MCU Crisscrosses Superheroes, Alternate Realities, But Lacks Emotional Punch In ‘Doctor Strange’

MCU Crisscrosses Superheroes, Alternate Realities, But Lacks Emotional Punch In ‘Doctor Strange’

By Lynn Venhaus
“Doctor Strange in the Multiverse of Madness” should be titled “The Madness of the Multiverse” instead, for expect a mélange of the mystical, the mind-bending, the mysterious – and the messy — in the long-awaited Marvel Cinematic Universe sequel.

Dense Marvel superhero lore is its imprint, for where the Marvel Cinematic Universe has been and where it wants to go is factored into each of their movies, tying things together (but these days, keeping up is getting to be a bigger chore in a very crowded field).

This latest entry picks up where the superior smash-hit “Spider-Man: No Way Home” left off, and it helps if you saw it – and the innovative 2021 limited series “WandaVision” on Disney+ .Dr. Stephen Strange cast a forbidden spell that opens the doorway to the multiverse, including alternate versions of himself, and pushes the boundaries in “Doctor Strange in the Multiverse of Madness.”  

“Doctor Strange 2” is very inside for Marvel fanatics, who delight with every surprise and cameo, but for the casual viewers, it’s a struggle to sustain interest when things aren’t exploding or moving fast through different realities (or fantasies, take your pick).

The commanding Benedict Cumberbatch reprises his role as smart, sophisticated, sardonic surgeon Stephen Strange, whose origin story in 2016 was one of the best surprises of that year.

The medical marvel turned weird wizard has gone on to appear in the final two “Avengers” films – was among those lost in the ‘blip’ – and then played a major role in the third Tom Holland-led Spidey, where he messed with reality (“I did what I had to do”) and caused cataclysmic events.

This next MCU chapter connects other comic-book characters, those we’ve seen before and new to the screen, as well as presenting alternate versions of themselves, as the multiverse gets more of a workout. Cumberbatch gets to have three looks, including a grotesque zombie-like creature, but usually struts or flies around in his double-duty red cape looking powerful.

Elisabeth Olsen as Wanda

This sequel cuts to the chase right away, but then eventually breaks down in logic because the trippy visuals overtake the storytelling. This results in just another computer-generated spectacle overstuffed with electrical currents, disgusting monsters with gigantic tentacles, flying chunks of concrete and portals leading to other universes and dimensions.

Directed by the inventive Sam Raimi, a horror film auteur mostly known for the creepy and campy “Evil Dead” movies, he puts the dark in‘the dark hold,” heaps more fire and brimstone on, and adds more blood and gore to his Marvel canvas.

This is his first superhero movie since the Spider-Man trilogy he did with Tobey Maguire as Peter Parker in 2002, 2004 and 2007, and his first movie since the disappointing “Oz the Great and Powerful” in 2013.

The cast is fine — stalwart Benedict Wong returns as “Sorcerer Supreme” Wong, Rachel McAdams plays the good doctor’s ex-girlfriend Christine with a new role in one of the parallel universes, and newcomer Xochitl Gomez is the plucky America Chavez who can traverse between the universes. They also walk in and out of dreams.

The Illuminati is mentioned – which used to mean a secret society supposedly masterminding current events and conspiring to control world affairs, but now has other superheroes in the mix (?).

Besides battling big ugly demons, Strange’s main nemesis is The Scarlet Witch, aka Wanda Maximoff, who yearns to be a mother to two little boys in an alternate reality, but can’t because the good doctor won’t let her upset the universe further. Chaos ensues, but what is the end game exactly? Wanda has been good before, but now she is bad. Elisabeth Olsen is compelling showing both sides of the conflicted character.

The very name “science fiction” implies that it will bend time and space and logic as we know it, but it must make some sort of sense for people to be able to follow it.

Michael Waldron’s script is cumbersome in translating the comic book characters created by Stan Lee and Steve Ditko for the big green screen treatment. And while the visuals get high marks, the emotional connections needed to elevate the film aren’t there. And what is the “Book of Vishanti” anyway?

Waldron, who created “Loki,” tries to juggle too many characters, realities, magic mumbo-jumbo and constant leaping through time and space to have any kind of linear cohesiveness. While it’s fun to journey to a few different worlds in this genre, this is an overload that ardent fans will embrace — but others not so much.

I can’t tell where this genre adventure is going, but I’m caring less and less. Initially intrigued by the Doctor Strange character six years ago, have we come to the end of the road, or can he stand out enough moving forward?

“Doctor Strange in the Multiverse of Madness” is a 2022 action-adventure superhero sequel directed by Sam Raimi and starring Benedict Cumberbatch, Elisabeth Olsen, Benedict Wong, Rachel McAdams and Xochitl Gomez. Rated: PG-13 for intense sequences of violence and action, frightening images and some language, it runs 2 hours, 6 minutes. Opens in theatres May 6. Lynn’s Grade: C.

Spirited Cast Enlivens Goofy, Gutsy ‘Triassic Parq: The Musical’

Spirited Cast Enlivens Goofy, Gutsy ‘Triassic Parq: The Musical’

By Lynn Venhaus

Hold on to your pearls, for “Triassic Parq: The Musical” is a raunchy romp of an offbeat musical comedy.

A parody of the film and novel “Jurassic Park,” the blockbuster 1993 science-fiction action thriller by Steven Spielberg adapted from Michael Crichton’s 1990 bestseller, this is flipped for the dinosaurs’ point of view.

Talk about a chaos theory. Bedlam ensues when one of the genetically engineered female dinosaurs turns male – spontaneously. It’s not nice when you fool Mother Nature – but it sure is naughty.

Goofy and gutsy as can be, the Stray Dog production features a winning cast that gives it their all, in belting out power ballads and selling daffy up-tempo numbers, with light-hearted choreography by Mike Hodges. I don’t think I’ve ever seen a cast work so hard with material that’s this absurd and thin.

Tristan Davis is the Velociraptor of Innocence, all swaggering rocker in “Get Out,’ while Michael Wells is the evangelist-like Velociraptor of Faith, reveling in the campiness of “Morning Assembly” and “Hello, Little Goat” – exhibiting strong, soaring vocals after not being on the stage since “Guys and Dolls” in the Before Times.

Laurell Stephenson is spirited in dual roles — as the skeptical Velociraptor of Science and then having fun interacting with the audience as a character named Morgan Freeman – that was actually played by the deep-voiced Oscar winner once upon a time. He/she disappears quickly after a hilarious set-up.

The fearless pair of punk rocker grrrls stand out as the Tyrannosaurus Rexes – a frisky Dawn Schmid as T-Rex 1/Kaitlyn and ballsy Rachel Bailey as the dial-it-to-11 confused T-Rex 2. They unleash their attraction in “Love Me As a Friend.”

The spunky ensemble accepts the wild-ride aspect and overcomes what the silly show lacks in sustainability.

This playful cast of six starts out with high energy in “Welcome to Triassic Parq” – and continues full-throttle to win over the eager crowd in 14 songs while dishing out a lot of sexual innuendo. It would seem like zany schoolkids’ antics were it not for the quality of the vocals – like a John Mulaney Broadway musical parody on “Saturday Night Live.”

Photos by John Lamb

But this is an actual musical that played off-Broadway in 2012 after winning best overall musical production at the 2010 New York International Fringe Festival. The music and lyrics are by Marshall Pailet, with co-lyricists Bryce Norbitz and Steve Wargo, and all three combined on the book.

