By Lynn Venhaus On Sunday night, the Critics Choice Awards will air beginning at 6 p.m. CST on the CW (ch. 11 in STL). I promise you, it will be way better than the Golden Globes.
For one, I vote as a member of Critics Choice Association (formerly Broadcast Film Critics Association). Hehehehe. I am one of 400+ members. Secondly, we have a diverse membership and our nominations reflect that, unlike the 87 at HFPA.
As far as the show goes, this is what our leadership reports:
We will have virtually all our nominated performers participating virtually in our show on Sunday night. Our lineup of Presenters includes Kevin Bacon, Angela Bassett, Mayim Bialik, Phoebe Dynevor, Morgan Freeman, Gal Gadot, Jim Gaffigan, Chris Hemsworth, Jameela Jamil, Eva Longoria, Lin-Manuel Miranda, Jared Padalecki, Kyra Sedgwick, Yara Shahidi, Courtney B. Vance, John David Washington, and Catherine Zeta-Jones.
But once the Critics Choice winner is announced and all the nominees have reacted, we will focus full-screen on the live acceptance speech, without awkwardly returning to the other nominees. And we will offer generous clips showcasing our nominated performances, a treat for audiences who may be inspired to discover movies and series they want to catch up on.
Hosted for the third year in a row by Taye Diggs and with our special See Her Award going to Zendaya, we hope and expect that our 26th annual Critics Choice Awards show will be our best ever. And as the world starts to return to normal in the coming months, we will continue to shine our light on the best the creative community has to offer at our Critics Choice Real TV Awards, Critics Choice Documentary Awards, and Critics Choice Super Awards.
Me and Seth Meyers at 2020 Awards
Last month, we brought our 3rd annual Celebration of Black Cinema to a national audience for the first time, reinforcing our commitment to championing the broadest spectrum of popular entertainment. If it’s as fun as it was last year, I will be very proud and happy! (I attended the ceremony in Santa Monica last January 2020).
It was really hard to pick winners this year — so many good nominees.
Enjoy, movie lovers!
(And if you want to read/listen to my reviews, I am in the Webster-Kirkwood Times; KTRS Radio (segment with Ray Hartmann on Sound Cloud — just go to station website, under Shows, click St Louis in the Know, and the list of audio clips is right there; Reel Times Trio podcast (all posted on Facebook page); and my website, www.PopLifeSTL.com, which is a work in progress, but content is growing.)
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.
When the Academy Award nominations are announced on March 15, I will wager that Andra Day will be among the five names listed for Best Actress. She is ferocious in her portrayal of the troubled, self-destructive and talented vocalist – and even more remarkable, it is her first major acting role.
Day, a Grammy-nominated R&B singer, summons raw emotion when depicting Holiday’s sad, sordid life. When she is on stage, singing Holiday’s classics, she is incandescent.
Costume designer Paulo Nieddu, known for “Sex and the City” and “Empire,” provides an elegant and opulent look for the entertainer, while the hair and makeup department’s work is award-worthy.
Starting in 1947, iconic jazz and blues singer Billie Holiday (Andra Day) was targeted by the Federal Department of Narcotics for not only her heroin use, but also for singing the praised yet controversial “Strange Fruit,” which is about a lynching. An undercover sting operation is led by black federal agent Jimmy Fletcher (Trevante Rhodes), with whom she had a tumultuous affair.
Unfortunately, Day is far better than the film’s material. While focusing on the last 10 years of Holiday’s life, director Lee Daniels and screenwriter Suzan-Lori Parks cram too much into the narrative and allow characters to come and go with little context.
It’s frustrating to watch because of the inconsistencies, and the rest of the characters are caricatures.
Parks, the Pulitzer Prize-winning playwright, adapted the screenplay from Johann Mari’s book, “Chasing the Scream: The First and Last Days of the War on Drugs,” specifically the chapter “The Black Hand.”
