By Lynn Venhaus “In the Heights” is indescribably delicious — and one of the best movie musicals of the 21st century, splendidly transferred from stage to screen.
Bursting with exuberance and featuring a bustling street tableau, this long-awaited adaptation of Lin-Manuel Miranda’s 2008 Tony-winning musical is teeming with colorful sights and sounds.
Besides a richly textured, pulsating score with primarily hip-hop lyrics and a salsa beat, what made the musical special is how it captures a universal story of people chasing their dreams with a specific sense of place.
Usnavi de la Vega (Anthony Ramos) is the owner of a small bodega in New York City’s Washington Heights. As the neighborhood braces for changes and people follow their dreams, family stories are revealed.
Usnavi has a crush on Vanessa (Melissa Barrera), who dreams of being a designer and wants to live in the West Village. His childhood friend, Nina (Leslie Grace), the “one who made it out” by landing a scholarship to Stanford University, thinks she is disappointing her dad, Kevin Rosario (Jimmy Smits), who owns a local car service company. Nina’s love interest, Benny (Corey Hawkins), works for her dad. Meanwhile, Abuelo Claudia (Olga Merediz) dispenses love and advice as the neighborhood’s matriarch. Merediz played the role on Broadway.
And Usnavi discovers his store has sold a winning lottery ticket for $96,000 – money that could make a lot of dreams possible.
Anthony Ramos and Melissa Barrera
As a celebration of Latino heritage, from Caribbean islands, Dominican Republic, Cuba, Puerto Rico and Mexico, this film arrives at the perfect time – it’s a valuable immigrant representation and a major achievement in 2021.
Set during a blistering summer heat wave in the barrio over the course of three days, you feel “all the feels” — You will fall in love with these characters and their devotion to family, culture and finding their place in the world.
Showcasing an abundance of charisma, three stars are born: Anthony Ramos as Usnavi, Melissa Barrera as Vanessa and Leslie Grace as Nina. Ramos, most known as John Laurens and Alexander’s son Philip in “Hamilton,” sings and dances up a storm, but also has the emotional heft for good-hearted, hard-working Usnavi. Barrera and Grace dazzle in every musical number – and their personal stories tug at the heartstrings.
The entire cast is terrific — Corey Hawkins as Benny, Daphe Rubin-Vega as Daniella, Olga Merediz as Abuela Claudia, Jimmy Smits as Kevin Rosario and Gregory Diaz IV as Sonny, among them.
Jon M. Chu, who directed “Crazy Rich Asians,” has a flair for keeping things moving at a brisk pace in massive musical numbers but also creating an intimacy with the duets and personal struggles. For a movie with a running time of 2 hours and 23 minutes, that is no small feat.
Quiara Alegría Hudes, who wrote the musical’s original book plus the screen adaptation) brings it into today, with references to Dreamers (DACA), activism and current class struggles. The women characters are all strong role models, too.
Best of all are the energetic dance scenes. Vibrant choreographer Christopher Scott will have you moving and up from your seat! He brings so much joy to these lively street scenes, and their precise moves – on asphalt, park, water or sand – are striking. He is a Busby Berkeley for the modern age, keen on making the action ‘pop.’
And for Miranda’s devotees and “Hamilton” fans, there are a few tasty in-jokes. Check out the phone muzak while Jimmy Smits is on hold – recognize a signature tune? — and there is a rivalry between his “The Piragua Guy” and a Mr. Softee truck (with a certain actor once known as Mr. President – and who played Benny in the original cast). Christopher Jackson and Miranda go way back to 2002.
Miranda was the first composer to put hip-hop lyrics in a Broadway show — and the youngest to win the Tony for Best Music Score in 2009. While that is remarkable in itself, what he has managed in his career to date is awe-inspiring — and means a lot is expected from him. Next up, his directorial debut with “Tick, Tick…Boom,” basically the Jonathan Larson story, which will premiere on Netflix this fall. He credits the “Rent” composer with being one of his influences.
His “Hamilton” Dream Team of Tommy Kail, Alex Lacamoire and Andy Blankenbuehler worked together on all the stage versions of “In the Heights,” so while not specifically involved in the movie, their influence can be felt.
Miranda wrote a new song, “Home All Summer,” which plays over the credits and features Marc Anthony, who has a minor role as Sonny’s father, in addition to Ramos and Grace.
Sonny’s father wasn’t in the original musical, and there are a few alterations here, including a new framing device and ending, but it only adds to the material, not detracts. A few songs were cut from the 25, and the soundtrack now includes 17, including the new one.
Movie musicals can be a dicey proposition these days, for every “Chicago” (Oscar winner) and “Les Miserables” (Best Picture nominee), there is an epic failure like “The Phantom of the Opera” and the unwatchable “Cats.”
This is a fun, global experience that will be a certain summer sizzler. After a pandemic delay, “In the Heights” is a welcome refresher in the magic of music and movies.
“In the Heights” is a musical directed by John M. Chu and starring Anthony Ramos, Melissa Barrera, Leslie Grace, Daphne Rubin-Vega, Corey Hawkins, Marc Anthony and Jimmy Smits. It is rated PG-13 for some language and suggestive references, and runs 2 hours, 23 minutes. Lynn’s Grade: The movie is in theaters starting June 10 and on HBO Max June 10 – July 11.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus As in all “The Conjuring” movies, this sinister tale is based on a true story, which raises the chills.
But unlike the first two that involved haunted houses, this focus is on how a mild-mannered 19-year-old could viciously stab his neighbor/landlord to death in a small New England town without direction from the dark side?
Real-life paranormal investigators Ed and Lorraine Warren (Patrick Wilson, Vera Farmiga) investigate a murder that may be linked to demonic possession. The 1981 case is the first time in U.S. history that a murder suspect would claim demonic possession as a defense. It made national headlines as “The Devil Made Me Do It” trial, and the Arne Cheyenne Johnson (Ruairi O’Connor) case was one of the most sensational to involve The Warrens.
Oh, there are still creepy houses, with eerie things lurking in shadows, spooky basements/cellars and more delving into the occult – always disturbing. Production Designer Jennifer Spence is effective in building an ominous atmosphere and capturing the early ‘80s look.