Songs include lyrics about penises for shock value – “Dick Fix,” riffing on John Williams’ symphonic score “We Are Dinosaurs,” and outlandish “Mama.”

The band is led by Pianosaurus Leah Schultz (and music director0, with Adam Rugo the Guitaratops and Joe Winters the Drumadon.

Director Justin Been goes for the gusto, keeping things zippy and nonsensical, aiming to achieve a real crowd-pleaser, especially for a generation who grew up with the “Jurassic Park” movie trilogy and returned for the franchise offshoot “Jurassic World.”

The original won three tech Academy Awards, while the two even more preposterous sequels in 1997 and 2001 stretched the boundaries of logic, even for sci-fi/fantasy. A reboot called “Jurassic World” in 2015 was followed by a sequel in 2018, with the latest, “Dominion,” set to open June 10.

But in the one-act musical, performed without an intermission, you do not need that much familiarity with the 30-year-old source material, for the emphasis is on spoofing religion, sex, and identity. The prehistoric setting is purely for laughs.

Eileen Engel designed functional costumes with a touch of whimsy to convey the gender-bending.

Scenic designer Josh Smith worked magic in his scaled-down version of the Isla Nublar theme park on the Tower Grove Abbey stage, stunning without benefit of computer-generated imagery or visual effects.

The technical efforts add considerably to the overall presentation, including lighting by Tyler Duenow and outstanding sound work.

Stray Dog has always had a penchant for producing quirky plays –such as the “Evil Dead” musical, Charles Busch’s “Psycho Beach Party,” and “Red Scare on Sunset,” as a different direction between more serious explorations. So the strange, slight “Triassic Parq” is well-suited to be in between “Good People” and “The Normal Heart” this 2022 season.

Whether or not you are fascinated by dinosaurs is immaterial. This is not meant to be anything more than saucy merriment, so lower expectations and accept the vulgarity (or not – this is intended for “mature” adult audiences, as in rated R).

Stray Dog Theatre presents “Triassic Parq: The Musical” from April 15 through 30, with performances 8 p.m. Thursday-Saturday; with additional performances at 2 p.m. on Sunday, April 24, and at 8 p.m. on Wednesday, April 27, at the Tower Grove Abbey, 2336 Tennessee Avenue. For more information or tickets, visit www.straydogtheatre.org.

Inspired Voice Cast Enlivens Zippy ‘The Bad Guys’ As Animal Outlaws

Inspired Voice Cast Enlivens Zippy ‘The Bad Guys’ As Animal Outlaws

By Lynn Venhaus
While “The Bad Guys” may not be the most original of animated tales, its appeal lies in colorful crafty characters, an inspired voice cast and vibrant visuals.

The humorous action-comedy is based on a series of illustrated children’s graphic novels by Australian author Aaron Blabey that started in 2015. The anthropomorphic animals, who call their gang The Bad Guys, try to perform good deeds to change society’s perception of them, but their efforts fall short, usually.

In this DreamWorks animated feature, the notorious criminals Mr. Wolf (Sam Rockwell), Mr. Snake (Marc Maron), Mr. Piranha (Anthony Ramos), Mr. Shark (Craig Robinson) and Ms. Tarantula “Webs” (Awkwafina) are finally caught, much to the delight of human Police Chief (Alex Borstein).

Wolf hatches a plan to save them from jail time, which Governor Foxington (Zazie Beetz) agrees to, and that is for philanthropic award-winning world citizen, a guinea pig named Professor Marmalade (Richard Ayaode), to mentor them on how to be good. But it’s all a con so they can fool everyone and pull off a big heist.

Director Pierre Perifel, in his feature debut, keeps everything zippy with a breakneck pace. He worked on the animated films “Kung Fu Panda 2” and “Rise of the Guardians,” so has familiarity with animal characters.

While the film is a kids’ book adaptation, it also is reminiscent of The Rat Pack’s coolness in the “Ocean’s 11” caper, and the loyal family vibe of the “Fast and Furious” crew.

It also reminded me of the short-lived Hanna-Barbera animated series “Top Cat” from my youth, which was a knock-off of Phil Silvers’ “Sgt. Bilko” –mischievous con artists hatching get-rich-quick schemes.

For as lightweight as the material is, Etan Cohen’s screenplay has some hooks and quips for adults, with additional material by Yoni Brenner and Hilary Winston.

Cohen, who is responsible for the prescient and criminally underrated “Idiocracy” as well as the clever “Tropic Thunder,” has worked in animated series – “King of the Hill” and “American Dad,” among them.

For the kiddos, there are the typical over-the-top situations, slapstick, and outrageous car chases to keep their attention.

The sight gags are geared for the young set – as the colossal shark tries to disguise himself as a society matron while impish sharp-toothed fish has toxic gas-like flatulence.

The voice cast enlivens the narrative considerably. Sam Rockwell brings a slick jauntiness – think Clooney — to the street-wise ringleader Wolf, the big baddie saddled with a negative image from all the fairy tales and nursery rhymes.

Indie darlings Marc Maron, Zazie Beetz and Richard Ayaode have fun in their roles, amping up their characters’ personalities. In their pitch-perfect turns of phrase, the snake is a grouch, the fox is a flirt and the professor’s all snobby condescendence, laying on thick the British manners.

Anthony Ramos breaks loose in song – of course, the musical theater actor (“In the Heights,” “Hamilton”) would have a star turn in a gala musical number, “Good Tonight,” penned by Daniel Pemberton.

The prolific composer’s score here is reminiscent of 1970s heist movies. Pemberton’s ear for retro melodies to craft contemporary film compositions is impressive, as he has shown in “The Trial of the Chicago 7,” “The Man from U.N.C.L.E.” and “Being the Ricardos.”

Exaggerated in tone and style, “The Bad Guys” is not layered like Pixar, nor does it have any other agenda than to be an entertaining diversion for kids and parents alike.

The governor and Mr. Wolf

“The Bad Guys” is a 2022 animated action-crime-comedy directed by Pierre Perifel and featuring voice work from Sam Rockwell, Marc Maron, Awkwafina, Zazie Beetz, Richard Ayaode, Craig Robinson, Anthony Ramos, Alex Borstein and Lilly Singh Rated PG for action and rude humor, it runs 1 hour and 40 minutes. It opens in theaters April 22. Lynn’s Grade: B

Fire And Ice – Eggers Explores An Old Norse Revenge Tale with Mixed Results in ‘The Northman’

Fire And Ice – Eggers Explores An Old Norse Revenge Tale with Mixed Results in ‘The Northman’

By Lynn Venhaus
For all its relentless fury and fire, “The Northman” has a remote iciness that hampers emotional investment in the Shakespearean heroes and villains.

That said, its vast medieval-era storytelling is stunning in its vivid and realistic presentation and sets in motion a bloody, savage revenge tale.

A terrified boy sees his father slaughtered, his mother kidnapped, and his tribe decimated. To escape from death, he runs for his life, and his future path is set by trauma – horrible violence and emotional pain.

The young prince repeats this phrase over and over, first as he escapes: “I will avenge you, Father! I will save you, Mother! I will kill you, Fjölnir!”

It’s a simple plot, really, but like his other two immersive historical films “The Witch” (2016) and “The Lighthouse” (2019), director Robert Eggers takes a long time getting to where he wants to go.

The ambitious and singular Eggers, known for his visionary aesthetic and meticulous historical details, has wrapped this gruesome adventure with dark Norse mythology and mystical elements.

