, that people would be sensitive to what’s best for the greater good. The cheerleading “We’re all in this together” didn’t work, which is disturbing.

I know I am preaching to the choir. I know the people who need to hear this will not.

The Delta variant is deadly. Missouri numbers are forcing us into another crisis — numbers have surpassed the winter peak. Currently, 97% of the new cases are unvaccinated people. 83% of new cases are the Delta variant.

Have these last 16 months not shown us the importance of fighting this deadly disease? In the U.S. alone, we have had 608,000 deaths — and 34 million cases, and it does not discriminate. If we don’t take precautions now, we will have to return to previous emergency rules. And who wants that?

The vaccine has proven to work — if you have questions, talk to your doctor. Seek out reliable sources. I had the J&J one-and-done — it was simple, have had no issues. If I have to get a booster shot down the road, so be it.

Public health officials are making it so easy and accessible for us. I know people who went outside of St. Louis to get their shots — Cape Girardeau, Hannibal, Rolla, Columbia and Mexico, Mo., in early spring — just because they wanted to be safe, particularly those considered high-risk. Pharmacies provide shots, and clinics are still active. There isn’t any roadblock if you want to get the shot, you can get it.

As one who had COVID-19 in mid-January, thankfully a mild case, but has lingering post-virus fatigue syndrome, I urge people to get vaccinated.

I took the oral polio vaccine as a child in fourth grade. We went to a public school gym one Sunday afternoon in November 1963, where it was administered. I don’t recall people saying, “nope, I’ll take my chances.’ Same goes for the childhood vaccines for smallpox, measles, mumps and whooping cough. I had a painful case of shingles in January 2017, and wish I had taken that optional vaccine as an adult. Having shingles was like ripping off a band-aid while being stabbed in the side.

If you think we should have control over our health, then getting the shot is liberating. I am happy to return to the movie theater, live performances and going to restaurants, and being able to hug my 89-year-old uncle at his assisted living home.

Because of the quarantine in New York City, I hadn’t seen my youngest son Charlie, a cancer survivor so high-risk, in 1 year, 6 months and 11 days until he visited last week from Brooklyn. We sacrificed for the greater good. He finished his Pfizer shots in May and then our work schedules and my health issues prevented earlier travel.

Society has asked us to step up, to do our part. Yes, this is America, land of the free — but also home of the brave, and we have to suck it up and be courageous because a global pandemic has created a public health emergency. To scoff at medical science is Russian roulette. Rules are in place to protect us. I really don’t understand this disconnect.

Please ignore Tucker Carlson and Fox News. Those talking heads have been vaccinated. Owner Rupert Murdoch was vaccinated. Former President Trump and his family are all vaccinated. Why this has become a political issue, I don’t understand. COVID-19 doesn’t care what you believe, how much you make, who you voted for and where you go to church.

What I do know is that hospitals are getting taxed to the max, and health care workers are exhausted.

Save your life and the people around you. Love thy neighbor.

Photo: Me getting a vaccine at a local community center on March 28, 2021.

Dispatch from the Hills is a personal column written by Lynn Venhaus, which started in quarantine in March 2020, first as Dispatch from the Island, living in Soulard, and now from residence in St. Louis Hills.

Stylized ‘Gunpowder Milkshake’ Stumbles with Thin Characters

Stylized ‘Gunpowder Milkshake’ Stumbles with Thin Characters

By Lynn Venhaus
The pleasure of seeing actresses have a blast going gangster is one of the joys of the interestingly titled “Gunpowder Milkshake.”

However, that big plus can’t overcome the minuses. With a graphic novel-comic book-video game feel, the look is cool — but the characters are as thin as the by-the-numbers story.

As a professional assassin, Scarlet (Lena Headey), was forced to abandon her daughter Sam and go on the run. Cut to years later, and a grown-up Sam (Karen Gillan) is a cold-blooded hitwoman. Like mother, like daughter.

After a high-stake mission gone-wrong has unleashed a gang war, Sam has gone rogue, with an innocent 8-year-old Emily (Chloe Coleman) in tow. Sam reconnects with her mother and her former sidekicks, also lethal hitwomen with specific skill sets. An avenging war ensues.

This over-the-top action movie is heavy on fantasy. Seriously, how many females, dealing with numerous infirmities and adversity, can be relentless one-woman wrecking crews, even if they are professional assassins?