Shifting between the real and paranormal worlds, this third film – and eighth overall in “The Conjuring” spin-offs (Annabelle, The Nun), provides the unsettling unease we have come to expect. Demonic possession gives me the heebie-jeebies anyway, and then when you add other supernatural elements, well, the sense of dread is unrelenting.
Only James Wan, responsible for the first two smash hits in 2013 and 2016, is not directing this macabre well-documented film, it is a protégé instead – Michael Chaves, who helmed “The Curse of la Llorona” in 2019, another spin-off film.
Chaves doesn’t veer off the path of a successful formula. Like Wan, he is good at escalating terror, although he spent more time setting up the spine-chilling jolts where you gasp, jump or scream.
Wan, however, is credited with the story, along with screenwriter David Leslie Johnson – McGoldrick. The characters are based on those created by Chad Hayes and Carey W. Hayes. The story does get rather complicated as the Warrens explore what a former priest, Kastner (John Noble), has stored away.
The movie starts out with an exorcism of a demon possessing an 8-year-old boy, David Glatzel (an angelic-faced Julian Hilliard), which is truly frightening and cuts to the chase in swift fashion. His sister’s boyfriend, Arne Cheyenne Johnson (Ruairi O’Connor), pleads with the spirit to enter him and leave David alone.
Thus starts the horrific transformation of Arne into a wicked presence, igniting a fight for his soul by “The Occultist,” who summons demons to satisfy the Prince of Darkness. With her severe skeletal build features, Eugenie Bondurant is menacing with just a quick glance.
The story takes on the structure of a crime procedural as the police involve the Warrens in a missing girls’ case in Danvers, Mass., that may be related, and broaden the research about Satanic cults.
Sometimes, it is a little too on the nose, and why people in big rambling old houses insist of not having too many lights on, I’ll never understand. Editors Peter Gvozdas and Christian Wagner set up the scares with flair and composer Joseph Bishara, who scored the first two, is back enhancing the action.
While Wilson and Farmiga excel in portraying this ordinary married couple with extraordinary abilities, some of the acting by lesser supporting characters gets a tad hammy, like the old-timey horror icons in early Hollywood.
Lorraine Warren, who served as a consultant on these films before her death at age 92 in 2019, was a clairvoyant, and her visions are an integral part of cracking these cases.
As the murder suspect, O’Connor is believable as someone caught up in forces beyond his control. Sarah Catherine Hook gives sincere support as his girlfriend Debbie Glatzel and as her brother, Hilliard is a natural as the innocent boy thrust into the supernatural world.
The trial is wrapped up quickly, almost like an afterthought, and there is plenty of archival footage on the case, including this gem – a clip of Tom Snyder of “The Tomorrow Show” interviewing the Warrens. (Stay to see it during the credits).
This third film delivers what it sets out to do and is convincing in its depiction of ghosts and Satanic worshippers. It will just depend on how skeptical you are about demons fighting for our souls.
Ruairi O’Connor as Arne Cheyenne Johnson
“The Conjuring” trilogy is the kind of movie best-suited to watch when you’re not alone in the dark.
“The Conjuring: The Devil Made Me Do It” is a 2021 horror thriller directed by Michael Chaves and starring Patrick Wilson, Vera Farmiga, Ruairi O’Connor and John Noble. Rated R for terror, violence and some disturbing images, the film runs 1 hour, 52 minutes. Lynn’s Grade: B. The movie is in theatres and steaming on HBOMax starting June 4.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus A cheeky live-action prequel that delves into the down-and-out origins of one of Disney’s iconic villains, “Cruella” is a dark tale of dueling divas hell-bent on revenge.
That’s an unexpected underdog twist – and this glossy reimagining bursts with a bold, brassy attitude.
Estella de Vil (Emma Stone) wasn’t born to be bad, but she was a nonconformist at an early age.
Born with the unmistakable two-tone hair, Estella’s a creative but mischievous child (a spunky Tipper Seifert-Cleveland) who is a handful for her mother (Emily Beecham).
When she strikes out on her own on the streets, that begins her relationship with Jasper and Horace, who are rakishly played by character actors Joel Fry of “Yesterday” and Paul Walter Hauser of “Richard Jewell” as adults — good-hearted blokes. They survive as grifters.
But the future fashionista has a dream and is singled out by superstar designer The Baroness (Emma Thompson), who likes her style – and appropriates it for her collections. Haughty and vain, the Baroness has destroyed everyone in her way – but has she met her match in Cruella? The rebellious alter ego of Estella, Cruella’s punk rock outfits are redefining fashion in 1970s London, and it is game on!
The story, long in the works, was first drafted by screenwriters Aline Brosh McKenna, Kelly Marcel and Steve Zissis. McKenna wrote “The Devil Wears Prada” and you see those fingerprints all over this latest chapter in the “101 Dalmatians” oeuvre by co-screenwriters Dana Fox and Tony McNamara.
This is where Emma Thompson takes over, commanding every frame she is in, with personality and pizzazz, as she forges Estella/Cruella’s identity.
A chance encounter with The Baroness von Hellman, the prima donna of haute couture, puts Estella on the path to realize a career as a designer. As played by Thompson, the wickedly evil Baroness is a despicable human and corrupt fashionista. As Cruella learns more, she stakes her claim as “The Future” of fashion. She takes swinging London by storm.
This is when the movie explodes with fresh and fun outfits in a swirl of black, white and red — the notorious colors associated with all things Cruella. Jenny Beavan’s costume designs are marvelous, a big loud rebel yell of punk-inspired outfits and gorgeous evening garments perfect for dramatic entrances. Beavan’s won Oscars for “Mad Max: Fury Road” and “A Room with a View,” and her use of different fabrics and textures is stunning.
These costumes are worn with flair by two of our best actresses, Oscar winners Stone and Thompson, who have a ball with the campier aspects of their roles — but also vividly create their characters’ dead-serious nature.
As for the Dalmatians that first created the Disney franchise all the way back to 1961, three mean ones appear as the pets of the Baroness. Hence, Cruella’s aversion to the spotted creatures. Estella’s own pet dog is a beloved mutt named Buddy.
Stay past the credits to find more on Anita and Roger, a nod to Pongo and Perdita’s future family.
The source material for all of the successive movies, including the live-action “101 Dalmatians” in 1996 and the 2000 “102 Dalmatians” starring Glenn Close as the imperious villain, has been Dodie Smith’s 1956 novel.