Set in the 10th century Iron Age in Scandinavia, this brutal testosterone-fueled exercise  honors Nordic rituals and customs in a painstaking, sometimes surreal, way. Don’t expect inaccurate horned helmets or any out-of-sync aspect.

The Icelandic and Northern Ireland landscapes are a portrait of an emerging agrarian civilization whose marauding barbarians have their own laws and behaviors. Those seafaring Vikings were in their land-taking phase then.

Those familiar with Vikings’ television programs, and such grand-scale movies as “Gladiator,” “Braveheart” and even “Conan the Barbarian,” will understand the power struggles and the tribal need to conquer.

The Nordic characters are faithfully portrayed in the blood-and-guts action, with intense swordplay and more than a few beheadings. With such characters as Finnr the Nose-Stub and Hersveinn the Battle-Hard, you can imagine the chest-thumping and loud growls.

Women, naturally, are marginal characters, but in Eggers’ screenplay, co-written by Scandinavian author Sjon, Queen Gudrun (Nicole Kidman) is given a hefty character arc. Unfortunately, ethereal Anna Taylor-Joy as slave Olga of the Birch Forest needed more to do – but does display a fierceness.

Singer-actress Bjork shows up in one scene as a seeress, who reminds Amleth of his destiny.

Similarities to “Hamlet” are obvious. After all, he was the Prince of Denmark — whose father was killed by his uncle who married his mother. But was Shakespeare inspired by Amleth’s odyssey, not vice versa? Hmmm.

The strange, trippy quality is enhanced through Jarin Blaschke’s atmospheric cinematography, Craig Lathrop’s impeccable production design and a propulsive musical score from Robin Carolan and Sebastian Gainsborough. Those drumbeats are ominous.

Blaschke, who has worked on all Eggers’ films and was Oscar-nominated for “The Lighthouse,” frames the starkness brilliantly, often working with candles and fire. So has Lathrop, whose primitive design was influenced by historical consultants, including archeologists and literary scholars.

The plot doesn’t offer much complexity, and although there is an interesting twist revealed about two-thirds of the way, most of the characters don’t have enough passion to engage. They can be admired for their mental and physical toughness but keep us at a distance.

The once lively little boy (well-played by an all-in Oscar Novak) has turned into a sour, dour and buff he-man who is so singularly focused he can’t fully enjoy the love of a good woman.

The likable Alexander Skarsgard is physically fit for the role, with his lanky physique, and has taken on blockbuster roles in “Kong vs. Godzilla” and “The Legend of Tarzan” before without making a mark. This fearless beast starts at 11 and has nowhere to go in ferocity.

However, Skarsgard has previously demonstrated he is best-suited for dramatic turns in independent films and prestige television – the suave guy with some simmering issues (Racist husband in “Passing,” jilted groom in “Melancholia”). He first gained notice as the Viking vampire Eric Northman on HBO’s “True Blood” (2008) and later won an Emmy as the menacing, abusive husband of Nicole Kidman in “Big Little Lies” (2017).

Interesting that he and Kidman team up again, only she plays his damsel-in-distress mother here. Kidman gives the film’s best performance.

In typical wacky Willem Dafoe fashion, “The Lighthouse” star is Heimr the Fool. Ethan Hawke is impactful in his brief role as King Aurvandil War-Raven.

Things tend to get weird if Eggers is in charge, and he likes to explore evil forces’ effect on ordinary lives, how it messes with fate. With a bigger budget and broader in scope, “The Northman” delivers as a spectacle but falls a little short of its lofty goals.

The gripping action scenes of the first chapter give way to repetitive combat in the final ones, and even though the big showdown is one primal scream, by then the narrative has lost steam.

“The Northman” is not for the faint of heart. It’s a difficult challenge to meld artistic vision with blunt-force action, and the rage is never harnessed. For all the modern talk about toxic masculinity, this is an early example, and therefore, hard to watch in 21st century times.

But as a period piece, its sheer weight is enormous, and deserves to be explored.

“The Northman” is a 2022 action, adventure, drama directed by Robert Eggers and stars Alexander Sarsgaard, Nicole Kidman, Claes Bang, Anya Taylor-Joy, Willem Dafoe, Ethan Hawke, Bjork and Oscar Novak. It is rated R for strong bloody violence, some sexual content and nudity and runs 2 hours, 20 minutes. It opens in theaters April 22. Lynn’s Grade: B.

Michael Bay’s ‘Ambulance’ Is Overstuffed Never-Ending Nonsense

Michael Bay’s ‘Ambulance’ Is Overstuffed Never-Ending Nonsense

By Lynn Venhaus
An interminable wild and crazy car chase through the streets of Los Angeles all before evening rush hour, “Ambulance” is banking on viewers to throw logic out the window and be so eager for an explosion-filled action blockbuster that they will overlook the nonsense.

When a bank robbery goes horribly wrong, two brothers (Jake Gyllenhaal, Yahya Abdul-Mateen II) steal an ambulance with a wounded cop (Jackson White) and am EMT (Eiza Gonzalez) inside.

Even by director Michael Bay’s over-the-top standards, the frenetic pace turns tiresome. For two hours and 16 minutes, screenwriter Chris Fedak throws everything but the kitchen sink into the never-ending storyline. (But it’s not original – it’s based on a 2005 Danish movie, “Ambulancen,” written by Laurits Munch-Pedersen and Lars Andreas Pedersen).

As in the first “Bad Boys” that put Bay on the cinematic map in 1995 — after his lucrative award-winning advertising and music video endeavors, the two male leads are at odds with each other.

This time, its two brothers – one the unhinged bank robber Danny (Jake Gyllenhaal), who is a chip off the old block, for dad was a psycho criminal mastermind, and the other, Will (Yahya Abdul-Mateen II), adopted as a young boy, who has become a decorated war hero with a wife and baby. The family dynamic is key to their motivation.

Will’s wife Amy (luminous Moses Ingram) needs an experimental surgery that insurance won’t pay and they can’t afford, so he comes to his shady brother for a handout, but winds up as part of his hit squad to steal $32 million from a downtown bank.

Of course, it will go spectacularly awry, and we’re off on a harrowing journey where their brotherly bond will be tested while they argue and reminisce. And sing along to Christopher Cross’ “Sailing.”

Jake Gyllenhaal plays the unhinged brother, a bank robber, in “Ambulance.”

The intense Gyllenhaal and compelling Abdul-Mateen are fine actors, but they can’t even save this drivel (or save face). The supporting cast is engaging as well, despite their caricature roles – hey, people need paychecks in pandemic times.

Eiza Gonzalez grounds the movie as best she can as Bay’s customary long-haired brunette female protagonist (look it up — Liv Tyler, Megan Fox). She plays Cam Thompson, a highly skilled paramedic but flawed human whose cool detachment from cases shows that she has ice water running through her veins.

Her character is tasked with saving the life of a rookie beat cop (Jackson White) who has been shot while they are taken hostage by the bickering brothers. She will learn to operate on the fly, tutored by surgeons on smart phones – while they are at the golf course.

Oh, the head-scratching doesn’t stop there. Every L.A. public safety team will be dispatched — patrolmen, undercover cops, SWAT teams, special units. And let’s not forget the feds – the FBI bank division agents.

The police team leader Captain Monroe (Garret Dillahunt) has a gigantic dog named Nitro and eats Flaming Hot Cheetos while the reckless high-speed pursuit never slows down.

Newly promoted FBI division chief Anson (Keir O’Donnell) is in a marriage therapy session with his partner when he gets the call.