There is an excessive body count, featuring a plethora of bad guys’ heads rolling, squished, shot, stabbed and maimed in multiple bloodbaths. Some are in slow-motion, other fights are martial arts focused, and editor Nicolas De Toth makes sure blood spurts often.

Israeli director Navot Papushado, who also co-wrote the script with Ehud Lavski, must idolize kitschy maestro Quentin Tarantino, for he tries to emulate his blood-drenched films, in particular “Kill Bill, Vol. 1 and 2,” through a stylized – and farcical – approach.

Cinematographer Michael Seresin alternates between grit and an unreal quality to film the scenes, and David Scheunemann, the production designer, follows suit. The color palette is striking, using neon colors and artificial set pieces that resemble music videos, such as a diner, bowling alley, abandoned mall and an old-school library/museum.

But those diner milkshakes look fake, which is annoying.

Music is an incessant component in the movie, with Janis Joplin’s “Piece of My Heart” effective to punctuate a brutal shoot-out. Composer Haim Frank Ilfman has propulsive music to escalate the combat and a keen ear for a hipster soundtrack.    

Lithe Karen Gillan, who made a name for herself as Amy Pond in “Doctor Who” and broke through as Nebula in “The Guardian of the Galaxy” films, demonstrates spunk and agility as she mows down the male goons.

An 8-year-old girl, who becomes Sam’s “apprentice,” is played with savvy and poise by veteran child actress Chloe Coleman, who was in last year’s “My Spy” and the HBO mini-series “Big Little Lies.”

The angle here is that three generations of women are empowered to fight for survival in this escalating gang war. But it is uneven in attention.

For instance, Sam’s mother, Scarlet, is played by “Game of Thrones” Lena Headey, but she is only seen in the beginning and then re-appears before two climactic showdowns. Yes, not one, but two.

Mom’s fierce sisterhood of Carla Gugino as Madeleine, Michelle Yeoh as Florence and Angela Bassett as Anna May are not used nearly enough, which is a shame, because they mow down guys with inventive implements of destruction once their ‘house’ is breached.

It is a lot, and wait, there’s more. Don’t try to make sense of it all because it is not going to add up.

The generic, formulaic script doesn’t help itself with the antagonists having such a bland name as The Firm ( the shady suits who direct the mayhem). Usually reliable Paul Giamatti, as their facilitator, doesn’t fare much better.

The director displays some panache, so it’s not all misguided. It needed a better, more substantive script to connect with the stylish format.

Nevertheless, fans of such genre films may not mind the lack of originality. At first glance, the film seemed to have potential as a female-heavy “Baby Driver,” but wound up a very lukewarm “John Wick” wannabe, a disappointment.

“Gunpowder Milkshake” is a 2021 action-thriller directed by Navot Papushado and stars Karen Gillan, Lena Headey, Carla Gugino, Paul Giamatti, Angela Bassett, Michelle Yeoh and Chloe Coleman. Rated R for strong bloody violence throughout and language, the runtime is 1 hour, 55 minutes. The film began streaming on Netflix July 14. Lynn’s Grade: C-.

Nicolas Cage Delivers One of His Best Performances in Atmospheric ‘Pig’

Nicolas Cage Delivers One of His Best Performances in Atmospheric ‘Pig’

By Lynn Venhaus

No matter what perception you might have about this film beforehand, “Pig” takes you on an unexpected journey.

Like a shabby hole-in-the-wall joint that surprises you with its elevated cuisine and depth of flavor, this unorthodox drama is a richly textured experience that comes together with tender loving care.

I will be talking about this earthy delight for the rest of the year, for as a debut narrative feature, writer-director Michael Sarnoski has crafted an absorbing original tale with impeccable detail.

Nicolas Cage plays a truffle hunter who lives alone in the Oregon wilderness, and after his beloved pig is poached, returns to his past life in Portland to track down his beloved animal.

On the surface, it seems simple, but oh no – uncommon riches await, and Sarnoski ladles revelations out in due time. He doesn’t dot all the i’s and cross all the t’s, expecting his audience to be smart enough to fill in the blanks.

With a minimalist approach, Sarnoski immerses us in pretense and profundity. A hard-to-get lunch reservation is an astute example of both, and a pivotal scene that you won’t soon forget.