She turned a character’s last name from Bram Stoker’s “Dracula,” Count de Ville, into this greedy villainess, driving a Rolls Royce and barking orders to her henchman, to fill her insatiable need for animal fur.
Where the franchise is headed after “Cruella” is anyone’s guess – because how would Stone’s character turn into the menacing de Vil that steals the dogs for their fur?
Well, that discussion is for another day, but it’s a logical question – where does it go from here after Cruella takes over Hell(man) Hall?
As for a stand-alone movie, “Cruella” is a vibrant creation with a banging period soundtrack and a game cast.
Just as he did with “I, Tonya,” director Craig Gillespie zigs when you expect him to zag.
The Baroness’ actions are too frightening for young children, so parents be aware. There is nothing remotely cute about this movie.
But as it is Disney, expect lots of merchandise, tie-ins and another one in the works. That’s about the only predictable element to this film.
“Cruella” is a 2020 comedy-drama directed by Craig Gillespie. Starring Emma Stone, Emma Thompson, Joel Fry, Paul Walter Hauser, Emily Beecham, Kirby Howell-Baptiste and Mark Strong. Rated PG-13 for some violence and thematic elements and the run time is 2 hours, 14 minutes. It is available in theaters and on Disney Plus for a one-time premium access fee on May 28. Lynn’s Grade: B+
In theaters and on Disney Plus with Premier Access one-time additional fee May 28
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus For a pulse-pounding 97 minutes, “A Quiet Place Part II” delivers a satisfying sequel that broadens the original story with clever moves and adds to its superb cast.
Writer-director John Krasinski, who directed and co-wrote the original, has built more tension-filled sequences and delivered well-timed jump scares. He maintains what made the 2018 film uniquely scary when any noise would attract the monsters.
The Abbotts – Evelyn, her children Regan, Marcus and infant, leave their home to try to find a safer haven in the outside world. With the creatures who hunt by sound still wreaking death and destruction, it is a precarious journey – and they discover these creepy aliens are not the only threats lurking on their post-apocalyptic path.
Now, after a 14-month delay because of the coronavirus pandemic, the film has eerie parallels to what we went through in quarantine – but had been completed for a March 2020 opening.
It may be the first movie to entice people back to the local multiplexes, kicking off the traditional summer movie season. It’s comforting to share the suspense with others in a communal setting, as we emerge from our isolation to be frightened by a vastly different world.
With masterful editing from Michael Shawver, the fear is palpable, and the importance of keen sound design magnified by what may be waiting for the humans if detected. Every snap, crackle and pop are excruciating.
For the first scene, we are taken back to the Before Times – an ordinary Saturday afternoon in the small town where kids and parents are on the local ball diamond, when the sky fills with a mysterious visual as something hurtles towards earth. Quickly, parents grab their children and attempt to head home when the invading aliens pounce. The danger escalates, which leads to the events of the first film. In this flashback, Krasinski returns briefly as Lee, trying to herd his family to safety.
Part II takes up at Day 474, when the surviving Abbotts venture from their farmhouse cocoon to explore the outside world, in hopes of finding people at bonfire encampments while not attracting the marauding predators.
While the first film was stingy in its reveal of the grotesque beasts, which are giant fast-moving spidery lizard-like forms whose lethal big bite is as sharp as knives, this time they are often shown up-close. Their ferociousness is on full display, which ratchets up the terror.
The smart and resourceful Abbotts get out of numerous jams but are never far from being dinner.
Daughter Regan (Millicent Simmonds), who is deaf, hatches a plan after suspecting Bobby Darin’s song, “Beyond the Sea,” heard repeatedly on a radio station, is a signal. She takes off to save her family – and humanity – while mom Evelyn (Emily Blunt) implores their former friend and neighbor Emmett (Cillian Murphy) to go after her.
The casting of the Irish actor is genius. Almost unrecognizable with a shaggy beard and blue-collar wardrobe, Murphy convincingly plays a grieving husband and father whose undercurrent of sadness provides an emotional depth, and his expressive eyes aid in the nonverbal acting.
Emmett has made a solitary fortress in an old steel mill that he reluctantly shares with the Abbotts. Haunted by losing his family, he spends his days drawing photos of his little boy and protecting his turf. He has a pessimistic view of civilization.
As Regan’s protector on their journey to find an oasis, Emmett is challenged as well – but fights like hell to survive as his strength builds. When the pair reach a coastal island, Djimon Hounsou – in a small but pivotal role — plays a helpful resident.
Because of widening the scope, Krasinski has less for Blunt to do, but she is effective as the panic-stricken mother trying to protect her children at all costs.
The child actors stand out, particularly Millicent Simmonds as the deaf girl who is very intuitive. Her lack of hearing is crucial to the story, as in the first, and so is her cochlear implant.
While you can be cynical about that plot device, and think the film resembles M. Night Shyamalan’s “Signs” from 2002 because of another plot twist, I think the characters are worth following. Original co-screenwriters Scott Beck and Bryan Woods had helped create memorable characters that we cared about and still engage three years’ later.
Krasinski counts on moviegoers to remember key elements of the first film without too much rehashing and gives a few hints. He keeps the film moving at a good clip.
The film leaves us wanting more and is set up for a third installment. What happens in that bubble could still intrigue because of the ensemble’s outstanding work.
“A Quiet Place Part II” is even more unsettling than the first as we can really feel the uncertainty based on our own COVID-19 experiences.
“A Quiet Place Part II” is a 2020 sci-fi, horror film directed John Krasinski, starring Emily Blunt, Cillian Murphy, Noah Jupe, Millcent Simmonds and Djimon Hounsou. Rated PG-13 for terror, violence and bloody/disturbing images, the run time is 1 hour, 37 minutes. Only in theaters May 28. Lynn’s Grade: A.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus The movie shows its cards right away: “This story does not in any way claim to be the truth,” we read on the screen. “Nonetheless, it is inspired by actual events.”
Washington D.C. social climber Ulrich Mott (Christoph Waltz) has conned his way into the upper echelons of politics and society, including marrying wealthy and much-older widow Elsa Brecht (Vanessa Redgrave). When she is found dead one evening after a triumphant dinner party, her daughter Amanda (Annette Bening) suspects foul play. The police investigation will uncover a large web of deception.