The bold “Strange Fruit” helped Holiday gain prominence, but the ballad was a lightning rod for controversy and her defiance was a source of aggravation for the feds.
In 1999, Time magazine called it “The Song of the Century” and it was inducted into the Grammy Hall of Fame in 1978. The song is credited as a catalyst in the civil rights movement.
But back in her day, Lady Day suffered for her art.
Garrett Hedlund, who desperately needs a hit after a string of duds since his breakout role in the 2004 film “Friday Night Lights,” plays the antagonistic bigoted bully Harry Anslinger, head of the bureau, almost as if he’s Snidely Whiplash.
Natasha Lyonne plays actress Tallulah Bankhead, who was rumored to have a relationship with Holiday, but it’s a useless part of the narrative, and just dropped in with little context.
Faring better is Trevante Rhodes as Jimmy Fletcher, a complex agent who falls in love with Holiday. Their relationship is confounding, mainly because of Holiday’s other husbands and lovers – and hard to keep who’s who straight because of the jumps back and forth. Rhodes, who played the grown-up Chiron in “Moonlight,” does what he can with playing a real, conflicted character.
Holiday’s personal life was messy, and the movie shows how drug use, excessive drinking, non-stop smoking and abuse by awful men lead to her decline. It’s a tragic tale, to be sure, but the graphic shots of injecting heroin and the physical assaults are tough to watch.
However, as the third film this past year showing how evil J. Edgar Hoover’s moves as the director of the FBI were, it is always worth remembering his abuses of power. (The other two films: “MLK/FBI” and “Judas and the Black Messiah”).
While Day shines a light on this legend, the film ultimately disappoints. Holiday, and Day, deserved better.
Andra Day stars in THE UNITED STATES VS. BILLIE HOLIDAY from Paramount Pictures. Photo Credit: Takashi Seida.
“The United States vs. Billie Holiday” is a biographical drama, directed by Lee Daniels and starring Andra Day, Trevante Rhodes, Garrett Hedlund,. It is rated R for drug use, domestic violence, language, nudity and mature themes and the run time is 2 hours, 9 minutes. Lynn’s Grade: B. Now available streaming on Hulu.
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 What happened to Mohamedou Ould Slahi at Gitmo is a stunning example of how things went wrong in the aftermath of 9-11, and as facts have come out over the years, this miscarriage of justice really is unconscionable.
“The Mauritanian” is the true story of Slahi (Tahar Rahim), who wrote the best-selling 2015 memoir “Guantanamo Diary,” which detailed his fight for freedom after being detained and imprisoned without charge by the U.S. government for nearly 15 years.
Accused of being the recruiter for those who attacked the Twin Towers and the Pentagon on Sept. 11, 2001, he is eventually represented by defense attorney Nancy Hollander (Jodie Foster) and her associate Teri Duncan (Shailene Woodley). Along with evidence uncovered by military prosecutor Lt. Col. Stuart Couch (Benedict Cumberbatch), the legal team discovers a shocking and far-reaching conspiracy.
Understandably, the fear of another terrorist attack was high 20 years ago. But what happened to detainees and the failure of the legal system is illuminated here. Think of this film as a companion piece to another record, “The Report,” a 2019 political drama about an FBI agent’s investigation into the CIA’s interrogation techniques.
And like that film, the evidence is exhausting. Although hard to watch when brutal unethical treatment and torture is shown, “The Mauritanian” is compelling as a procedural narrative.
The film gets bogged down in the dense material, but through excruciating details, screenwriters M.B. Traven and Rory Haines, with Sohrab Noshirvani, have recounted what happened
Helping to provide lucidity is a strong cast, whose dedication to telling this story is obvious. In a remarkable performance, Tahar Rahim makes us feel what he feels. He nimbly alternates speaking English, French and Arabic during the 2-hour, 9-minute film.
Rahim, first noticed in “A Prophet,” a 2009 French drama about a Muslim taken under the wing of a Corsican crime boss in prison, offers a riveting, nuanced portrait of Slahi.