“Do they even rob banks anymore?” the therapist says. (This is what passes for humor).

Let’s now cue up the grizzled old-school Boomer chief vs. the uptight Millennial suit – who just happened to attend college with ruthless Danny.

How convenient! Every contrivance and every possible calamity will befall law enforcement while some will perish in explosions – all to save the young guy who was in the wrong place at the wrong time.

Let the argument about rose wine commence. And bring in pink flamingoes, quote a Sean Connery movie for love advice, and intersperse the action with childhood flashbacks.

And keep it extremely loud. Not only is Lorne Balfe’s music score the most annoying, tedious one of the year – yeah, I know it’s early, but every decibel is ramped up to 11.

The accelerated speed heightens the anxiety – do we really need more now at this time in our lives? Questionable decisions will distract (Wouldn’t Officer Zach be having a raging infection from a hairclip turned surgical aid? Wouldn’t the LA traffic be gridlocked most of the day? What’s with Bay and sun atmosphere shots? And how many cars crash here?)

The ex-Marine brother will come up with military tactics to keep them on the run while the bad boy bro will use his Mexican cartel connections to stay alive. The tattooed and scary looking thugs operate in a bridal dress warehouse where young teens are shopping for Quinceanera dresses.

If you have issues with motion sickness, you may want to think twice before putting yourself through Bay’s swooping, swirling shots. Now that he uses drones, beware.

Bay makes action-packed crowd-pleasers with signature big explosions — “Armageddon,” “Transformers” and “The Rock,” — but does this movie have to be chaotic and confusing?

Dialing down some of the ridiculous occurrences could have kept a tighter focus. The leads are appealing, but even they stretch credibility. One of Bay’s best films, “13 Hours,” is reality-based.

But I guess that’s asking too much — to veer off the familiar beaten path. This movie needs an escape hatch sooner than later.

“Ambulance” is a 2022 action-crime drama, directed by Michael Bay and starring Jake Gyllenhaal, Yahya Abdul-Mateen II, Eiza Gonzalez, Jackson White, Keir O’Donnell and Garret Dillahunt. It runs 2 hours, 16 minutes, and is rated R for intense violence, bloody images, and language throughout. It opens in theaters on April 8. Lynn’s Grade: D.

The Muny, St. Louis Shakespeare Festival and The Midnight Company Win Big At Theater Circle Awards

The Muny, St. Louis Shakespeare Festival and The Midnight Company Win Big At Theater Circle Awards

The Muny, the St. Louis Shakespeare Festival and The Midnight Company, with nine, eight and six awards, respectively, led the way at the 2022 St. Louis Theater Circle Awards, which were held in a virtual, streaming ceremony on HEC Media on Monday, March 28, 2022.

The Muny’s 2021 production of “Chicago,” which returns to open its 2022 season, took top honors for an individual show with seven awards. Denis Jones, director and choreographer of “Chicago,” and Joe Hanrahan, artistic director of The Midnight Company, each was honored with two individual awards to lead all honorees.

Nominees in more than 30 categories vied 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.

Because the coronavirus pandemic brought about the cancellation of so many productions by nearly all local professional theater companies, approximately 75 productions were 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 canceled 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 Media and streamed on HEC’s YouTube channel, Facebook page and web site, as was this ninth annual event. There was no ceremony of any type by the Theater Circle in 2021.

For the 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 winners for the ninth annual St. Louis Theater Circle Awards are:

Michelle Hand and Nicole Angeli in “It Is Magic”

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

  • Nicole Angeli, “It Is Magic,” The Midnight Company

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

  • Joe Hanrahan, “It Is Magic,” The Midnight Company
  • Carl Overly, Jr., “It Is Magic,” The Midnight Company

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

  • Ellie Schwetye, “Tinsel Town,” The Midnight Company

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

  • Adam Flores, “The Thanksgiving Play,” Repertory Theatre of St. Louis

Outstanding Lighting Design in a Play

  • Seth Reiser, “A Christmas Carol,” Repertory Theatre of St. Louis

Outstanding Sound Design

  • David R. Molina, “King Lear,” St. Louis Shakespeare Festival
“Dress the Part”

Outstanding Costume Design in a Play

  • Christina Leinecke, “Dress the Part,” St. Louis Shakespeare Festival

Outstanding Set Design in a Play

  • Margery and Peter Spack, “The Ville: Avengeance,” St. Louis Shakespeare Festival

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

  • Elizabeth Teeter, “The Glass Menagerie,” Tennessee Williams Festival St. Louis

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

  • Brian McKinley, “Spell #7,” The Black Rep

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

  • 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

Outstanding New Play

  • “Tinsel Town,” by Joe Hanrahan, The Midnight Company
“Tinsel Town” by Joe Hanrahan

Outstanding Achievement in Opera

  • Patricia Racette, “La voix humaine,” Opera Theatre of St. Louis

Outstanding Production of an Opera

  • “Gianni Schicchi,” Opera Theatre of St. Louis

Outstanding Musical Director

  • Charlie Alterman, “Chicago,” The Muny

Outstanding Choreographer

  • Denis Jones,“Chicago,” The Muny
Smokey Joe’s Cafe

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

  • Natascia Diaz, “On Your Feet!,” The Muny

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

  • Adam Heller, “Chicago,” The Muny

Outstanding Lighting Design in a Musical

  • Sean M. Savoie, “Jersey Boys,” Stages St. Louis

Outstanding Set Design in a Musical

  • Edward E. Haynes Jr. and Kevan Loney, “Smokey Joe’s Café,” The Muny

Outstanding Costume Design in a Musical

  • Emily Rebholz, “Chicago,” The Muny
Diana DeGarmo “Always…Patsy Cline”

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

  • Diana DeGarmo, “Always…Patsy Cline,” Stages St. Louis

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

  • Christopher Kale Jones, “Jersey Boys,” Stages St. Louis

Outstanding Ensemble in a Comedy (Tie)

  • “Dress the Part,” St. Louis Shakespeare Festival
  • “It Is Magic,” The Midnight Company

Outstanding Ensemble in a Drama

  • “Two Trains Running,” The Black Rep

Outstanding Ensemble in a Musical

  • “Chicago,” The Muny

Outstanding Director of a Comedy

  • GQ and JQ, “Dress the Part,” St. Louis Shakespeare Festival

Outstanding Director of a Drama

  • Carl Cofield, “King Lear,” St. Louis Shakespeare Festival
Two Trains Running

Outstanding Director of a Musical

  • Denis Jones, “Chicago,” The Muny

Outstanding Production of a Comedy

  • “Dress the Part,” St. Louis Shakespeare Festival

Outstanding Production of a Drama

  • “Two Trains Running,” The Black Rep

Outstanding Production of a Musical

  • “Chicago,” The Muny

In addition, arts philanthropists Nancy and Ken Kranzberg were honored with a special award which was originally presented at the 2020 in-person ceremony.  Michael Hamilton and Jack Lane, co-founders of Stages St. Louis and the troupe’s recently retired artistic director and executive producer, respectively, were honored as well for their body of work. The Kranzbergs and Lane each gave a recorded acceptance speech during the virtual ceremony.

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.

Andre DeShields in “King Lear”

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 Media); 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 Media); and Calvin Wilson (St. Louis Post-Dispatch). Eleanor Mullin, local performer and arts supporter, is group administrator.

For more information, contact [email protected] or ‘like’ the St. Louis Theater Circle on Facebook.