As we’re immersed into D.C.’s political maneuvering, we see the slick grifter Mott ingratiating himself with movers and shakers. The charming Mott is being hailed as “Lawrence of Arabia with a Blackberry,” regaling stories of his diplomatic exploits to the doyens of society.
Remarkably, his schtick works – until it doesn’t, but he can sure spin whoppers. In a truth is stranger than fiction way, “Georgetown” looks at the power plays in Washington D.C., where an ambitious German-born swindler can bamboozle the smart and important. And it’s a remarkable story how he got as far as he did – if we are to believe it all.
Based on the 2012 New York Times article, “The Worst Marriage in Georgetown,” by Franklin Foer, the film shows how Albrecht Gero Muth took advantage of Viola Herms Drath, a journalist, author, advisor to public figures and a wealthy widow. Although their names have been changed, the story is a tragic and bizarre true-crime headline.
Playwright David Auburn, who won a Tony Award and Pulitzer Prize for “Proof,” has adapted the sordid events into a dark comedy but the tone isn’t consistent, and there is little insight into the odd flim-flam man’s schemes and backstory.
In real life, Muth was 44 years younger than Drath and was convicted of her murder in 2014. You can dig deeper into that case on your own if you want more reality context.
As for the marriage, the movie offers a ‘familiarity breeds contempt’ scenario – a couple’s close relationship that disintegrates as more of Muth’s deceit is revealed.
Waltz, winner of two Oscars, and Redgrave, winner of one, delectably tango when she’s done with his charade and he’s not pretending to be devoted. They can make a three-course meal out of scenery chewing – and it’s fun to watch. Waltz also directed.
Not so fortunate is Annette Bening, whose Harvard law professor daughter character is underdrawn and is reduced to glaring at Mott with total disdain every time she’s on screen which isn’t much.
Because Redgrave, now 84, is playing a 91-year-old journalist, we see her sharp mind at work. The legendary actress might have slowed down but she’s still one of the best.
With such a lauded cast, you expect the outcome to be better but the film runs out of gas – maybe it’s because Mott is such an odd, pathetic character. It’s the kind of role that gave Waltz a film career, and he’s good at playing a schuyster. But even this guy can’t drum up any sympathy.
It is funny, however, when he’s donning an eye patch, claiming of service in the French Foreign Legion and as a brigadier general in the Iraqi Special Forces.
The attorneys are practically rolling their eyes over his antics — one of them being the exceptional Corey Hawkins, frustrated by Muth’s grandiosity and his clear-cut motives.
The movie was made in 2018, premiered at the 2019 Tribeca Film Festival, and is finally out now. Not sure what that all means, and while it has its flaws, the story is intriguing – and just to see Redgrave and Waltz tussle is worth it.
“Georgetown” is a 2019 true crime drama directed by Christoph Waltz and starring Waltz, Vanessa Redgrave and Annette Bening. Rated R for language and brief sexual material, with a runtime of 1 hour, 39 minutes. It was available Video on Demand beginning May 18. Lynn’s Take: B-
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus The air is heavy with a sense of dread, for not only what Mother Nature has done to the land but also what man-made messes are haunting the townsfolk in fictional Kiewarra in “The Dry.”
When a childhood friend is found dead, Aaron Falk (Eric Bana) returns to his hometown for the funeral. It has been 20 years, and apparently, there is unfinished business. During their teen years, Aaron and his pal Luke were friends with a girl whose drowning death in 1991 was suspicious. His presence conjures up unpleasant memories for the flinty locals, who have their own secrets.
Aaron is still an outsider but sticks around to see if there would have been any motive for Luke and his family to be murdered. After all, in Melbourne, he is a federal police officer. This small farm town has been ravaged by a drought, and rain hasn’t fallen for 324 days, which adds to the distress.
The devastation has taken a toll on the town – and the conditions are a tinderbox waiting to happen in the dusty Australian outback. Their predicament has created a moody, unsettling atmosphere, with exceptional camera work from cinematographer Stefan Duscio, who did brilliant work in “The Invisible Man.”
The parched landscape and the isolated town are important to the story. Aaron teams up with young police sergeant Greg Raco, a fine Keir O’Donnell, whose dogged determination helps reveal clues as they figure out if the cases, 20 years apart, are connected.
The story unfolds methodically, and is based on a bestselling whodunit from Jane Harper, her debut novel in 2016. It’s a solid story, building tension as more people are put under the harsh interrogation glare.
Director Robert Connolly, who also helped write the adaptation, along with Harry Cripps, uses copious amounts of flashbacks of Aaron, Luke, Gretchen and Ellie at age 17. Samantha Strauss contributed additional writing.
The characters are well-drawn, and the supporting ensemble serve the story to create suspicion and doubt about certain townsfolk until the film’s dramatic climax. Noteworthy are John Polson as the school principal, Renee Lim as his wife Sandra, William Zappa as Ellie’s dad Mal Deacon and Rita Tapsell as the police officer’s pregnant and outspoken wife.
Eric Bana, who hasn’t been in a heroic leading man role for a while, displays the gravitas needed as a conflicted man confronting his past. As his friend, Genevieve O’Reilly gives a nuanced portrait of Gretchen, another one hiding details about their tragic losses.
The quartet portraying the four central characters as teens are key to this film working, and they excel at showing the pent-up energy of youths with hopes and dreams bigger than their environment (and those raging hormones). Joe Klocek as Aaron, Sam Corlett as Luke, Claude Scott Mitchell as Gretchen and BeBe Bettencourt as the troubled Ellie are memorable in those roles.
Bettencourt also sings a haunting version of “Under the Milky Way,” a 1988 hit for the Australian alternative rock band The Church. Her superb rendition also plays over the credits.
A score by Peter Rayburn punctuates the growing sinister tone, and is not overdone.
By the film’s conclusion, most loose ends are effectively resolved. The film’s strong sense of time and place, grounded acting, and captivating yarn make this murder mystery a cut above. “The Dry” is an Australian film directed by Robert Connolly and adapted from Jane Harper’s 2016 debut novel. Starring Eric Bana, Genevieve O’Reilly, Keir O’Donnell and John Polson, this 2020 murder mystery is Rated R for violence and language throughout, and runtime is 1 hour, 57 minutes. It is in theaters and Video on Demand as of May 21. Lynn’s Grade: A-
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
After the longest awards season ever and the weirdest movie year of all-time, we reach the finish line with the Oscars Sunday night.
