Playful ‘Luca’ Sweeps Us Away to Italian Adventure on Land and Sea

Playful ‘Luca’ Sweeps Us Away to Italian Adventure on Land and Sea

By Lynn Venhaus
Of all this summer’s films, “Luca” might be the one that gives you a serious case of wanderlust – and nostalgia for the summers of your youth.

The playful computer-generated animated feature sweeps us away into two exotic worlds – under the sea and on land – for a fun, fast-paced teenage adventure. You will wish Portorosso was real – not just a reference to Hayao Miyazaki‘s film “Porco Rosso” from 1992.

Set in a beautiful seaside town on the Italian Riviera, “Luca” is a sea monster-turned-little boy experiencing an unforgettable summer filled with gelato, pasta and scooter rides. Luca Paguro (Jacob Tremblay) shares adventures with his new best friend, Alberto (Jack Dylan Grazer), who is also a sea monster, and meets Giulia (Emma Berman), who will change his life, and her fisherman father Massimo (Marco Barricelli), while he’s hiding from his fretful parents Daniela and Lorenzo (Maya Rudolph, Jim Gaffigan). Can he still live in both worlds without fear?

Following a long line of Disney dreamers, Luca Paguro is a charmer – coming of age as he straddles his natural sea world and the picturesque fishing village he discovers during an escapade with his new best friend, the worldlier and more mischievous Alberto.

Jim Gaffigan and Maya Rudolph voice parents Lorenzo and Daniela

Luca herds goatfish by day, trying to stay safe, warned by his protective mother (Maya Rudolph) about dangers of the outside world. But he yearns to see what’s out there for himself. When he ventures above the surface, he appears to be a human, but once wet, he reverts to his sea monster scales.

With wide-eyed wonder and an insatiable curiosity, Luca wants to explore the vast universe that he is only now experiencing. It turns into an unforgettable summer on the sun-kissed shores of Italy, set in the ‘50s – captivating us in the grand time-honored tradition of a hero’s far-away journey.

The vivid animation matches the creators’ limitless imaginations, and the swift shapeshifting between the ‘human’ boys and the sea monsters is remarkable. During the credits, watercolor drawings, reminiscent of old picture books, dot the frames.

Pixar’s latest and 24th feature, “Luca,” isn’t as profound or ground-breaking as “Soul,” “Coco” or “Inside Out,” but is a pleasant excursion into a gorgeous nook of land-and-sea, as refreshing as an ocean breeze.

The characters, conceived by director Enrico Casarosa and co-writers Jesse Andrews (“Me and Earl and the Dying Girl”) and Mike Jones (“Soul”), are distinguished by colorful personalities and exaggerated physical features – whether it’s a brawny dad bod with a thick mustache or a swaggering pompadoured bully in sunglasses.

The appealing voice cast imbues characters with warmth and humor, and particularly amusing are Sandy Martin, Mac’s Mom on “It’s Always Sunny in Philadelphia,” as the saucy grandma, and Sacha Baron Cohen as the hulking gravel-voiced Uncle Ugo (stay for the credits for more on this imposing creature).

 Tremblay, now age 14, conveys enthusiasm and amazement over everything Luca sees and does. The guileless Tremblay broke through in “Room” (2015) and has followed up with the earnest “Wonder” and the hilarious “Good Boys.” He is a natural fit for the sea creature-out-of-water Luca.

He pairs well with Jack Dylan Grazer, Eddie in the “It” movies, who is the headstrong Alberto, and Emma Berman as the smart and lively Giuilia. Their silly shenanigans recall vintage cartoons – and even “Stand By Me.”

Casarosa’s directorial debut was the lush moonlit “La Luna,” an animated Pixar short shown before “Brave” in 2012 and nominated for an Academy Award. Inspired by his childhood in Genoa for both the short and feature, he has infused this film with a marvelous sense of atmosphere.

Through a big-hearted approach, Casarosa has expanded on the themes of family, friends and community, while also bathing it in a gorgeous glow at nighttime. The lighting here is exquisite.