Oscar Best Picture Nominee: Epic Sci-Fi ‘Dune’ Is Visually Stunning Technical Marvel

Oscar Best Picture Nominee: Epic Sci-Fi ‘Dune’ Is Visually Stunning Technical Marvel

By Lynn Venhaus
For 10 days preceding the 94th annual Academy Awards on March 27, we are spotlighting each of the 10 Best Picture nominees.by running a review from when the movie opened locally, and then add awards season news and other tidbits.

A mythic hero’s journey, “Dune” is the big-screen adaptation of Frank Herbert’s seminal 1965 bestseller about a feudal interstellar society in a galaxy far, far away, which is set in a distant future. It’s the story of Paul Atreides, a gifted young man born into a great destiny beyond his understanding.

As part of the noble house of Atreides, he must travel to Arrakis, the most dangerous planet in the universe for the future of his family and people. The desert wasteland planet has an exclusive supply of “mélange,” aka “the spice,” a drug that extends life and enhances mental abilities. As it is the most precious resource in existence, malevolent forces are at work to prevent this, and only those who can conquer their fear will survive.

The sci-fi action adventure was released in St. Louis on Oct. 22, and starred Timothee Chalamet, Oscar Isaac, Rebecca Ferguson, Zendaya, Josh Brolin, Stellan Skarsgard, Dave Bautista, Jason Momoa and Javier Bardem.

It is rated PG-13 for sequences of strong violence, some disturbing images and suggestive material, runs 2 hours and 35 minutes, and is directed by Denis Villeneuve.

One of the films delayed by the COVID-19 pandemic, it was originally scheduled for a late 2020 release, but finally premiered at the Venice International Film Festival on Sept. 3, 2021, and was released in the U.S. Oct. 22 in theaters and streaming on HBO Max.

The film was generally well received by audiences — grossed $400 million worldwide on a production budget of $165 million. Many critics cited its visuals, scope, and ambition, A sequel is set for release next year, Oct. 20, 2023, covering the second half of the book.

2021-2022 Awards:

“Dune” was nominated for 10 Academy Awards, including Best Picture, Adapted Screenplay, Cinematography, Score, Sound, Editing, Costume Design, Production Design, Visual Effects and Hairstyling and Makeup.

It won five at the BAFTAs: Cinematography, Original Score, Sound, Production Design and Special Visual Effects.

Greig Fraser won for feature film from the American Society of Cinematographers.

On Rotten Tomatoes, 84% of 468 critics’ reviews are positive. I gave it a B, but agree on the technical aspects. The consensus was presented as thus: “Dune occasionally struggles with its unwieldy source material, but those issues are largely overshadowed by the scope and ambition of this visually thrilling adaptation.”

Audiences polled by CinemaScore gave the film an average grade of “A–”

Of the groups I belong to, It won three from the Critics Choice Association – for Production Design, Visual Effects and Original Score, with six other nominations. It was nominated for three EDA Awards from the Alliance of Women Film Journalists, for Adapted Screenplay, Cinematography and Editing. and it won two – Visual Effects and Score from the St. Louis Film Critics Association, with six other nominations – Adapted Screenplay, Cinematography, Costume Design, Director, Editing and Production Design.

Rebecca Ferguson, Zendaya, Javier Bardem and Timothee Chalamet.

This is my review that was published in the Webster-Kirkwood Times on Oct. 21, 2021.
Lynn’s Take: As far as big-budget cosmic spectacles go, “Dune” is impressive at filling the screen with wonder.

Directed by visionary Denis Villeneuve, who frames everything with meticulous care, as he did with “Arrival,” his only Oscar nomination, and “Blade Runner 2049” – the film is a technical marvel, with visually stunning panoramas and innovative flying machines.

Yet are these characters engaging enough? How much do we care about what happens to these political dynasties? They prefer to whisper in cavernous spaces, and while mesmerizing Zendaya’s narration helps, the project’s mythology on such an epic scale tends to weigh it down with “importance.”

Our hero’s journey is a very long one and we spend 2 hours and 35 minutes leading up to a next chapter. This is only Part One. We are warned at the end, when one character says to Paul: “You’re just getting started.” The payoff isn’t quite there – so when is Part Two?

We have just invested time on an extended prologue. Oh dear. Will only fans of the book be able to appreciate this saga? And isn’t that the true test? As is always the case, those not familiar with the source material will be at a disadvantage trying to keep up with the warring factions.

Considered the best-selling science fiction novel of all-time, “Dune” is gigantic in scope, and the 1965 cult classic touches on themes involving politics, religion, ecology, technology, and human emotion, threading them all together in space.

The empire’s other planets want control of Arrakis for its spice, which is also necessary for space navigation because of its multidimensional awareness and foresight.

“Dune” is only the first in a series, followed by Herbert’s five sequels: Dune Messiah, Children of Dune, God Emperor of Dune, Heretics of Dune, and Chapterhouse: Dune. After his death, others have kept the franchise going.

Its devoted fan base inspired filmmaker Alejandro Jodorowsky to attempt a film adaptation in the 1970s but was cancelled after three years in development. Along came David Lynch’s complex adaptation in 1984, which was a harshly received misguided mess, and a Sci-Fi Channel miniseries in 2000.

While light years ahead of the 37-year-old film, “Dune” does seem to have the same problem in adapting something so unwieldy – that the character development suffers.

It’s difficult to figure out the planetary relationships and who’s who among the different groups, even with a strong cast that attempts to make everything as lucid as possible.

Dune (2021).TIMOTHEE CHALAMET.Credit: Chia Bella James/Warner Bros.

This one does attempt to over-correct in a tedious way, with a screenplay by director Denis Villeneuve, Jon Spaihts (“Doctor Strange,” “Prometheus”) and Eric Roth, Oscar winner for “Forrest Gump,” that still falters in explanations.

Paul is played with youthful elan by Timothee Chalamet, who seems to be working non-stop. His character, burdened by the weight of his destiny, is actually the least interesting of the massive ensemble – but the camera loves him, and he looks good standing in many shots of wind and blowing sands, contemplating.

Chalamet has genuine interactions with his father, an authoritative but loving Duke Leto Atreides, well-played by the always captivating Oscar Isaac. With warm fatherly advice, Isaac tells him: “A great man doesn’t seek to lead; he’s called to it.”

It’s not his fault that his character is a blank slate. Paul is being groomed to take over, and while at times reluctant and confused, he accepts his duties. His mother, all-serious Lady Jessica, is a tough taskmaster, and subtly played by Rebecca Ferguson, they have a protective relationship.

Far more captivating is Jason Momoa as the fierce warrior Duncan Idaho. He brings some oomph to the fighter’s bravado and his fists of fury are legitimate. Momoa and Chalamet convey a loyal longstanding friendship.

Not given much to do is Josh Brolin as Gurney Halleck, the duke’s right-hand man, and Dave Bautista as antagonist Beast Rabben Harkonnen – along with Momoa, they are the recognizable fighters.

A barely there Javier Bardem is Stilgar, a leader of a desert tribe. An unrecognizable Stellen Skarsgard appears, Jabba the Hut-like, as the disgusting despot Baron Vladimir Harkonnen. The Harkonnens are the evil not-to-be-trusted bad guys.

The first hour is full of awe. But why do movies about the future tend to mix medieval and “Star Wars” knockoffs in production design and costumes, similar to the “Game of Thrones”? The color palette is deary shades of gray, beige and black.