People may gripe about the 93rd Academy Awards for several reasons, but you can’t say it is not going to be memorable. It might even be historic – there are a few records certain to be broken.
With 70 women nominated — the most ever – and a record two women in the directing category, we may see only the second woman win Best Director – and the first woman of color nominated. In 93 years! More on this in the category sections.
The show starts at 7 p.m. CST on ABC, coming to us live from the Los Angeles Union Station – and trains will be coming and going – and the Dolby Theatre. The previous award shows this season have involved taped segments and some Zooming, and ratings have tanked.
But producers claim this show will be different.
“The Oscars are not a webinar,” stated producer Steven Soderbergh, a filmmaker and Oscar winner for “Traffic.”
The Oscars, usually in February since 2004, pushed film eligibility to Feb. 28 and the awards for April 25, with some other groups doing the same, pandemic and all. What has shifted is the Big Mo, because movies like “Judas and the Black Messiah” came out later and Daniel Kaluuya went to the top of the list for Best Supporting Actor (even though he is a lead, but this isn’t the first example of category fraud and won’t be the last). I call this the second round, because many critics’ groups announced earlier.
After all the other awards – I am not counting the Golden Globes because we need to have a serious reckoning with the Hollywood Foreign Press Association – frontrunners have definitely emerged.
What has transpired with the Screen Actors Guild, other guilds (DGA, WGA, PGA), BAFTA (British awards), Independent Spirit Awards and the critics groups – I belong to the Critics Choice Association, Alliance of Women Film Journalists and St. Louis Film Critics Association – is either shoo-ins, like Kaluuya, “Soul” for Original Score and “Sound of Metal” for Best Sound, or tight nail-biters, such as Best Actress and Best Song.
It is easy to get cynical about the year that was, with movie theaters struggling and few blockbusters enticing folks out of their homes during a global pandemic, but I have seen many good movies streamed into my living room. I am OK with independent films and small-scale storytelling. I have seen nearly 170 films since the public health emergency forced a shutdown. I
After months of staying at home, I saw “Tenet” at the IMAX but have not returned to a movie theatre since then. Now that I am vaccinated and a COVID-19 survivor, I intend to go back. I miss that whole experience of “going to the movies.” It will be so satisfying when we can all watch a movie with an audience. I will never take it for granted again, and has been such a big part of my life since my youth.
The eight movies nominated for Best Picture are worthy and would be praised in any year: “The Father,” “Judas and the Black Messiah,” “Mank” (more for technical brilliance), “Minari,” “Nomadland,” “Promising Young Woman,” “Sound of Metal” and “The Trial of the Chicago 7.” “Da 5 Bloods” should be there.
My top 6 of the year were “Nomadland,” “The Trial of the Chicago 7,” “Da 5 Bloods,” “Minari,” “Promising Young Woman” and “Soul.” “Sound of Metal” was no. 11.
Now, every year, when I predict the Oscars, I overthink it. Some years are better guesses than others. And really, until that envelope is opened, one never knows (except for Price Waterhouse Coopers, the accounting firm that tabulates.
Currently, there are 10,000 members of the Academy of Motion Picture Arts and Sciences. The Best Picture ballot is the only one where voting is different – it is a preferential ballot, where voters rank 1 through up to 10 (this year, 8). The winner must receive 50 percent of the vote plus 1. That is why we’ve had several upsets in recent years (“Moonlight” over “La La Land,” “Green Book” in 2019 and “Parasite” in 2020.
Without further ado, here are my predictions in all 23 categories, based on personal preferences and gut feelings, along with or the ‘conventional wisdom” of prognosticators and Oscar-metrics (yes, that is a thing).
BEST PICTURE Will Win: Nomadland Should Win: Nomadland Could Win: Minari
BEST DIRECTOR Will Win: Chloe Zhao “Nomadland” Should Win: Chloe Zhao Could Win: She’s won 40+ awards; it really is hers to lose
BEST ACTOR Will Win: Chadwick Boseman “Ma Rainey’s Black Bottom” Should Win: Chadwick Boseman Could Win: Anthony Hopkins, “The Father”
BEST ACTRESS: Will Win: Tough call but I am going with Carey Mulligan “Promising Young Woman” Should Win: Carey Mulligan Could Win: Frances McDormand “Nomadland” or Andra Day “The United States vs. Billie Holiday”
BEST SUPPORTING ACTRESS: Will Win: Yun-Jung Youn “Minari” Should Win: Yun-Jung Youn Could Win: Maria Bakalova “Borat Subsequent Moviefilm”
BEST SUPPORTING ACTRESS: Will Win: Daniel Kaluuya “Judas and the Black Messiah” Should Win: Daniel Kaluuya (but it’s not a lead) Could win: Paul Raci “Sound of Metal”
BEST ORIGINAL SCREENPLAY Will Win: Emerald Fennell “Promising Young Woman” Should Win: Emerald Fennell Could Win: Aaron Sorkin “The Trial of the Chicago 7”
BEST ADAPTED SCREENPLAY Will Win: Floran Zeller “The Father” Should Win: Floran Zeller “The Father” Could Win: Chloe Zhao “Nomadland”
BEST CINEMATOGRAPHY
Will Win: Joshua James Richardson “Nomadland” Should Win: Nomadland Could Win: “Mank”
BEST EDITING Will Win: The Trial of the Chicago 7” Should Win: The Trial of the Chicago 7 Could Win: “Sound of Metal” or “The Father”
BEST MUSIC SCORE Will Win: Jon Batiste, Trent Reznor and Atticus Ross, “Soul” Should Win: “Soul” Could Win: “Mank”
BEST SONG Will Win: “Speak Now” One Night in Miami Should Win: “Fight for You” Judas and the Black Messiah Could Win: “Lo Si” The Life Ahead
BEST PRODUCTION DESIGN Will Win: Mank Should Win: Mank Could Win: The Father
BEST VISUAL EFFECTS Will Win: Tenet Should Win: Tenet Could Win: Mulan
BEST ANIMATED FEATURE Will Win: Soul Should Win: Soul Could Win: Wolfwalkers
BEST DOCUMENTARY FEATURE Will Win: My Octopus Teacher Should Win: Crip Camp Could Win: Time
BEST INTERNATIONAL FEATURE Will Win: Another Round Should Win: Quo Vadis, Aida Could Win: Collective
BEST MAKEUP AND HAIRSTYLING Will Win: Ma Rainey’s Black Bottom Should Win: Mank Could Win: Pinocchio
BEST COSTUME DESIGN Will Win: Ma Rainey’s Black Bottom Should Win: Emma Could Win: Mank
BEST SOUND Will Win: Sound of Metal Should Win: Sound of Metal Could Win: Mank
DOCUMENTARY SHORT SUBJECT Will Win: A Concerto is a Conversation Should Win: Love Song for Latasha Could Win: Colette
LIVE ACTION SHORT SUBJECT Will Win: Two Distant Strangers Should Win: Two Distant Strangers Could Win: The Letter Room
ANIMATED SHORT SUBJECT Will Win: If Anything Happens I Love You Should Win: If Anything Happens I Love You Could Win: Opera
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
Coleman discusses upcoming 103rd season and the challenges ahead
By Lynn Venhaus Kwofe Coleman, who started at The Muny as a seasonal employee when he was 16, will become the theatre’s next president and CEO, succeeding Denny Reagan, who is retiring after 52 years.