Cultural touches – on food, lifestyle and landscape – add to the film’s precise sense of style.

The music is another memorable aspect – Dan Romer’s score blends Italian opera, folk music and spirited instrumental pieces to amplify the jolly and jaunty elements.

An original story that may be more of a pastiche and feels like a beach read, “Luca” is an enchanting take on celebrating differences and youth friendships.

If you notice nods to “The Little Mermaid,” “Finding Nemo” and “Pinocchio,” so be it, but it also is an homage to Casarosa’s major influence Miyazaki — plus Fellini and other Italian cinema greats too.

Dive in and just have fun with it, an Italian ice optional.



“Luca” is a 2021 animated feature and comedy-adventure. Directed by Enrico Casarosa, it has voice work from Jacob Tremblay, Jack Dylan Grazer, Emma Berman, Maya Rudolph, Marco Barricelli and Jim Gaffigan. Rated PG for rude humor, language, some thematic elements and brief violence, it has a run time of 1 hour, 35 minutes. Lynn’s Grade: A-. The film is streaming on Disney Plus beginning June 17 at no extra premium fee.

St. Louis Film Critics Association Honors ‘Nomadland’ with 4 Awards

St. Louis Film Critics Association Honors ‘Nomadland’ with 4 Awards

The independent drama “Nomadland” has won four awards from the St. Louis Film Critics Association, including film, director, editing and cinematography.

After losing everything in the 2008 recession, middle-aged Fern (Frances McDormand) embarks on a journey through the American west in writer-director Chloe Zhao’s “Nomadland.” Zhao also edited the film. Joshua James Richards earned Best Cinematography.

“Promising Young Woman,” writer-director Emerald Fennell’s social commentary thriller about toxic masculinity, was recognized for Carey Mulligan’s performance and Fennell’s original screenplay as well as soundtrack for a total of three awards.

Other multiple award winners included Pixar’s “Soul” for animated feature and music score by Trent Reznor, Atticus Ross and Jon Batiste; Christopher Nolan’s “Tenet” as best action film and visual effects; and “The Invisible Man” for best horror film and best scene in which the sisters meet to dine at a restaurant.

In acting honors, Chadwick Boseman was named Best Actor for his final performance in “Ma Rainey’s Black Bottom,” Paul Raci of “Sound of Metal” and Youn Yuh-jung of “Minari” for supporting roles.

The Romanian film “Collective” won for documentary and the Danish film “Another Round” won for foreign language film.

The awards were announced on Sunday, Jan. 17, with nominations in 22 categories were announced Jan. 10.

Eligible films include those that opened in St. Louis during the 2020 calendar year or were made available as a video on demand or streaming service release.

For more information, visit the website, www.stlfilmcritics.org, follow us on Twitter (@stlfilmcritics) and “Like” our Facebook page.

Here is a complete list of the awards:

BEST FILM: Nomadland
Runner-up (tie): “First Cow” and “Promising Young Woman”

BEST DIRECTOR: Chloé Zhao – “Nomadland:
Runner-up: Emerald Fennell “Promising Young Woman”

BEST ACTOR: Chadwick Boseman – “Ma Rainey’s Black Bottom”
Runner-up: Delroy Lindo, “Da 5 Bloods”

BEST ACTRESS: Carey Mulligan – “Promising Young Woman”
Runner-up: Frances McDormand, “Nomadland”

BEST SUPPORTING ACTOR: Paul Raci – “Sound of Metal”
Runner-up: Sacha Baron Cohen, “The Trial of the Chicago 7”

BEST SUPPORTING ACTRESS: Youn Yuh-jung – “Minari”
Runner-up: Maria Bakalova, “Borat Subsequent Moviefilm”

BEST ORIGINAL SCREENPLAY: “Promising Young Woman” – Emerald Fennell
Runner-up: Aaron Sorkin, “The Trial of the Chicago 7”

BEST ADAPTED SCREENPLAY: “I’m Thinking of Ending Things” – Charlie Kaufman (Screenplay); Iain Reid (Novel)