The ever-authentic Benedict Cumberbatch, who also is listed as one of the producers, nails a Southern accent as the dedicated Lt. Col. Stuart Couch, whose integrity helps gets the atrocities noticed.
In a no-nonsense role that suits her, Jodie Foster serves her subject Nancy Hollander well, and she makes a good team with Shailene Woodley’s Teri. Their dogged digging shows the tediousness of the actual legal work and their fierce focus on the rule of law is emphasized. One never doubts either’s commitment.
His righteous anger transparent, Kevin Macdonald, who directed “The Last King of Scotland,” shows the travesty of what transpired with multiple exclamation points.
Editor Justine Wright does fine work, and the music score by Tom Hodge is used effectively.
Although the execution is uneven, the film’s faithfulness to Slahi’s story is admirable. And the performances give it the gravitas it needed to be persuasive.
“The Mauritanian” is a true-story based drama directed by Kevin Macdonald and starring Tahar Rahim, Jodie Foster, Shailene Woodley and Benedict Cumberbatch. Rated R for violence including a sexual assault, and language, its runtime is 2 hours and 9 minutes. Lynn’s Grade: B. It opened in theaters Feb. 12 and on video platforms March 2.
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.
With the St. Louis theater community continuing to be severely impacted by the ongoing COVID-19 pandemic, the St. Louis Theater Circle has officially canceled its 2021 awards event.
The St. Louis area is now nearing the one-year anniversary of pandemic protocol, including the virtual shutdown of all in-person theatrical events since mid-March 2020, less than one-fourth of the way through the calendar year, on which nominations are based. So few productions were mounted in 2020 that there is no way to have an awards ceremony on a scale similar to the previous eight ceremonies hosted by the organization.
Some, if not most, of the more than 30 categories wouldn’t even have a full set of our traditional five nominees. After reviewing the numbers, Theater Circle members thus have voted not to hold our traditional presentation in 2021.
Gary Wayne Barker and Jerome Davis won Best Actor and Best Supporting Actor for “District Merchants” at New Jewish Theater in 2020.
With more people getting vaccinated against COVID-19 every day in St. Louis, Missouri and Illinois as well as elsewhere, we look forward to the eventual return of live theater. Our hope at this time is to combine shows produced in 2020 with any mounted later in 2021 for consideration for nominations for our ninth annual event, which is tentatively scheduled for 2022.
The mission of the St. Louis Theater Circle is simple: To honor 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.
The St. Louis Theater Circle members are: Calvin Wilson, St. Louis Post-Dispatch; Tanya Seale at Broadway World; Tina Farmer at KDHX; Michelle Kenyon at Snoop’s Theatre Thoughts; and founding members Steve Allen, Stage Door STL; Mark Bretz, Ladue News; Bob Cohn, St. Louis Jewish Light; Gerry Kowarsky, HEC Two on the Aisle; Chuck Lavazzi, KDHX; Judy Newmark, Judy’s Second Act; Ann Lemons Pollack, St. Louis Eats; Lynn Venhaus, www.PopLifeSTL.com; and Bob Wilcox, HEC Two on the Aisle. Eleanor Mullin is the group administrator.
Laurie McConnell won her second Supporting Actress Award for “The Little Foxes” at St. Louis Actors’ Studio in 2019.
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.
All grown up now, Tom Holland, the current movie action hero Spider-Man, tackles the troubled title character in “Cherry.”
It is a fierce performance and challenging role for the likable actor, who is the main reason to watch this undisciplined misfire from the Russo Brothers, gods of the Marvel Cinematic Universe for their work on “The Avengers” series.
But even Holland’s monumental efforts cannot save this generic story from itself. He does the heavy lifting, but the dark material is as airless as his blacked-out home during drug binges. The romance is run-of-the-mill – eventually two co-dependent junkies – and heroin addict stories are a dime a dozen in movies.