Cage’s protagonist is a disheveled hermit known to truffle purveyor Amir (Alex Wolff) as strange anti-social Rob. But out of desperation, he gets the impatient lad to drive him around the cutthroat fine-dining brotherhood of Portland, that northwest hipster mecca. They are in search of the pig but come upon much more.

Amir will get the ride of his life, for he discovers the mysterious grizzly guy is a legendary chef, THE Robin Feld, whose very name invokes great reverence – and curiosity as to what happened to him. Feld knows people, that’s why he figures out where to look and who to talk to underground.

Fifteen years earlier, Feld left his celebrated career behind to live off the grid, his chef knives and cast-iron skillet in tow. We get morsels of information as to the why, and as we get in Robin’s head, we find out he has a philosopher’s intellect and a poet’s heart.

This is a rare and meaty role for Academy Award winner Cage, whose restraint here is admirable. He speaks in hushed tones instead of grander histrionics. No matter how you view his career detours, he subtly pulls off this reflective loner with definitive artistry. It is his best performance in years.

Cage has made so many off-the-wall action films during the past 20 years, a long way from his last Oscar nomination (“Adaptation” in 2002), that he is easy to dismiss, but do not count him out.

The principal cast is playing characters that seem easy to figure out, but again, nope. These well-drawn roles not only gave Cage an opportunity to convey layers of emotional consequences, but also Wolff and Arkin.

Wolff, notable in the 2018 horror film “Hereditary” as the son who unravels, makes the most of his character’s jodyssey. Next up is M. Night Shyamalan’s “Old,” so he is having quite a summer.

Wolff’s sharply dressed brat comes across as this slick materialistic poser who is only looking out for himself, but he becomes as fascinated as we are by Robin’s backstory and sticks around.

Then, we find out about his unhappy upbringing with squabbling parents, a dad he is always trying to please but never quite measures up to, even though he emulated his career path – and a tragic mom story.

Amir is more than meets the eye, as is his self-important father, Darius, portrayed with the right amount of hubris by Arkin.

With a lush forest as backdrop, cinematographer Patrick Scola captures Feld’s tranquil existence, his pig his only companion. Sarnoski beautifully sets up their special relationship, not unlike the subjects and their dogs in the 2020 documentary “The Truffle Hunters.”

When the paid tweakers kidnap the pig, the well-choreographed attack is horrific, and leaves Robin in a bloody pool on his cabin floor.

One of the goofier aspects of the film is that Cage’s character, already unkempt, goes through nearly the entire film with his face pummeled into a swollen pulp, thanks to a “Fight Club” like scene in addition to the assault, blood streaked on his face and matted in his beard and hair. He couldn’t have taken a few minutes to clean up? However, he does wash his hands before he cooks.

The atmospheric story, by producer Vanessa Block and Sarnoski, touches on loss, love, passion, memory, and the quest for the meaning of life. Is it more important to be “somebody” or to achieve inner peace, and why should we crave approval?

Robin is a man of few words, but when he talks, people listen, and his wisdom is a special component of this moving story.

Robin tells someone: “We don’t get a lot of things to really care about in life.” And that resonates.

Sandwiched between the releases of two documentaries on renowned chefs, Wolfgang Puck and Anthony Bourdain (“Roadrunner”), this film should also appeal to foodies – as well as anyone who has spent time meditating during the pandemic.

At only 92 minutes, extra time could have provided more aspects, because I wanted to stay with these characters – but then again, it would likely be another movie, not this hypnotic trek.

“Pig” is a quiet little film with a big impact. The wrap-up may not be as satisfying as the pursuit of the truth, but overall, all the elements are impressive.

“Pig” is a 2021 drama, rated R for language and some violence. It is written and directed by Michael Sarnoski and stars Nicolas Cage, Alex Wolff and Adam Arkin. Its run time is 1 hour, 32 minutes. It starts in theaters July 16. Lynn’s Grade: A-

Nicolas Cage in “Pig”

Unusual ‘Zola’ Looks at Sleazy Underworld of Strip Clubs And Sex Industry

Unusual ‘Zola’ Looks at Sleazy Underworld of Strip Clubs And Sex Industry

By Lynn Venhaus
A road trip from hell, as documented on a viral Twitter thread six years ago, is the starting point for this unusual film.