Runner-up: Kemp Powers (screenplay and play) “One Night in Miami”

BEST EDITING: “Nomadland” – Chloé Zhao

Runner-up: Robert Frazen, “I’m Thinking of Ending Things”

BEST CINEMATOGRAPHY: “Nomadland” – Joshua James Richards

Runner-up: “Mank” – Erik Messerschmidt

BEST PRODUCTION DESIGN: “Mank” – Donald Graham Burt\

Runner-up: “Emma” – Kave Quinn

BEST VISUAL EFFECTS: Tenet
Runner-up: The Invisible Man

BEST SCORE: Soul – Trent Reznor & Atticus Ross and Jon Batiste
Runner-up: Nomadland – Ludovico Einaudi

BEST SOUNDTRACK: Promising Young Woman
Runner-up: Hamilton

BEST ACTION FILM: Tenet
Runner-up: Birds of Prey

BEST COMEDY FILM: Borat Subsequent Moviefilm
Runner-up: Palm Springs

BEST HORROR FILM: The Invisible Man

BEST ANIMATED FEATURE: Soul
Runner-up: Wolfwalkers

BEST DOCUMENTARY FEATURE: Collective

BEST FOREIGN LANGUAGE FEATURE: Another Round
Runner-up: Beanpole

BEST SCENE: The Invisible Man – A restaurant meet-up between sisters is interrupted.
Runner-up: Rudy Guiliani visits hotel room in “Borat Subsequent Moviefilm”

Here is a complete list of nominations:

BEST FILM
First Cow
I’m Thinking of Ending Things
Nomadland
Promising Young Woman
The Trial of the Chicago 7


BEST DIRECTOR
Emerald Fennell, “Promising Young Woman”
Lee Isaac Chung, “Minari”
Spike Lee, “Da 5 Bloods”
Aaron Sorkin, “The Trial of the Chicago 7”
Chloe Zhao, “Nomadland”

BEST ACTOR
Riz Ahmed, “Sound of Metal”
Chadwick Boseman, “Ma Rainey’s Black Bottom”
Delroy Lindo, “Da 5 Bloods”
Anthony Hopkins, “The Father”
Gary Oldman, “Mank”

BEST ACTRESS
Jessie Buckley, “I’m Thinking of Ending Things”
Viola Davis, “Ma Rainey’s Black Bottom”
Vanessa Kirby, “Pieces of a Woman”
Frances McDormand, “Nomadland”
Carey Mulligan, “Promising Young Woman”

BEST SUPPORTING ACTOR
Bo Burnham, “Promising Young Woman”
Sacha Baron Cohen, “The Trial of the Chicago 7”
Bill Murray, “On the Rocks”
Leslie Odom Jr., “One Night in Miami”
Paul Raci, “Sound of Metal”

BEST SUPPORTING ACTRESS
Maria Bakalova, “Borat Subsequent Moviefilm”
Ellen Burstyn, “Pieces of a Woman”
Olivia Colman, “The Father”
Amanda Seyfried, “Mank”
Yuh-jung Youn, “Minari”

BEST ORIGINAL SCREENPLAY
Lee Isaac Chung, “Minari”
Emerald Fennell, “Promising Young Woman”
Jack Fincher, “Mank”
Andy Siara, “Palm Springs”
Aaron Sorkin, “The Trial of the Chicago 7”

BEST ADAPTED SCREENPLAY
Charlie Kaufman, “I’m Thinking of Ending Things”
Kemp Powers, “One Night in Miami”
Jon Raymond and Kelly Reichardt, “First Cow”
Ruben Santiago-Hudson, “Ma Rainey’s Black Bottom”
Chloe Zhao, “Nomadland”

BEST CINEMATOGRAPHY
Benjamin Kracun, “Promising Young Woman
Erik Messerschmidt, “Mank”
Joshua James Richards, “Nomadland”
Newton Thomas Sigel, “Da 5 Bloods”
Dariusz Wolski, “News of the World”