While that gets wearisome, the cinematography of Greig Fraser is dazzling. An Emmy winner for “The Mandalorian” and Oscar nominee for “Lion,” he conveys the grandeur of the planet landscapes as well as the more intimate moments in various degrees of light.

He worked on “Rogue One: A Star Wars Story” and the upcoming “The Batman,” so tackling sandworms and spaceships is natural for him. His majestic work is one of the pleasures of seeing this in IMAX.

Hans Zimmer’s score is a stirring mix projecting danger and derring-do in dissonant chords, setting an urgent tone for action.

Despite its storytelling flaws, “Dune” is such a monumental example of state-of-the-art filmmaking that its cinematic universe deserves to be seen on the big screen.

The Go-Gos, Greek Romance and Girls Unleashed: New Liners Frolic in Spirited ‘Head Over Heels’

The Go-Gos, Greek Romance and Girls Unleashed: New Liners Frolic in Spirited ‘Head Over Heels’

By Lynn Venhaus

Thomas Edison said: “Genius is 1% inspiration, 99% perspiration.”

That ode to hard work is evident in New Line Theatre’s latest production of “Head Over Heels,” a most unusual romantic comedy-fantasy musical involving high-octane dance numbers with upbeat songs from the ‘80s new wave/pop rock all-female group The Go-Go’s — and a fairy tale storyline from the 16th century.

This creative burst of a show seems fresh – and a refreshing change of pace. How can you not want to sing along with “Vacation,” “Our Lips Our Sealed” and “We Got the Beat”?

With such a catchy hit song catalogue included, there is an exuberance that’s comparable to those early days of the U.S. New Wave when Belinda Carlisle (lead vocals), Jane Wiedlin (guitar and vocals), Charlotte Caffey (lead guitar, keyboards, and vocals), Gina Schock (drums) and Kathy Valentine (base and vocals) were considered part America’s sweetheart, part rebel girls.

Those girly Go-Go’s became the first multi-platinum-selling all-female band to play their own instruments and write their own songs. The feisty five were tailor-made for the music-video television revolution as they rose to fame after their 1981 debut album, “Beauty and the Beat,” was released.

Did I mention infectious hooks? We are reeled in with abandon. And two songs are included from Carlisle’s solo career – “Mad About You” and “Heaven Is a Place on Earth.”

Photo by Jill Ritter Lindberg

The cast is this unified blast of energy – a big bang of emotion as they cavort, smile, and lay on the charm. Oh, they got the beat, all right.

Because their run was unfortunately cut short in 2020, and the company has returned to live theater for a 30th season, there is a renewed spark and a collective celebratory vibe. They all look so happy to be on stage.

I first saw their regional premiere in the Before Times, right before a global coronavirus pandemic was declared and St. Louis went into lockdown. A lot has changed since then – death rate, highly transmissible variants, and political debates on public health safety vs personal rights – but – hey, The Go-Go’s were inducted into the Rock ‘n Roll Hall of Fame!

The music and movements are like a tonic here – after all the drama and reality of the past couple of years, it’s such a relief to see people doing what they are passionate about, and our second chance to make a connection that is unique to the art form.

And this is a show ultimately about connection – how we need it, how we screw it up, and what is so satisfying about it.

For more than 700 days, we have forged ahead — through dark stages, no shows going on, intermittent stays at home, getting vaccines and boosters, adapting to protocols like wear a mask and show your vaccine card at the door when theater resumed — or not, given the surges and number of cases. Some of us tested positive, others luckier in avoiding it.

We are forever changed, and art will reflect that someday. But for now, it’s time to dance!

Melissa Felps, Dawn Schmid, Grace Langford. Photo by Jill Ritter Lindberg.

In “Head Over Heels,” the source material may be hundreds of years old, but it is far from creaky, if you look at it as young folks revolting against parental authority.

“The Countess of Pembroke’s Arcadia” by Sir Philip Sidney is the novel it’s based on, which proved fertile source material for certain plot elements of Shakespeare’s “King Lear,” “Hamlet” and “A Winter’s Tale.” There are various updates and editions.

What a combo plate this story is! It blends irony with old-timey morals – chew on that – and touches on gender politics while reinforcing that there are no rules in love and romance.

In 1580, a royal family wants to save their kingdom from extinction, but their journey is a rocky one. They discover “all you need is love,’ but in surprising – and sometimes shocking – ways.

And that changing with the times and letting go of traditions is a clarion call. During their escapades, they find out the key to their realm’s survival lies within each of their own hearts but is not always in the way they expect.

The humor attempts – wordplay, double entendre, nimble timing — helps the flowery language of a bygone era go down, so dispel any notion that this is stuffy.

The New Liners are back, baby! And with only two changes from the original cast –Colin Dowd, as the dutiful but very nervous servant Dametas, and Dawn Schmid, as spunky Mopsa, make those parts their own. They play a father-daughter duo – he’s the well-meaning dad who has tried to shelter his little girl from the world, while she’s ready to plant her flag.

The rambunctious ensemble includes comic and frisky turns by Grace Langford as Princess Pamela and Melissa Felps as her sister Princess Philoclea, with Clayton Humburg exceptionally good as her major crush Musidorus, a lowly shepherd boy (but also charming in disguise – but let’s not ruin the plot).

Photo by Jill Ritter Lindberg

The three main girls, as it turns out, are as much firebrands as the rock ‘n rollers who blazed trails for other females. Hmmm…maybe this match isn’t as unlikely as it sounds.

A serious Zachary Allen Farmer plays the princesses’ controlling father, King Basilius, while Carrie Priesmeyer plays his roving-eye wife Queen Gynecia with an insouciant shrug. Girls will be girls, after all.

Graceful Tiélere Cheatem is the grand and mysterious Oracle Pythio, working his fabulous shimmery wardrobe and commanding the stage like he always does.

Rounding out the cast is ball of fire Kevin Corpuz along with the oh-so-lively ensemble — Evan Fornachon, Chris Kernan, Chris Moore, Maggie Nold, Michelle Sauer, Alyssa Wolf, and Sara Rae Womack keeping a full-steam-ahead pace that’s like one big spring break party.

Womack and Sauer teamed on the choreography that keeps everyone in motion for 11 dance numbers. Yes, eleven. That’s a lot for a show!

Mounting this production again means some new folks on the creative team – visionary director Scott Miller returns as the solo credit, then subbed as the music director and accompanist the first weekend while original music director Nic Valdez, St. Louis Theater Circle nominee for his work in 2020, returned for the final two weeks of the run.

The band, as always, is stellar – Adam Rugo on lead guitar, Jaylen Edwards on guitar, Clancy Newell on percussion and John Gerdes on bass.

A few changes to some costumes – superbly crafted by Sarah Porter and Courtney Gibson – but still the same kicky bright-color garments fashioned after medieval minstrels while giving the royal family a more regal appearance with lush textures and deep hues, gem tones.

Scenic designer Rob Lippert created an imaginative but simple set, so that people could romp around a fairy tale kingdom set in ancient Greece. He elevated natural elements for different height levels that helped with the blocking – such as rocks and forested nooks. Kenneth Zinkl’s lighting design expressed distinct moods between day and night.

How did this show ever come about? It took some bold veterans to enliven the musical comedy genre with some real cheeky moves. Jeff Whitty conceived it and wrote the book, which was adapted by James Magruder into a laugh-out-loud love story. Broadway composer Tom Kitt (“Next to Normal”) took care of the band and vocal arrangements.

“Head Over Heels” originally premiered at the Oregon Shakespeare Festival in 2015, then opened on Broadway in 2018. The show was nominated for Best Musical by the Drama League and the Outer Critics Circle Awards.