Coleman begins the new position on Jan. 1, 2022. He is currently The Muny’s managing director, overseeing the organization, financial and business affairs. He will assume the role with more than a decade of extensive theatre management experience.
“I am honored and humbled by the opportunity to lead The Muny and serve a community that I love,” Coleman said. “The unparalleled history, remarkable resources and aspirational spirit that have yielded a century of success for The Muny are our foundation as we begin our second century.”
The Muny Board of Directors announced the decision Friday.
One of the premier musical theaters in the U.S., the 103-year-old St. Louis venue traditionally welcomes more than 350,000 patrons over its nine-week season in the nation’s largest and oldest outdoor theatre in Forest Park.
The opportunity to mold The Muny’s future is not one Coleman, 38, takes lightly.
“With great excitement, I look toward the future of a cultural institution that will take intentional steps to broaden and evolve our identity and relationships through both our art and our investment in this community,” he said.
He has been preparing for this opportunity for many years.
“It’s been a 22-year job interview,” he said. “The opportunities I have had to work in different departments and gain the necessary experience in a community I care about has motivated me to want to figure out our next chapter. ‘What else can I do?’ We have an opportunity to define what a cultural institution is. It’s an amazing opportunity.”
Coleman said he is eager to get to work.
“I have a lot of respect for what the people do here. I’m honored for this moment, and I’m so excited to do the work,” he said.
Coleman’s promotion has been met with local and national praise, with both the board chairman and retiring president describing it as a “perfect” choice.
“Thanks to Denny’s leadership, and the diligent stewarding of the selection process by the executive committee and full board, the perfect candidate has been chosen,” Muny Board Chairman James S. Turley said.
Reagan, who has been with The Muny since 1968, has served as president and CEO since 1991. He announced plans to retire in December.
He and Coleman have worked extensively alongside each other. In recent years, they have stood together near stage left, greeting patrons before each of the seven shows on summer evenings.
And like Reagan, Coleman started working at the Muny as a summer job when he was in high school. He was an usher, handing out programs and helping with patrons’ needs.
“Kwofe is a remarkably gifted leader who understands the institution at its core, and more importantly, its commitment to the St. Louis community,” Reagan said. “He will ensure The Muny’s future remains bright while offering a new perspective on how to lead our beloved theatre into its next century. Without question, he is the perfect choice.”
“Undoubtedly, Kwofe will ensure The Muny continues its commitment to accessibility, regardless of physical or socioeconomic limitations, while expanding the vital role we fill in our community,” said Turley, who is also the Second Century Campaign chairman.
Dave Steward, founder and chairman of World Wide Technology, the nation’s largest black-owned company, said Coleman was a national and local leader of rare passion and commitment for serving young people.
“His record reflects an accomplished innovator who is making education and training increasingly accessible for historically underserved communities through schools and the arts,” Steward said.
“From the Gospel of Mark we learn, ‘Whoever wants to be great among you must be your servant,’ and I am confident that Kwofe will lead with faith and humility. The Steward family, along with World Wide Technology, salute The Muny on choosing Kwofe as their next leader,” said Steward, a Muny board member.
World Wide Technology and the Steward Family Foundation became the first overall season sponsor in the history of The Muny in 2014. They were to be the 2020 Season Presenting Sponsor but instead continued as the online season presenting sponsor with a leadership gift.
Coleman is recognized both locally and nationally as a strong force in theatre operations and currently serves as the president-elect of the National Alliance for Musical Theatre.
Betsy King, NAMT executive director, noticed the symmetry of Reagan, a former president, passing the torch to Coleman.
“I can say with both excitement and confidence that Kwofe will be a charismatic, insightful leader for The Muny. He will respect the past while also moving the organization into a strong, vibrant future. The Muny is in excellent hands!” she said.
Coleman was a 2018 Fellowship advisor for the DeVos Institute of Arts Management at the University of Maryland.
“The Muny has enjoyed a remarkably stable and strong leadership that has allowed the organization to move from strength to strength. Appointing Kwofe Coleman as the new president and CEO ensures leadership continuity. Kwofe brings his own insights and talents to the position and will lead The Muny to even greater heights in the years to come,” said Michael Kaiser, DeVos Institute of Arts Management chairman and Kennedy Center president emeritus.
Photo in St. Louis American. Kwofe Coleman and Dennis Reagan backstage at The Muny
103rd Season
Because of the public health crisis due to the coronavirus pandemic, the 102nd season was cancelled, and the line-up was transferred to the 2021 season. Even though season ticket sales were announced in March, the current health landscape, best practices and all available information must indicate that a season is possible.
A final decision will be made next month, Coleman said.
“We’re eager to come back, to gather and have the shows, but we have to be safe and be cleared to do so by the health department and the labor unions,” he said. “We’re looking at every angle. We might have to have a slightly reduced season, a socially distanced scenario. We’ll do something. How we will do it has to be figured out.”
Coleman said meetings continue to take place, consulting with the city and medical experts on the COVID-19 regional numbers and mitigation efforts. He said they have watched what the St. Louis Cardinals, St. Louis Blues and other local institutions have done in their altered re-openings.
“We’ve had a lot of great conversations. We’re only going to be together again by working together,” he said.