The genesis of “Zola” is a 148-count tweetstorm by A’ziah King in 2015. Known as Zola, she was working as a Hooters waitress in Detroit, when a customer, an exotic dancer named Stefani (Riley Keough), convinces her to dance for some quick cash – then invites her for a weekend in Florida, also to strip, with the promise of easy money.

But the trip becomes a nightmarish 48-hour odyssey with Stefani prostituting herself while Zola is expected to be an “escort” too. Along for the ride is Stefani’s idiot boyfriend (Nicholas Braun) and her dangerous pimp X (Colman Domingo).

After 86 minutes, I felt like my I.Q. had dropped 50 points and I wanted to take a shower. But like a bad car wreck on the highway, you can’t quit staring at it in disbelief.

The film deals with increasingly dangerous and desperate situations, and when it involves the sex industry, that is to be expected. The film’s subject matter is sleazy, yes, but director Janicza Bravo doesn’t treat it in an overly erotic way, but rather realistically. The transactions are about survival — a way of life in a scuzzy underworld of sex and violence.

However, you are warned –  the graphic sexual content includes close-ups of male genitalia – although less female nudity than one might expect.

While the cast excels at creating these outrageous characters, they really are a sad lot – and if you have seen “The Florida Project” and “Hustlers,” folks without life’s advantages. There’s also similarities to “Spring Breakers,” but really a singular situation.

Riley Keough plays Stefani, a character like the one she played in “American Honey,” only with less of a conscience and a soul. She lives out loud, on stage, and doesn’t give it a second thought. She affects a ‘street’ accent that she might think is cool or tough, but it instead pathetic.

Her doofus of a boyfriend, Derrek, hilariously played by Nicholas Braun (brilliant as Cousin Greg in “Succession,” watches YouTube.com videos and aspires to monetize such videos one day. He is clueless.

While Stefani and Derrek appear to be sorry specimens of the public school system, Zola has street smarts and learned through the school of hard knocks. She refuses to partake in X’s plan and holds her ground. But even she can’t prevent this walk on the wild side.

Just a withering look from Taylour Paige’s Zola, and you know exactly how she feels. Paige, a trained dancer, is a revelation here. Most known for a TV show, “Hit the Floor,” as Zola, she does more in one look than most people do in a string of sentences – and her side-eye is genius. You feel what she’s feeling just on body language alone.

X, as played by the sublime Colman Domingo, is a low-level con artist and morally bankrupt guy shrouded in mystery. Domingo plays him as a man used to living on the edge – but prefers to control the circus. If you saw Morgan Freeman in “Street Smart,” then you know the territory X covers.

Domingo, one of our finest actors, was memorable in “Ma Rainey’s Black Bottom,” “Selma” and “If Beale Street Could Talk” as Regina King’s husband. You see his name in the credits, and you know he’ll deliver. He is explosive in a long-simmering threatening way.

What parts are embellished and what areas stick to the truth aren’t clear – unless you read the 148 tweets, which are no longer on Twitter, but available on different sites.

Zola had something to say, and she let it out. This is the first film, as I recall, based on short unfiltered bursts of exasperation, frustration and just ‘let me tell you what happened to me.’

With social media so extensive in everyone’s lives, of course, we’re here now. But the film is also based on David Kushner’s article in Rolling Stone. Bravo and Jeremy O. Harris, who wrote “Slave Play,” adapted it all for the screen.

The filmmaker has made some interesting choices, most of it fresh and different, which signals that an innovative artist is just getting started. She helmed another unusual indie, “Lemon,” which also opened at Sundance.

“Zola” premiered at the 2020 Sundance Film Festival – not this year – and the distributors held it for a big-screen experience. A crowd viewing is the definite way to go.

Nicholas Braun, Riley Keogh, Taylour Paige and Colman Domingo

Not wanting to come across as a snob or prude, this is my reaction to a seamy underbelly of society that we rarely glimpse of in such a revealing way, which is both frightening and troubling at the same time.

In the film business, we haven’t seen the last of any of the principals or the director. “Zola” is one of those zeitgeist movies people will buzz about, because, after all, those tweets went viral.