BEST EDITING
Alan Baumgarten, “The Trial of the Chicago 7”
Kirk Baxter, “Mank”
Robert Frazen, “I’m Thinking of Ending Things”
Jonah Moran, “Hamilton”
Chloe Zhao, “Nomadland”

BEST PRODUCTION DESIGN
Donald Graham Burt, “Mank”
Christina Casali, “The Personal History of David Copperfield”
Michael Perry, “Promising Young Woman”
Kave Quinn, “Emma”
Mark Ricker, “Ma Rainey’s Black Bottom”

BEST SOUNDTRACK
Birds of Prey
Da 5 Bloods
Hamilton
Lovers Rock
Promising Young Woman

BEST MUSIC SCORE
Ludovico Einaudi, “Nomadland”
Ludwig Goransson, “Tenet”
James Newton Howard, “News of the World”
Trent Reznor, Atticus Ross, Jon Batiste, “Soul”
Trent Reznor, Atticus Ross, “Mank”

BEST VISUAL EFFECTS
Birds of Prey
The Invisible Man
Mank
The Midnight Sky
Tenet

BEST ACTION
Birds of Prey
The Gentlemen
Greyhound
The Old Guard
Tenet

BEST HORROR
Alone
The Invisible Man
La Llorona
Possessor Uncut
The Vast of Night


BEST COMEDY
Borat Subsequent Moviefilm
Emma
The King of Staten Island
On the Rocks
Palm Springs

BEST DOCUMENTARY
City Hall
Collective
Dick Johnson is Dead
My Octopus Teacher
The Social Dilemma

BEST ANIMATED FEATURE
Onward
Over the Moon
Soul
The Wolf House
Wolfwalkers

BEST FOREIGN LANGUAGE FILM
Another Round
Bacurau
Beanpole
Collective
Vitalina Varela


BEST SCENE
Human Resources complaint discussion in “The Assistant”
Rudy Guiliani hotel room visit in “Borat Subsequent Moviefilm”
Dinner with parents at farmhouse in “I’m Thinking of Ending Things”
Sisters dine in restaurant in “The Invisible Man”
Questionnaire administered in “Never Rarely Sometimes Always”

Audacious Borat Gets Political in Subsequent Moviefilm

Audacious Borat Gets Political in Subsequent Moviefilm

By Lynn Venhaus
The highly anticipated sequel to 2006’s “Borat” is similarly equal parts offensive, outrageous and hilarious.

The original mockumentary was so shocking and different that it earned an Oscar nomination for screenplay and a Golden Globe for Sacha Baron Cohen as Best Actor in a Comedy.

This time, however, we’re in on the joke. The film’s original title: “Delivery of Prodigious Bribe to the American Regime for Make Benefit Once Glorious Nation of Kazakhstan” has been finessed.This is a follow-up centering on the real-life adventures of a fictional Kazakh television journalist. But this time it is more political as he travels across the South, first starting in Texas.

Baron Cohen is recognized during his antics in character, so he dons wigs and fat suits to play rednecks and American dads — and even puts on a “McDonald Trump” costume to disrupt a Mike Pence speaking engagement at CPAC.

With eight screenwriters — including Baron Cohen and some familiar names going way back to his “Da Ali G Show” days, the episodic journey is scattershot. Even at 95 minutes, director Jason Woliner’s style is choppy and uneven.

The intrepid reporter Borat, trying to redeem his honor in his country of Kazahkstan, picks too easy targets in devout Christian, flag-flying MAGA hat-wearing country, where people think the coronavirus is a hoax, they bring guns to picnics and they give this foreigner the side eye.

Always shedding light on anti-Semitism, Borat has a cake decorated with “Jews will not replace us.” That is his satirical way of taking on bigotry.

In the credits, Baron Cohen honors Holocaust Survivor Judith Dim Evans (1932 – 2020), who is in the synogogue scene but died shortly before the film’s release. “I feel obligated to be a good person and to bring good to the world. We owe the dead,” he quotes her saying.