And just in case you need a reminder, it contains adult content.

While New Line Theatre often offers a fresh take on musicals in need of a makeover or neglected ones who need resurrection, they have grabbed recent works who could benefit from the company’s spotlight, such as “Be More Chill” in 2019 and this cultish gem.

The night belongs to lovers, nonconformists and an ebullient cast who revel in the romance and adventure – and the twists! (And they twist!). Female independence never looked so bold, brave, boisterous, or beautiful.

Photo by Jill Ritter Lindberg

New Line Theatre presents “Head Over Heels” March 3 through March 26 (Thursday through Saturday) at 8 p.m. Performances take place at the Marcelle Theater, 3310 Samuel Shepard Drive, three blocks east of Grand, in Grand Arts Center. For more information, visit newlinetheatre.com or call Metrotix at 314-534-1111 for tickets.

Women In Film: Jane Craig in ‘Broadcast News’ in the Spotlight

Women In Film: Jane Craig in ‘Broadcast News’ in the Spotlight

During the month of March, PopLifeSTL.com will recognize significant female contributions in filmmaking.

By Lynn Venhaus
“Strong, complex, fully realized women characters with their own stories to tell have lasting impact in our culture and at the box office,” wrote Jennifer Merin, Alliance of Women Film Journalists’ co-founder and president, and co-organizer of the Wonder Women project, back in 2016l

“AWFJ members delighted in focusing on women characters whose stories that have impacted our own lives. We recommend them as essential viewing for women and girls and anyone who is interested in film,” Merin said.

To coincide with Wonder Woman celebrating her 75th year as a superhero in the D.C. Comics, we had begun the project the summer before. Fellow members of the national women’s organization were polled to select 100 women film characters that were inspiring, and live on in our hearts and minds.

AWFJ members nominated more than 500 characters from as early as 1915 to as recent as today. Real women, such as Queen Elizabeth II and Erin Brockovich, were eliminated to better showcase the writers who understood and created authentic fictional female characters with depth. The final group comprises 55 filmic wonder women who range from professionals to single mothers pursuing higher education and con artists. There are also warriors, divas, flirts and gals who love to kick up their heels.

In the last half of 2015, we compiled a master list of 250, then took another vote and whittled it down to a tidy 55. The list was announced in 2016 in a countdown revealed over several weeks. So many trailblazers and role models!

This countdown of the most fascinating, inspiring and singular fictional female characters who have appeared in movies as selected by the AWFJ membership. The project, AWFJ’s Wonder Women, commemorates the 10th anniversary of the organization’s founding.

Merin said the project’s title pays homage to Wonder Woman, the comic book heroine who debuted more than 70 years ago to offer young readers, then and now, a female character of substance. Like Wonder Woman, the characters on the AWFJ list are headstrong, loving, fierce, willful, confident,  good-hearted champions of justice, equality and peace, and they are not afraid to mix it up.

“The staying power of Wonder Woman is proof that audiences need and welcome robust female characters in popular culture. Since our beat is cinema, we decided it was time we remind the public and the movie industry about other ‘wonder women’ that audiences have embraced over the years,” said AWFJ member and project co-organizer Marilyn Ferdinand.

All of the characters on the Wonder Women list are annotated by AWFJ members Thelma Adams, Marina Antunes, Linda Barnard, Liz Braun, Anne Brodie, Carol Cling, Laura Emerick, Marilyn Ferdinand, Candice Frederick, Susan Granger, MaryAnn Johanson, Cate Marquis, Jennifer Merin, Nell Minow, Rebecca Murray, Betsy Pickle, Lynn Venhaus, Liz Whittemore and Susan Wloszczyna.

I was honored to participate, and wrote three of the blurbs — #47 – Jane Craig of “Broadcast News” (Holly Hunter), #35 – Alice Hyatt of “Alice Doesn’t Live Here Anymore” (Ellen Burstyn) and #26 – Hermione Granger of the Harry Potter Series (Emma Watson).

Film Background

“Broadcast News” was released in a small number of theaters on Dec. 16, 1987, and went wide on Christmas Day. The romantic comedy-drama

Fun Facts: Journalist and news producer Susan Zinnsky was the role model for the character. Zinnsky served as an associate producer and technical advisor on the film.

Originally Debra Winger was supposed to play Jane, as she had worked with James L. Brooks in “Terms of Endearment,” but she found out she was pregnant (with son Noah Hutton), and was replaced by Holly Hunter.

“Broadcast News” Character Description (description credited to Wikipedia):
Jane Craig is a talented but intense news producer whose life revolves around her work. She is passionate about reporting, and abhors the trend towards soft news in news broadcasts. Her best friend and collaborator, Aaron Altman, is a gifted writer and reporter, but is lacking in many social skills. The two work in the Washington, D.C. bureau of a national TV network. The bureau hires Tom Grunick, a local news anchorman who started his career in sports. Tom is tall, handsome, likable, and telegenic, but lacks news experience and isn’t especially bright. He constantly seeks help from Jane to assist him with his reporting, who resents his lack of qualifications, but finds herself attracted to him. Tom is also attracted to Jane, but is intimidated by her skills and intensity.

This is what I wrote about Jane Craig for the AWFJ.org website:

47. JANE CRAIG from Broadcast News (1987)

Holly Hunter

Jane, Jane, Jane. We’ve all been there. After all, we have a pulse—and hormones. Broadcast News addressed the age-old heart vs. head dilemma in the battle of the sexes. A tiny dynamo, Jane is good—no great—at her job. She’s an intense, tightly wound network news producer in our nation’s capital, with fierce devotion to her career. As impeccable as she is about work, single-lady Jane is a neurotic hot mess socially. Against her better judgment, she falls for the new pretty-boy anchorman. He’s been hired to boost ratings as the news focus shifts to more entertainment razz-a-ma-tazz. Outspoken Jane despises the style-over-substance trend. She commiserates with her best friend, a real newsman who is secretly in love with her. Oh, it gets complicated. But Jane comes to her senses when, in good conscience. an ethical breach can’t be ignored She may have temporarily lost her head, intoxicated by romance, but a grounded workaholic like Jane had to wise up, see the light. Holly Hunter is luminous as Jane, and we can see her sharp mind at work. With a quick wit and verve to spare, Jane remains steadfast about what she stands for, no matter what it costs. Integrity never goes out of style, and Jane Craig is an enduring poster girl for it. —Lynn Venhaus

Awards Run and Film Accolades
“Broadcast News” was one of the top films of 1987 — placed on 67 major Top Ten Lists that year — and I reviewed it for the Belleville News-Democrat (not available at that time digitally). I will have to dig it up to see what I said then, but today, the film has had a lasting impact. After William Hurt died last week, many people cited it as their favorite movie of his. As a longtime journalist, the movie resonates so much about the news media.

Although it did not win an Oscar for any of its seven nominations, it was second behind eventual winner “The Last Emperor,” which won all nine of its nominations), and recognized as a nominee for Best Picture, James L. Brooks for original screenplay, and three acting nods for Hunter, Hurt and Albert Brooks, as well as editing and cinematography. Hunter won Best Actress from both the New York Film Critics and the Los Angeles Film Critics. (Besides “The Last Emperor for film and Oscars that year went to Michael Douglas for “Wall Street,” Cher for “Moonstruck” and Sean Connery for “The Untouchables.”)