The upcoming season, announced in December, is to start later in July and then run through September, a shift from the usual June to August schedule, “should conditions allow.”
The seven shows are: Seven Brides for Seven Brothers (July 5 – 11), Disney and Cameron Mackintosh’s Mary Poppins (July 14 – 22), Smokey Joe’s Cafe (July 25 – 31), The Sound of Music (August 3 – 9), Sweeney Todd (August 12 – 18), On Your Feet! (August 21 – 27) and Chicago (August 30 – September 5). Three – Sweeney Todd, Smokey Joe’s Café and On Your Feet – are Muny premieres.
In the meantime, the activities at #1 Muny Drive continue. The stage is being installed, construction is on track and preparations to return are underway.
The Muny is currently undergoing a multi-year major renovation project that was announced in October 2018. Phase 3 started in September, focused on backstage support spaces. The Muny’s aging 11.5-acre campus needs upkeep and maintenance.
The new Emerson Artists’ Building will house dressing rooms, the wig shop, hair and makeup departments and wardrobe. Renovations are planned for the costume shop, production and general offices, rehearsal space, craft and scenic room, painter and carpenter areas, and the sewer and plumbing infrastructure. The capital campaign has raised $85 million so far.
The first two phases focused on rebuilding the state-of-the-art James S. McDonnell stage
Summer of 2020
The Muny announced in May that a modified season of 5, not 7, shows would take place beginning in July only if local health experts and officials deemed it safe, but on June 8, the decision was made not to move forward.
After that sad news, the Muny pivoted to an online season, a first in its 102-year history. They aired the live Muny Magic concerts at The Sheldon, never before made available to the public, and created a new series, “The Muny 2020 Summer Variety Hour Live!” This one-of-a-kind, free online endeavor was packed with performances by Muny artists across the country and dancers performing outside on the grounds.
Because of the online season, The Muny was able to employ several members of its typical summer staff, including trades people, performers, artists and musicians.
With viewers from 22 countries, the total estimated attendance for the free 10-show summer season was 189,582. This number represented a record-breaking first in The Muny’s live-streaming history, and is an aggregated estimate based on YouTube analytics.
“While this season was anything but ordinary, the support from our viewers has been nothing short of extraordinary,” Reagan said.
“My heart was transported back to so many magical summer nights past,” said Mike Isaacson, artistic director and executive producer of The Muny.
“I am so grateful to everyone in the Muny family who worked on and created these 10 streams,” Isaacson said. “It was a remarkable collaboration in so many ways, and in this really challenging time, these shows allowed us to create, to celebrate and to be together. We’re all very grateful.”
The Muny 2018. Photo by Lynn Venhaus
Coleman’s biography
Coleman joined The Muny full time in 2008 as a staff accountant, helping to manage the finances, accounting and payroll for its multimillion-dollar annual budget.
In the decade preceding it, he performed a variety of roles, including house manager.
In 2011, Coleman formed The Muny’s first digital communications department, reconstructing its internet presence and social media identity while also dramatically increasing the theatre’s internet sales stream, national presence and forming connections with nextgeneration audiences.
He was promoted to director of marketing and communications in 2014, where he managed branding and marketing efforts through its 2018 centennial season. During this time, Coleman was also key in the creation of both The Muny’s Second Century Strategic Plan and the $100 million Second Century Capital Campaign.
Following the 2018 season, Coleman was named The Muny’s managing director, responsible for managing the business functions while working with Isaacson, to embrace and articulate the artistic and institutional vision.
In St. Louis, he is an active contributor, serving on the St. Louis University High School Board of Trustees, Cor Jesu Academy Advisory Council, Common Circles Advisory Council and as a proud founding board member of Atlas School.
Coleman is an alumnus of St. Louis University High School, Class of 2001, and earned a bachelor’s degree in English from Emory University in Atlanta.
He is a first-generation American. His parents migrated here from the Republic of Ghana in the mid-1970s and settled in Bellefontaine Neighbors. He has two sisters, both doctors, who attended Harvard and Duke universities, and locally, Cor Jesu Academy. He said his parents prized education and his father worked side jobs to send his children to private schools.
Coleman said his parents appreciated the arts and culture, and that was handed down to their three children, to make sure they were well-rounded.
“Art was natural to me and I appreciated it,” Coleman said.
He also serves on the board of directors for the Saint Louis Club, as well as other various social service organizations. During the 2020 holiday season, Coleman served as executive producer for “A New Holiday,” a short film musical set in St. Louis created by LIFE Creative Group.
He is a 2015 recipient of the St. Louis American’s Salute to Young Leaders Award and was named to the 2020 St. Louis Business Journal 40 under 40.
For more information about The Muny, visit www.muny.org.
Season tickets can be purchased online at muny.org or by phone by calling (314) 361-1900. Currently, the box office in Forest Park is closed to the public.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus The rare white Alba truffle demands top dollar on the international market, from hundreds of dollars to over a thousand. The golden tuber is known for its pungent aroma and earthy flavor, and diners enjoy it shaved over pasta, risotto, eggs and meat. It has a short growing season of only a few months a year, and the forests of Italy are the premier location for hunting this delicacy.
Nowadays, there is an art to foraging for them, as the truffle has resisted modern science’s effort at cultivation. Expertly trained dogs join a rare breed – aging truffle hunters whose
Their secret culture is the subject of a fascinating documentary.
The elusive white truffle’s journey from the forest to the table is an interesting subject in the unusual Italian documentary “The Truffle Hunters.”
Eccentric elderly men, often in their 70s and 80s, are obsessed with the lucrative truffle hunt — so much so that they are unwilling to share the tricks of the trade, passed down from generations, with younger men who want to follow in their footsteps. Therefore, these Italian professionals are a dying breed.
Directors Michael Dweck and Gregory Kershaw provide vivid portraits of four of these men — Carlo, Aurelio, Sergio and Angelo, characters all — and their beloved dogs living a simple life in Piedmont, Italy. It may look like something out of the Brothers Grimm, but these gruff, competitive men are not fairy tale characters.
Nor do they assimilate in the 21st century with tech-savvy knowledge.And some would just prefer to be left alone, with the trusty companion, nevertheless.
While truffle hunting is a way of life they have mastered, it is not without its challenges. Climate change and deforestation have caused problems with a decreased supply at harvest time.