As a “gotcha” journalism parody, the film skewers sacred cows and excesses in American life. The crude and lewd content is designed to make us squirm.

As with the other film, I’m uncomfortable when he is making fun of ordinary people who aren’t in on the joke, but I’m OK when people who deserve it get their comeuppance. And this time, there are some regular folk who can barely contain their smile at being part of a Borat film, so we know they are willing participants.

Baron Cohen is fearless, and he loves to stir things up. The jaw-dropping scene where daughter Tutar (aka Sandra Jessica Parker Sagdeyev), poses as a reporter for a conservative TV show, “Patriot Reports.” is now the much-talked about “shirt-tucking” incident with Trump attorney Rudy Guiliani.

I can’t unsee what I saw, and Guiliani shamelessly flirts with Tutar (Bulgarian actress Maria Bakalova) during the interview, and then when she asked “Shall we have a drink in the bedroom?”, he follows her into the room. Borat, dressed in skimpy under-garments, saves the day.



That is only a fraction of the film, but it’s the one making headlines during this election cycle.

Baron Cohen, whose versatility as a supporting performer is obvious — Thenardier in “Les Miserables,” Pirelli in “Sweeney Todd” and recently, Abbie Hoffman in “The Trial of the Chicago 7,” delights in being as silly as possible in his own character creations. 

Actually, the movie becomes a female empowerment statement near the end, and Bakalova and Baron Cohen work well together as daughter and father duo.

In a bizarre year, the fact that Baron Cohen can’t make up stuff that is more absurd than reality really says something.

“Borat Subsequent Moviefilm” is a comedy directed by Jason Woliner and written by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Peter Baynham, Erica Rivinoja,Dan Mazer, Jena Friedman, Lee Kern . It stars Sacha Baron Cohen, Maria Bakalova and others as themselves.
Rated R for pervasive strong crude and sexual content, graphic nudity and language, run-time is 1 hr. 36 min. Lynn’s Grade: B

Sorkin’s ‘The Trial of the Chicago 7’ Is Acting Showcase and One of Year’s Best Films

Sorkin’s ‘The Trial of the Chicago 7’ Is Acting Showcase and One of Year’s Best Films

By Lynn Venhaus

A civics lesson for the ages, writer-director Aaron Sorkin’s riveting account of “The Trial of the Chicago 7” is a potent examination of injustice during a politically charged time of civil disobedience. Through the lens of a riveting courtroom drama, the film is an acting showcase and one of the best films of the year.

And because the maestro is Sorkin, the film is also a discourse on cultural revolution and political theater, all while working in the confines of a true story. Because it is not a documentary, some of the timeline jumps around and incidents are embellished, but trial transcripts are used, along with archival footage, to create an authentic portrait.

In August 1968, several activist groups opposed to the Vietnam War converged at the Democratic National Convention in Chicago – the Students for a Democratic Society led by Tom Hayden (Eddie Redmayne) and Rennie Davis (Alex Sharp), the Youth International Party (Yippies) led by radical revolutionaries Abbie Hoffman (Sacha Baron Cohen) and Jerry Rubin (Jeremy Strong) and the National Mobilization Committee to End the War in Vietnam (MOBE), led by older conscientious objector David Dellinger (John Carroll Lynch).  Bobby Seale (Yahya Abdul-Mateen II), leader of the Black Panthers, is also present but not connected with the others. They, along with eventually acquitted Lee Weiner (Noah Robbins) and John Froines (Danny Flaherty), are the Chicago 8. Seal’s case would later be declared a mistrial, thus leaving seven.

Demonstrators violently clashed with police in and around Grant Park, which was captured on live television and the reason for a courtroom circus the next year after Nixon was elected President. Using a new law, the eight are charged with conspiracy to cross state lines to incite a riot. 

The infamous 1969 trial, orchestrated by Nixon’s Department of Justice, is presided over by Judge Julius Hoffman (Frank Langella). The legal eagles are civil rights attorney William Kunstler (Mark Rylance) and Ben Weinglass (Leonard Shenkman) for the defense and Justice Department prosecutors Richard Schultz (Joseph Gordon-Levitt) and Thomas Foran (J.C. MacKenzie).