Based on Nico Walker’s 2018 semi-autographical book, which he wrote in federal prison while serving time for bank robberies to feed his drug addiction, the adaptation takes a literary approach by dividing his life story (35 years!) into chapters.
They are marked by title cards and Holland serves as the straight-shooting narrator who breaks the fourth wall and is candid about the sordid details.
The 336-page book was adapted by screenwriters Jessica Goldberg and Angela Russo-Otstot into a 2-hour, 20-minute movie that could have benefitted from better editing. The book was praised for coming out during the opioid epidemic.
The film wants to be an epic journey, but doesn’t set itself apart in any way, except for some stylized shots, and the characters lack appeal to sustain any momentum.
The dope life – high, strung out, needing drugs, scoring drugs, drifting through life in a haze – drags out the inevitable narrative. Not sure how many times we need to see addicts vomiting — but have at it.
The story begins in suburban Cleveland. His younger man phase is as generic as possible – partying, trying to find purpose, falling in love. He is an aimless college dropout who joins the Army after his girlfriend breaks up with him. However, he reunites with Emily (Ciara Bravo), and they marry before he goes to boot camp. At 19, he is sent to Iraq and the story turns very dark. He is forever traumatized by his medic duties and personal tragedies.
Cherry is not an interesting character until his combat experience in the fiery hell of Iraq makes him grow up fast.
Joe and Anthony Russo set up the “War is Hell” message well – after all, they are good at the male camaraderie and action sequences.
Upon his return to Ohio, Cherry becomes a mess – sleepless, self-medicating and angry, he starts popping oxycontin, and things go from bad to worse. His wife, still looking very young, starts shooting heroin with him.
Walker was released early from prison in 2019, and the Ohio-born Russo Brothers began their movie journey in 2020.
For an unlikable character, Holland impressively shows a genuine range of emotions, displaying how much he can stretch from saving the world devotion.
Since 2016, he has played Peter Parker/Spider-Man in Marvel’s Avenger series and his own spin-offs, starting with “Captain America: Civil War.”
The movie’s hefty supporting cast includes an impressive turn by Jack Wahlberg as Army buddy Jimenez, but there are a lot of characters who scream here – drill sergeants, scumbag low-life friends and upset girlfriends.
The point is? War is hell and drugs are bad? Don’t we already know this? Tell us a new version by illuminating rehabilitation after frittering most of your life away.
Will people walk away with fresh insight or just walk away?
“Cherry” is a crime drama directed by Anthony and Joe Russo, based on Nico Walker’s 2018 novel. Starring Tom Holland, Ciara Bravo, Jack Reynor, Michael Gandolfini and Jack Wahlberg, it is rated R for graphic drug abuse, disturbing and violent images, pervasive language and sexual content. In theatres Feb. 26 and on Apple + TV on March 12.
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 Feb 22, 2021. In personal remarks, President Biden led a tribute for the 500,000+ lives lost during the coronavirus pandemic that had tp resonate with all those grappling with bereavement.
In a candlelight ceremony, with a moment of silence for all those who have died this past year — more lives lost than in World War I, World War II and the Vietnam War combined — we were able to mark this enormous loss.
Biden’s empathy and firsthand experience with heart-shattering grief are important now, meaningful words to comfort those grieving. He is the man for the moment.
Around 2,000 people die from the disease every day on average (data from Johns Hopkins University), which is down from a high of more than 3,000 a day on average in mid-January. Last month, the coronavirus was the leading cause of death in America. To date, 28 million people have tested positive in U.S.
The eloquence today consoled a nation, with sincerity and sympathy. Throughout the year, though, we knew how wise and heartfelt his words on grief were. — really ever since his book on his son Beau’s death from cancer at age 46. And in a first, the night before the inauguration, they light Lincoln Memorial in a ceremony that was so very touching.