Dweck and Kershaw, who recently won the Directors Guild of America award for directing a feature documentary, bring out all the quirkiness of these hunters and show the affectionate bond between the men and their dogs.
The cinematography is another outstanding element, and Dweck and Kershaw won the American Society of Cinematographers award for best documentary.
If you are a dog lover, this movie needs to go on your watch list. If you are like me and enjoy learning about something you never paid much attention to, “The Truffle Hunters” is worth 90 minutes of your time as a snappy homage to these guys who take obvious pride in their work.
At only an hour and 24 minutes, this film is a snappy homage to these guys who take obvious pride in their work. “The Truffle Hunters” is an international feature documentary, in Italian with subtitles, directed by Michael Dweck and Gregory Kershaw. It’s rated PG-13 for strong language and runs 1 hour, 24 minutes. In theatres. Locally, at the Hi-Pointe Back Lot on April 23. Lynn’s Grade: A-.
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
By Lynn Venhaus When husband-and-wife collaborators Ben Falcone and Melissa McCarthy work together on screen, a low bar has been set, for their previous four movies together had little to redeem them. Yet “Thunder Force,” while just barely a cut above the others, has its moments.
And only a few, for “Thunder Force” is a hodge-podge of tone, temperament and style that squanders opportunities to boost its likability. The strongest aspect is the cast, who looks like they are having fun indulging in all the silliness.
And there is plenty of that, along with slapstick and repetitive gags. Maybe the jokes don’t all land, but let’s keep hammering them again and again just in case people will finally ‘get’ them.
In a world terrorized by super villains, scientist Emily Stanton (Octavia Spencer) has developed a way to give regular people superpowers. That happens to her estranged best friend Lydia Berman (Melissa McCarthy), who is injected with super strength, when she is poking around. Emily can become invisible. These powers, to be used for good, can protect their city from evil. But can Thunder Force save Chicago from these Miscreants?
After the disappointing “Tammy” in 2014 and the unwatchable “Life of the Party” in 2018, (I skipped “The Boss” in 2016), one wonders why writer-director Falcone still gets to helm projects with his Oscar-nominated wife McCarthy but in November, they presented another lackluster high concept “Superintelligence” on HBOMax and now the forced “Thunder Force” on Netflix.
McCarthy is playing the same character that she has milked for laughs since her breakout role in “Bridesmaids” in 2011 – an uncouth loudmouth slob who beats to her own drummer. The common thread there, along with “The Heat,” “Spy” and “Ghostbusters,” is director Paul Feig, who knows how to reign in her penchant for absurd riffs.
Feig’s direction is disciplined, unlike her husband of 16 years, who lets her go on and on and on – singing random pop songs, doing goofy impressions and just making a good punchline less amusing by not knowing when to stop.
Why does she stay in her comfort zone when we know she is capable of much more — the Oscar-nominated “Can You Forgive Me?” and an Emmy as host of “Saturday Night Live” in 2017 (and that hilarious Sean Spicer impression)?
The Falcones met doing improvisational sketch comedy at The Groundlings in L.A., and I think their strength is humor in short doses. This movie is like a “SNL” sketch that has gone on far too long.
Apparently, McCarthy and Spencer met during that time, and have been real-life BFFs since then. But you would not know of their connection by the way the relationship is framed in the film.
Emily is a brain who devotes all her time to her work, with little time for frivolity. Lydia is a lonely hard-drinking forklift operator. Neither of them are endearing as good friends, thrown together in school as misfits, but neither is the loyal true-blue friend they should be.
So, they magically team up again after years of estrangement?
The plot holes don’t help. The Miscreants are former borderline sociopaths empowered by interstellar rays in the early ‘80s into super-villains who wreak havoc on the streets of Chicago.
Laser, played by “The Guardians of Galaxy” breakout Pom Klementieff dressed as a dominatrix, hurls blue bolts for destruction.
The thug-boss mayor, played over-the-top by – of course – Bobby Cannavale, referred to as “The King,” and is straight out of Gotham City’s playbook, appearing like a cartoon buffoon in “Batman Returns.”
Falcone also plays one of his henchmen, and after unfortunate skin tasering, has a running gag on how the unsightly scabs appear on his face. Once was enough but the fact it’s repeated is indicative of this hot mess.
And Oscar winner Melissa Leo is totally wasted in a tough-lady operative role.
Now, for the good parts. Jason Bateman, who worked with McCarthy in “Identity Thief” in 2013, is a half-creant, with crab pincer claws as arms. Inexplicably, The Crab and Lydia are drawn to each other (and there is a foreplay scene with drawn butter and Old Bay seasoning). You can tell he’s just slumming, and that’s OK because he knows how to deliver one-liners in a deadpan way. and has a gift for comic timing.
This film, however, belongs to the younger ladies. In flashback, McCarthy’s daughter Vivian Falcone plays her in middle school – and is terrific – and Bria Danielle Singleton is strong as young Emily. They could have had a whole movie developed around them, and that would have been OK, preferable to the middle-age edition.
That said, the jokes about hefty middle-age women in spandex suits and entering and exiting a sports car are funny and relatable.
Taylor Mosby is winning as Emily’s daughter Tracy.
The fact that this movie wasn’t as bad as I thought it was going to be isn’t exactly a ringing endorsement, but it was enjoyable in spurts.
“Thunder Force” is an action comedy directed and written by Ben Falcone. It stars Melissa McCarthy, Octavia Spencer, Bobby Cannavale, Jason Bateman, Taylor Mosby. Melissa Leo and Pom Klementieff. Rated PG-13 for some action/violence, language and mild suggestive material, the run time is: 1 hour, 46 minutes. The film is available on Netflix beginning April 9. Lynn’s Grade: D+
Lynn (Zipfel) Venhaus has had a continuous byline in St. Louis metro region publications since 1978. She writes features and news for Belleville News-Democrat and contributes to St. Louis magazine and other publications.
She is a Rotten Tomatoes-approved film critic, currently reviews films for Webster-Kirkwood Times and KTRS Radio, covers entertainment for PopLifeSTL.com and co-hosts podcast PopLifeSTL.com…Presents.
She is a member of Critics Choice Association, where she serves on the women’s and marketing committees; Alliance of Women Film Journalists; and on the board of the St. Louis Film Critics Association. She is a founding and board member of the St. Louis Theater Circle.
She is retired from teaching journalism/media as an adjunct college instructor.