The Trial of the Chicago 7. Mark Rylance as William Kunstler, Eddie Redmayne as Tom Hayden in The Trial of the Chicago 7. Cr. Niko Tavernise/NETFLIX © 2020

The casting is impeccable. Sorkin’s breakthrough was the play “A Few Good Men” in 1989, later a movie. Known for “The West Wing,” he won an Oscar for best adapted screenplay for “The Social Network.” With his fast-paced dialogue and customary insightful monologues, Sorkin’s original screenplay now vaults to leading awards contender. It is a marvel of nuance and first amendment passion, focusing on change – how people make it happen.

Sorkin immerses us in the atmosphere of the ’60s volatile times, as dissent grew throughout the country. Martin Luther King Jr. had been assassinated in April, followed by the killing of presidential candidate U.S. Sen. Bobby Kennedy two months later. More anti-war activists took to the streets when the conflict in Southeast Asia escalated. But “the Establishment” attacked free speech and peaceful protests, fearing anarchy and widespread unrest.

His dialogue, nimbly spoken by this extraordinary ensemble, astutely advances character development and shows the duality of law – when it works in a courtroom, and when it doesn’t. With such a large cast, Sorkin has managed to bring out the distinct personalities of the iconoclast rebels.

Sorkin has shrewdly opted to concentrate only on the present with the major defendants, providing little backstory to their rise as movement leaders. While everyone snugly fits their roles, stand-outs are Eddie Redmayne as fervent Tom Hayden, convinced working inside the system is the right conduit for progress, and Sacha Baron Cohen as the mouthy disrupter Abbie Hoffman, who mastered media for his own purposes. Their different approaches lead to confrontations but ultimately, they are on the same page.

As the clearly biased tyrannical judge, Frank Langella is chilling as a man who thinks he does not discriminate but his cruelty to Seale suggests otherwise. Mark Rylance, Oscar winner for the 2015 “The Bridge of Spies” and three-time Tony Award winner, will likely score nominations for his remarkable portrayal of impassioned lawyer William Kunstler.

Abdul-Mateen II, who won an Emmy for HBO’s “Watchman,” is powerful in his silence as Seale and bears the brunt of the injustice during the trial. Seale, who co-founded the Black Panthers in 1966, was just in Chicago to give a speech and did not know the other guys.

Alex Sharp excels as the dedicated Rennie Davis, who is less flashy than the other counterculture activists but whose involvement is significant nonetheless. Sharp won a Tony Award for “The Curious Incident of the Dog in the Night-Time” in 2105.

Sorkin had only directed once before, 2017’s “Molly’s Game,” an uneven but interesting account of a true story. For this legal drama, he keeps the courtroom scenes taut and the street scenes intense and chaotic.

Sorkin gets terrific assistance from cinematographer Phedon Papamichael, who shot last year’s “Ford v. Ferrari,” and editor Alan Baumgarten, known for other Sorkin films and “American Hustle.” Composer Daniel Pemberton scores the action with the right tempo without using popular protest music from the times.

As an important acknowledgement of this case in America’s evolution, “The Trial of the Chicago 7” conveys precious civil liberties. And demonstrates what makes compelling stories – Americans speaking out, what inspires revolution and why civil discourse matters.

Sasha Baron Cohen and Jeremy Strong as Abbie Hoffman and Jerry Rubin

“The Trial of the Chicago 7” is a courtroom drama based on real events, directed and written by Aaron Sorkin. It starts Eddie Redmayne, Frank Langella, Sacha Baron Cohen, Jeremy Strong, John Carroll Lynch, Alex Sharp, Michael Keaton, Joseph Gordon-Levitt, J.C. MacKenzie and Ben Schenkman. Rated: R for language throughout, some violence, bloody images and drug us, The runtime is 2 hr. 10 min. Lynn’s Grade: A
Available in select theatres Oct. 9 and on Netflix Oct. 16.