Collective grief is important. I am still grieving two major losses in 2018 and 2019, and all I can say is, it’s hard. So many triggers. It is not something you ever get over. Some days are better than others. But the kindness and compassion of friends and family help.
Joe Biden’s words have helped me navigate mourning, time and time again.
Ok, critics will say he’s longwinded, and whatever else they want to hurl at him, but he rolled up his sleeves and went to work for all Americans. Actions do speak louder than words. And we see that it’s about us, not him. His teams are working to reset some sort of normalcy to American life. And to try to end the political angle and disinformation about the virus.
His approval rating was 62% last week, which is remarkable. I ask all those who didn’t vote for him to give him a chance – I have always done that with people I didn’t vote for (even #45, but then after a few weeks, it was worse than I could ever imagine in a bizarro world that have been documented many times and we don’t have time to rehash. Moving forward. But the contrast is stunning.
Joe is a devout Catholic, a man of faith. It’s refreshing to have a president who actually prays daily — and without a big show or arranging a photo op. People can tell he is a decent man who really cares about others. Attack his policies, his viewpoint, and work towards solutions if you do, but as a country, he is addressing what needs to be done, and we need to do our part. He inherited a huge mess, not to mention the deep scars of the Big Lie.
We are desperate for leadership, strength, peace, support and reassurance.
The pandemic has changed us all. I experienced a mild case of it, and it’s terrifying, but thankfully, I recovered, and pray for many people daily who are hospitalized or for their families who have lost loved ones — a number in that growing statistic. It’s devastating and it’s real. Biden said: “Resist becoming numb.” We must. We must fight.
Godspeed, frontline workers, first responders, those dealing with coronavirus, our leaders to help get the vaccines to as many people as possible, and all those concerned about our fellow man in these dark times. Need something positive? Look for the helpers.
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.
During the month of March, PopLifeSTL.com will recognize significant female contributions in filmmaking.Today we spotlight “Test Pattern,” a debut feature I saw in February 2021, and stayed with me throughout the year, voting for it on several occasions.
Shatara Michelle Ford was raised in St. Louis, so it was fitting for her film “Test Pattern” to be shown at the St. Louis International Film Festival in November 2020. After Kino Lorber agreed to distribute it, I was able to see it a few months later, and was impressed by Ford’s first-time feature, her story and her cast, particularly breakout Brittany S. Hall.
At last week’s Film Independent Spirit Awards, Ford was nominated for Best First Feature and Best First Screenplay, and Hall for Best Actress. Ford, who identifies as they/them, did not win, but she has received other critical acclaim, Gotham Award nominations for Breakthrough Director and Independent Film, and hopefully more opportunities. There has been no announcement or update on her IMDB page.
But she is definitely one to watch. Here is my review of “Test Pattern,” which is now available on Starz (subscription) and to rent via video on demand platforms, such as Amazon, Google Play, DirecTV and others.
A New Female Filmmaker’s Voice Emerges In Realistic ‘Test Pattern’
By Lynn Venhaus In a powerful feature-length film debut, Shatara Michelle Ford presents a gripping, relevant view of how traumatized women are still treated in the aftermath of sexual assault and the prevailing patriarchy about womanhood and consent.
Ford, who grew up in St. Louis, wrote and directed “Test Pattern,” which was shown at last year’s St. Louis International Film Festival. It won the inaugural Essy Award for best narrative feature, which is given to a film shot in St. Louis or made by a St. Louisan.
It’s about how an interracial couple’s relationship is tested after Renesha (Brittany S. Hall) is sexually assaulted and her live-in boyfriend Evan (Will Brill) drives her to several hospitals in pursuit of a rape kit.
Defying stereotypes, and with its exploration of identity and race, this work has flourished on the festival circuit, and as of Feb. 19, Kino Lorber is distributing it as a video on demand through their Kino Lorber Marquee platform (https://kinomarquee.com)
Ford’s realistic drama veers into psychological horror as everything about Renesha’s girls’ night with best friend Amber (Gail Bean) turns into a nightmare, from the predatory actions of brash e-commerce entrepreneur (Drew Fuller) to its day-after blurry, drugged, foggy trauma.