“Zola” is a 2020 drama-comedy directed by Janicza Bravo and Taylour Paige, Riley Keough, Colman Domingo and Nicholas Braun.
Rated R for strong sexual content and language throughout, graphic nudity, and violence, including a sexual assault, it runs 1 hour, 36 minutes. It is only in theaters beginning June 30. Lynn’s Grade: B-


Cast Adds Verve to Sci-Fi Action Thriller ‘The Tomorrow War’

Cast Adds Verve to Sci-Fi Action Thriller ‘The Tomorrow War’

By Lynn Venhaus
In the grand tradition of summer blockbusters, the action-packed sci-fi thriller “The Tomorrow War” arrives in the new world on the home screen – Amazon Prime, to be exact.

While these kinds of digital visual effects and high-octane combat sequences are best-suited for a large screen — remember “Independence Day” on the holiday weekend in 1996? – this ‘90s-throwback film will be a crowd-pleaser with the charming everyman Chris Pratt leading the way.

It’s Christmastime 2022, and during a televised world soccer game, a group of time travelers arrive from the year 2051 with an urgent message: Thirty years in the future mankind is losing a global war against deadly alien invaders. To save the human race, soldiers and civilians in present time are drafted to be transported to the future for seven-day duty.

Joining the fight are Pratt as family man and high school teacher Dan Forester, who teams up with a brilliant scientist from Romeo Command (Yvonne Strahovski) and other draftees to save the world and rewrite the fate of the past.

Pratt is naturally in his wheelhouse – a veteran soldier, now a loving husband and father and high school biology teacher, whose leadership skills bolster the impossible fight against these relentless “white spikes.”

The vicious teeth-and-tentacles enemies are swift beasts, designed like a multi-limbed puma/wild dog hybrid with reptile features, not unlike prehistoric creatures. Visually, they are disgusting, and when harmed, burst with icky goo oozing out. They aren’t all that original looking, and neither are the video-game effects.

Most of the ordinary humans are helpless against these hulking packs, who are everywhere. But not Pratt, the scientific military minds in the field – and his ragtag assortment of supporting characters.

The group he is attached to in training camp turns out to have interesting backstories and personalities to make their bond strong. Actors Sam Richardson, terrific as talkative Charlie, Edwin Hodge (Aldis’ brother) as tough but glum Dorian and sarcastic, anxious Norah (Mary Lynn Rajskub) become fierce fighters.

Ever-reliable Oscar winner J.K. Simmons, as Dan’s estranged father and a rogue techie, joins the group on a perilous mission – but that’s another subplot.

There are several plotlines going on – with significant twists – to keep the story humming, even if it resembles other sci-fi dystopian thrillers with similar villains. And despite the multiple threads, there is surprising emotional depth in a few characters.

Screenwriter Zach Dean, who wrote one of my favorite under-the-radar atypical thrillers called “Deadfall” in 2012, has mixed the explosions with a sturdier story, no matter how generic it looks.

Chris Pratt, Yvonne Strahovski

However, it is still time travel, which always makes my head hurt, so it’s best not to think too hard about the back-and-forth jumping. When it gets too crazy in regular logic, just enjoy the performances.

Pratt, after starring in “Jurassic World” and “The Guardians of the Galaxy,” embodies both the brawny action hero dedicated to saving lives and the likable guy-next-door committed to his wife and daughter. He is more serious here than jaunty, but capable of shouldering the dilemmas.

Betty Gilpin portrays his wife with a furrowed brow, and the exceptional Ryan Kiera Armstrong, who played young Gloria Steinem in “The Glorias” and is in the new “Black Widow,” is impressive as daddy’s girl Muri, a whip-smart 8-year-old.

The women integral to the mission stand out — Yvonne Strahovski, Emmy nominee for “The Handmaid’s Tale,” is compelling as the brainy scientist racing against time, and Justine Matthews is forceful as officer-in-charge Lt. Hart.

Director Chris McKay, Emmy winner for “Robot Chicken” who helmed the delightful “The Lego Batman Movie,” confidently makes his live-action debut. He may seem an unlikely choice for such a big visual-effect extravaganza, but he has smoothly guided the action – and not at the sacrifice of story.

Composer Lorne Balfe, who has scored the recent “Mission Impossible” films and has specialized in tentpole action films, provides the requisite bombast.