While hurt had already won an Oscar and Hunter would win for “The Piano” several years later, Brooks has not — but that performance as the heavy-sweating Aaron is one of his finest, and had not Sean Connery won for “The Untouchables,” I have a feeling Brooks would be an Oscar winner today.

On Rotten Tomatoes, the film has a 98% rating from 52 critics. The site’s consensus states: “Blockbuster dramatist James L. Brooks delivers with Broadcast News, fully entertaining with deft, deep characterization.”

On Metacritic, the film has an 84 average, based on 16 reviews, indicating “universal acclaim.”

Just a good solid movie that holds up in repeat viewings.

In his review in the Chicago Reader, Jonathan Rosenbaum wrote about Hunter’s performance: “something of a revelation: her short, feisty, socially gauche, aggressive-compulsive character may be the most intricately layered portrait of a career woman that contemporary Hollywood has given us”.

AWFJ Total List
https://awfj.org/awfjs-top-100-films-list-2007/awfjs-top-100-films-list/awfj-wonder-women-55-best-fictional-female-characters/

http://awfj.org/blog/2016/07/31/awfj-wonder-women-countdown-55-through-44/
:Numbers 55-44 as voted by the AWFJ membership are Olivia Evans from “Boyhood,” Elle Reid from “Grandma,” Katniss Everdeen from “The Hunger Games” series, Mammy from “Gone with the Wind,” Jean Harrington/Lady Eve Sidwich from “The Lady Eve,” Laine Hanson from “The Contender,” Ada McGrath from “The Piano,” Tess McGill from “Working Girl,” Jane Craig from “Broadcast News,” Lucy Honeychurch from “A Room with a View,” Sally Bowles from “I Am a Camera/Cabaret” and The Bride from “Kill Bill: Vols. 1 & 2.”

AWFJ Wonder Women Countdown – Characters 43 through 34

AWFJ WONDER WOMEN: 55 Best Fictional Female Characters

Oscar Best Picture Nominee: ‘CODA’ Earns Its Way Into Your Heart

Oscar Best Picture Nominee: ‘CODA’ Earns Its Way Into Your Heart

By Lynn Venhaus
For 10 days preceding the 94th annual Academy Awards on March 27, we are spotlighting each of the 10 Best Picture nominees.by running a review from when the movie opened locally, and then add awards season news and other tidbits.

As a “CODA” (Child of Deaf Adults), Ruby (Emilia Jones) is the only hearing person in her deaf family. When the family’s fishing business is threatened, Ruby finds herself torn between pursuing her love of music and her fear of abandoning her parents (Marlee Matlin, Troy Kotsur). Rated  PG-13 for strong sexual content and language, and drug use, it is 1 hour, 51 minutes and directed by Sian Heder.

2021-2022 Awards:

It won an unprecedented four awards at the 2021 Sundance Film Festival — Grand Jury Prize, Audience Award, Best Directing and Special Award for Ensemble Cast.

It is nominated for three Academy Awards: Best Picture, Best Adapted Screenplay and Best Supporting Actor Troy Kotsur.

Troy Kotsur, who plays the deaf husband and father, has won Best Supporting Actor from the Screen Actors Guild, Critics Choice Awards, BAFTAs, Film Independent Spirit Awards and the Gotham Awards.

The film won the SAG Award for Best Ensemble.and the BAFTA Award for Adapted Screenplay (Sian Heder).

Of the groups I belong to — Emilia Jones won Best Breakthrough Performance in the EDA Female Focus Awards from the Alliance of Women Film Journalists, Best Supporting Actor for Troy Kotsur and was nominated for three others (Best Picture, Adapted Screenplay and Best Young Actor/Actress (Emilia Jones), and was nominated for adapted screenplay by SLFCA. It was nominated for four Critics Choice Awards.

On Rotten Tomatoes, it has a 95% rating on the Tomatometer from 266 critics (I am an approved critic and gave it an A-) and a 93% audience score.

This review appeared in the Webster-Kirkwood Times on Aug. 13. It was released in theaters and exclusively streaming on Apple TV +, where it can be found today.

Sure, it’s predictable, but “CODA” earns its way into your heart with a touching family coming-of-age story that makes it impossible not to be moved by it.

With warmth, humor and a strong cast, “CODA” has turned a conventional family dynamic and an oft-told tale of a teenager pursuing her dream into something special. Not original, it is a remake of a 2014 French film, “The Belier Family,” but setting it in America translates well.

The film has an appealing lived-in atmosphere. The solid sense of place, set in a New England fishing village — Gloucester, Mass., is one of this small film’s charms. Cinematographer Paula Hidobro deftly handles land and sea.

The family has earned its living as fishermen. Dad Frank, Mom Jackie and son Leo are all deaf, and the local fishing business is going through economic struggles, which affects their home life. Ruby helps, but she has high school and can’t be there all the time.

Because she loves to sing, the shy and awkward teen signs up for choir, surprising her best friend and family – and herself. Her mother doesn’t understand this need to pursue a hobby – and underestimates Ruby’s passion.

A tough music teacher, Bernardo Villalobos recognizes her natural talent and pushes her to succeed, although she is her own worst enemy because of her lack of confidence, not commitment.

A graduate of the prestigious Berklee School of Music in Boston, Mr. V has arranged auditions for a bright star, Miles (Ferdia Walsh-Peelo), and decides to do the same for Ruby.

But the family’s dependence on Ruby is so overwhelming that she feels that she can’t pursue her dreams. Well, open the waterworks, because there will be bumps in the road, and baby steps, to finding a way to keep her time slot – not only as an individual, but also as a family.

Emilia Jones

Director-writer Sian Heder has presented the challenges of deaf adults in a hearing world with compassion and accuracy. Through her sharp observations, we can see what hardships that hearing-impaired people face daily. She demonstrates it effectively throughout the film, but a later scene at a concert, shot with complete silence, is a stunner.

Heder won the directing award at this year’s Sundance Film Festival. Like “Minari” last year, “CODA” was honored with both the Grand Jury Prize and the Audience Award. Apple Studios purchased it for a record-breaking $25 million. I hope it will have a broader reach than arthouses.

Oscar winner Matlin, now 55 and the mother of four children, has been an active spokeswoman for the National Captioning Institute. In 1995, she was instrumental in Congress passing a law requiring all television sets that are 13 inches or larger to be manufactured with built-in chips for closed captioning capabilities on their screens.

After winning the Academy Award for her debut screen performance in “Children of a Lesser God,” she has represented the deaf community for breakthroughs large and small.

Her visibility here, as an imperfect mother seeking to be more sensitive to her hearing daughter, is immeasurable, and she does a fine job.

As the sexy mom, she has a playfulness with deaf actor Troy Kotsur, whose portrayal of a gruff but soft-around-the-edges dad is believable. They provide a light-hearted touch, as does deaf actor Daniel Durant as big brother Leo, who tussles with his baby sister like brothers naturally do.

Emilia Jones’ pitch-perfect performance is the necessary glue, and fully engaged, she does not overplay the teenage angst and range of feelings.

Supporting players also appear comfortable in their roles, particularly Eugenio Derbez, known for comedies in his native Mexico, showing his drama skills as the no-nonsense choir director.

He’s relatable, as is Ferdia Walsh-Peelo, so terrific in 2016’s sublime “Sing Street,” as Ruby’s duet partner Miles. So is Amy Forsyth, notable as Ruby’s best friend Gertie.

A crowd-pleaser in the mold of “Billy Elliot,” “CODA” resonates because it takes a familiar story and amplifies it through a different perspective.