Not only does Ford delve into these ongoing systemic issues, but also features a frustrating quest to seek answers and justice that serves as an eye-opening indictment of health care inequities.
It is a lot to take on in one film, and Ford has much to say, but she uses one couple’s experiences as an intimate portrait of modern relationships and the framework to look at external forces affecting life today.
Using flashbacks in key moments, self-assured Ford establishes a loving opposite-attracts relationship between an easy-going white tattoo artist, Evan, a superb Will Brill, and a bright, beautiful black development director, Renesha, played shrewdly and delicately by Brittany S. Hall.
Interestingly, they meet during an innocuous girls’ night out of drinking and dancing. Their awkward encounters lead to a first date, then a first night together, then fast-forward to ‘now.’
As their mutual attraction has led to commitment, they have moved in together in a small starter house in Austin. Convincing in every way, their performances are intertwined in a truth.
Bored with the corporate world, Renesha has started a new job working for a non-profit, the Humane Society.
That night, her pal Amber wants to celebrate, so she reluctantly goes to the Hacienda Social Club. Everything that unfolds screams “bad idea” – Amber, eager to party and already losing her inhibitions, falls prey to a pushy guy, Chris, (Ben Levin), who is toasting a business deal with his friend.
The flashy white guys keep the champagne flowing as they pressure each girl to drink more and dance – and despite Renesha’s repeated attempts at no, and that “I have a boyfriend,” she is stuck in this situation with her fun-loving friend, who is having a good time.
At some point, Renesha is slipped a “roofie,” the illegal date-rape drug Rohypnol, and when incapacitated, she is taken to Mike’s apartment, where he rapes her. She wakes up with little knowledge of how she got there or what happened.
A concerned and devastated Evan wants answers, insistently pursues a rape kit, but Renesha doesn’t want to go through the process. The tense journey does not go well, as each deal with their own emotional responses while facing the bureaucratic red tape of health care hell and a police report.
What is in no doubt is that they have been forever changed as a couple, tested both by gender roles and prejudice.
At only 88 minutes, the film leaves out some pertinent details, and the abrupt ending is not satisfying. But Ford’s flair for dialogue and crafting authentic characters is strong.
Cinematographer Ludovici Isodori’s has contrasted the two storylines masterfully, locations are well-chosen for a low-budget indie, while Robert Oyuang Rusli’s string-heavy score accents an entire gamut of emotions. Tchaikovsky’s “The Waltz of Flowers” from “The Nutcracker Suite” is a clever choice for a compelling scene.
Oscar Wilde’s quote, “Everything is about sex, except sex, which is about power,” is used as the film’s tagline, and Ford has wisely applied it to a modern exploration of how women are conditioned about sex and consent. Add institutional racism from a black woman’s perspective and the power shifts between couples, and you get one potent thought-provoking film.
“Test Pattern” addresses similar territory that “Promising Young Woman” tackles and will add more to the national conversation.
Like the impressive female-directed and written 2020 social commentaries “The Assistant” and “Never Rarely Sometimes Always,” with this film, Ford proves she is an exciting new voice. Her name can be included in the growing list of formidable female directors with something to say.
Shatara Michelle Ford
“Test Pattern” is a 2019 drama written and directed by Shatara Michelle Ford, starring Brittany S. Hall and Will Brill. It is not rated and the run time is 1 hour, 22 min. The film is available as a video on demand through Kino Lorber Marquee. Lynn’s Grade: 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 Borrowing elements of “Groundhog Day” and “Palm Springs,” “The Map of Tiny Perfect Things” is a charming teen rom-com that does not feel forced or derivative.