While the film doesn’t stray from the usual archetype of doomsday adventures, there is a noticeable oomph that is unexpected. Sure, the movie checks all the boxes in the successful blockbuster formula but is unique enough to be worth a look during these pandemic times.

That certainly helps because it is a 2 hour and 20-minute commitment. But the cast is what elevates it beyond the same-old, same-old.

Jasmine Matthews

“The Tomorrow War” is an action sci-fi thriller directed by Chris McKay and stars Chris Pratt, Yvonne Strahovski, J.K. Simmons, Betty Gilpin, Sam Richardson, Jasmine Mathews, Edwin Hodge and Ryan Kiera Armstrong.
Rated: PG-13 for some suggestive references/action/language/intense sci-fi violence, the run time is 2 hours, 20 minutes. Streaming on Amazon Prime starting July 2. Lynn’s Grade: B-

Powerful ‘Summer of Soul’ Celebrates Music at a 1969 Cultural Touchstone

Powerful ‘Summer of Soul’ Celebrates Music at a 1969 Cultural Touchstone

By Lynn Venhaus
Just 100 miles south of Woodstock, another music fair and similar Aquarian exposition took place in an urban enclave during the summer of 1969. We would not know about the Harlem Cultural Festival had Questlove not shared this historical record with us.

During that fateful summer, the Harlem Cultural Festival was filmed in Mount Morris Park over the course of six weeks. It featured some of the biggest gospel, rhythm & blues, and pop stars of that era. The footage was never seen and largely forgotten – until now.

“Summer of Soul,” with the subtitle, “…Or, When the Revolution Could Not Be Televised,” takes us to church while teaching us about Black history, culture and fashion.

As the director, Ahmir “Questlove” Thompson powerfully captures a time, an epic and electric event that meant so much to the peaceful crowd that came to share the universal language of music – changing the way we viewed the voices of our generation.

For some, it was a spiritual reckoning. For others, an example of the healing power of music, particularly at a time of great unrest.

Watching this with an audience, you will get your groove on – it’s hard not to feel the energy of Stevie Wonder, Sly & The Family Stone, Gladys Knight & the Pips, Mahalia Jackson, B.B. King, The Fifth Dimension and the passion of Nina Simone, Hugh Masekela, Mavis Staples, and David Ruffin.

Between June 29 and Aug. 24, 1969, about 300,000 people attended the festival – young, old, families, couples, friends and neighbors.

This film won both the Audience Award and the Grand Jury Prize in the Documentary competition at the 2021 Sundance Film Festival. It is Questlove’s debut as a director, and he displays a keen sense of storytelling and appreciation for the history — you can’t have a movie set 52 years ago without giving some context. You may know Questlove as the bandleader of The Roots, Jimmy Fallon’s house band on “The Tonight Show” or from his work with “A Tribe Called Quest.”

The Vietnam War was raging, civil rights were being fought for, America was changing in its landscape and values. It was a time of great flux, but Questlove focuses on the strong sense of pride and unity among African Americans, now referring to themselves as Black.

The Fifth Dimension

 He captures those feelings in the personal reflections of people who were there – in the audience and the musicians on stage who are still living.

St. Louisans Marilyn McCoo, 77, and Billy Davis Jr., 83, talk about their struggles trying to fit in as The 5th Dimension. Their backstory about the band’s no. 1 hit in ’69 – “Aquarius/Let the Sunshine In” is one of the most interesting.

Questlove has gathered an eclectic group to serve as the ‘talking heads.’ There are modern entertainers – Chris Rock, Lin-Manuel Miranda and his activist father, Luis Miranda, plus actor-producer Musa Jackson and former New York Times reporter Charlayne Hunter-Gault, who beautifully frame the event by looking back – and what it means moving forward.

Above all, the film is a glorious celebration of music, as ebullient as the beaming faces in the crowd and those moved to dance, exuding such palpable joy.

“Summer of Soul” stands tall among a crowded field of recent outstanding music documentaries. You won’t soon forget what you learn and how you feel during the nearly two-hour run time.

“Summer of Soul” is a 2021 documentary directed by Ahmir “Questlove” Thompson. It is rated PG-13 for some disturbing images, smoking and brief drug material and runs 1 hour, 57 minutes. It is in theaters and streaming on Hulu beginning July 2. Lynn’s Grade: A