That is mainly due to the appealing couple at its center – Kyle Allen is Mark and Kathryn Newton, last seen in “Freaky,” is Margaret. The two teens live the same day repeatedly, so after they discover that they share a time loop, they go on a quest to find “tiny perfect things” in their town and create a map. He is more open book and she is more secretive, but together they make a fun couple to hang out with for 98 minutes.
With rapid-paced pop culture-inspired dialogue, the pair banter about a myriad of topics as they explore their city together. References to “Doctor Who” and “Edge of Tomorrow” come up.
Mark has decided that discovering every “tiny perfect thing” in their ordinary small town would be ideal, and they could make a map full of memories.
The pair have terrific chemistry and keep us entertained, when really, we can’t figure out the astrophysics of their predicament, which always makes my head hurt.
What feels familiar in this coming-of-age tale, with its time travel tropes, yields to warm-hearted insights and clever results. There is something special in its sameness.
However, the jaunty tone is not always sustained, which is on purpose, and there is a serious streak about what really matters in life. Mark, who glides through his morning using his repetitive life for good, discovers at 17, the world does not always revolve around you.
The way empathy is introduced midway is not jarring, but rather integral to the plot and their journeys. By then, the couple had us at hello.
Director Ian Samuels has deftly told screenwriter Lev Grossman’s script, which is based on a 2016 short story. He’s aided by Andrew Wehde’s crisp cinematography, with some nifty long takes, as well as Tom Bromley’s in-the-moment indie music score.
The supporting cast is another bright spot, with Jermaine Harris as Mark’s best friend, Josh Hamilton as his dad, Cleo Fraser as his sister Emma, and Al Madrigal as his math teacher.
The film has a pleasant small-town setting, and production designer Kara Lindstrom has captured the rhythms of everyday life in depicting personal space and the town’s endearing framework.
With an emphasis on life lessons for young folk, such as live in the present and make moments count, the story is not routine, but sells its points in convincing fashion. Its mindful and positive focus set it apart.
“The Map of Tiny Perfect Things” is a comedy, romance and fantasy, directed by Ian Samuels. The cast includes Kyle Allen, Kathryn Newton, Jermaine Harris and Josh Hamilton. Rated PG-13 for brief strong language, some teen drinking and sexual references, its run-time is 1 hour, 28 minutes. An Amazon original film. it began on Prime Feb. 12. Lynn’s Grade: 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 A semi-autobiographical journey about his childhood in Arkansas in the 1980s, writer-director Lee Isaac Chung has crafted a series of genuine remembered moments that resonate, especially from young son David’s point of view. The story may be slender but its sensitivity is significant.
A Korean American family has moved to a rural Arkansas farm in search of its own American dream. Trying to adapt to a new life, with its challenges and unfamiliar terrain, they learn how resilient they can be and what really makes a home.
As precocious David, Alan S. Kim stomps around in cowboy boots, soaking up everything as he drinks Mountain Dew and blurts out exactly how he feels and what he means. Kim is a natural, and just watching how he looks at everything in a curious light, is just one of the film’s many delights. He translates his emotions subtly and superbly.
At first, David has a testy relationship with his grandmother, Soonja (Youn Yuh-jong), his mom’s mother who has come over from Korea to live with them. But their relationship blossoms and their bond is tight – and neither has a filter.
Youn Yuh-jong delivers one of the best performances of the year as the grandma, whose love, strength and wisdom is a saving grace. She is also wickedly funny, providing welcome moments of comic relief.
In a poignant performance, Steven Yeun plays Jacob, who tries to hold on to his farm and his family in the face of great adversity. He moves them from California to the middle of nowhere because he wants more for them – and himself.
But his wife, Monica (Yeri Han), has a harder time and is frustrated that she is forced to fit in to a life she is apprehensive about, and worries about everything. After all, David was born with a heart murmur and a hospital is miles away.
The fine ensemble sincerely draws us in to their heartbreaks, happiness and sorrows. Character actor Will Patton plays a Pentecostal neighbor who helps Jacob with the farm, and the character is based on Chung’s father’s friend.
“Minari” won both the Audience and the Grand Jury Awards at the 2020 Sundance Film Festival, and as a contender in the current awards season, audiences are discovering how relatable a film, which is in English subtitles for about half of it, is. The family is bilingual.
The production elements are also outstanding in helping to strike a universal chord, with lyrical cinematography by Lachlan Milne and crisp editing by Harry Yoon. Production designer Yong Ok Lee creates the ‘80s home from a ramshackle trailer to a family of four’s personalities within their economic means.
Composer Emile Mosseri’s beautiful score evokes youthful memories and warmth.
The film’s namesake, minari, also known as “water dropwort,” is a resilient plant with an herbal flavor, tasting like parsley. With its crisp stems and leafy tops, it can grow pretty much anywhere, and is sold as a vegetable in Korean markets. Its meaning is obvious.
With its poetic small moments, what the deeply personal “Minari” says about roots and family echoes with all of us.
“Minari” is a drama written and directed by Lee Isaac Chung. It stars Steven Yeun, Alan S. Kim, Yeri Han, Youn Yuh-jung, Noel Cho and Will Patton. Rated: PG-13 for some thematic elements and a rude gesture, it’s run time is 1 hr. 58 min. Lynn’s Grade: A. In theaters Feb. 12 and video on demand Feb. 26.
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 “Palmer” may be predictable, but it’s a heartwarming relatable story about acceptance and second chances.
After 12 years in prison, former high school football star Eddie Palmer (Justin Timberlake) returns home to put his life back together, Living with his grandma (June Squibb), he forms an unlikely bond with neighbor Sam (Ryder Allen), an outcast boy from a troubled home.
This modest film uses the trope of small minds in a small town as its setting in Louisiana, which works for the character of a young nonconformist who doesn’t care about fitting into a gender lane. And leads to the bond he forms with an ex-con starting over.
Cheryl Guerriero’s screenplay has created roles that the cast plays convincingly. Newcomer Ryder Allen delivers a poignant performance as Sam, who is bullied for his feminine-leaning proclivities, like wearing a princess costume for Halloween and playing with dolls.
Justin Timberlake, the Tennessee-born music superstar, is strong as straightened out Eddie Palmer trying to fly right. He’s always been a likeable personality, from his days on “The All-New Mickey Mouse Club” to his boy band popularity to his five times hosting “Saturday Night Live” and his Grammy-winning solo career (10 wins, 39 nominations).
In his few movie appearances, he’s been a natural. Here, he must carry the movie, and he’s believable at every step. He becomes the father figure to Sam, and there isn’t a false move from either of them.
Their bond is genuine. Over time, they become to rely on each other as Sam stays at Palmer’s house – his drug-addict mom Shelly (Juno Temple) has taken off with her boyfriend Jerry (Dean Winters) – and Eddie has been hired as a janitor at Sam’s elementary school. Eddie becomes his watchdog and caretaker.
The supporting cast is strong, too, with Alisha Wainwright as helpful third grade teacher Miss Maggie, who begins dating Eddie, and Juno Temple as Sam’s irresponsible mother.
Ninety-year-old June Squibb, from Vandalia, Ill., is Eddie’s crotchety but loving grandmother Vivian, a devout churchgoer and benevolent neighbor to Sam and his mother.
Actor-director Fisher Stevens directed fluidly, simply letting the story be told.
Once in a while, you discover a sweet story about people struggling to make things right in their world. “Palmer” succeeds in bringing together people who need each other, whose lives are changed because of their association.
“Palmer” is a drama directed by Fisher Stevens and starring Justin Timberlake, Ryder Allen, June Squibb, Juno Temple, Alisha Wainwright and Dean Winters. Rated R for language, some sexual content and nudity, and brief violence, it runs 1 hour, 50 minutes. Available Jan. 29 on Apple TV+. Lynn’s Grade: 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.
