Lynn Venhaus

Total Post: 1134

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.

‘Ghostbusters: Afterlife’ Offers Sentimental Tribute to Harold Ramis

‘Ghostbusters: Afterlife’ Offers Sentimental Tribute to Harold Ramis

By Lynn Venhaus

Just in time to ride an ‘80s nostalgia wave, “Ghostbusters: Afterlife” is a sentimental link to the 1984 blockbuster hit, an opportunity to pay tribute to the late Harold Ramis, and a reason to get the band back together.

In a nod to the film’s enduring connectiveness, director Jason Reitman is the son of Ivan Reitman, who helmed the original. He juggles the comedy, horror, and action with a special fondness for the source material. The wit is there – however, the supernatural plot is a tad sketchy at times, and the go-bigger visual effects are extended too long.

Summerville, Okla., is where Dr. Egon Spengler spent his final days, and after his death, his estranged daughter Callie (Carrie Coon) and her two children, ages 12 and 15, Phoebe (Mckenna Grace) and Trevor (Finn Wolfhard), arrive to check out the old house that is now theirs. They discover their connection to the “Ghostbusters” parapsychologists who removed ghosts in New York City and learn about the secret legacy Egon left behind.

To make it both sweet and fun, the younger Reitman – who also co-wrote the script, along with Gil Kenan (Oscar nominee for animated feature “Monster House” in 2006) – realizes this is an opportunity for a full-circle moment. He even maintains a retro look when possible.

After all, his father started the franchise off, which includes a 1989 sequel, two animated series (“The Real Ghostbusters” and “Extreme Ghostbusters”), comic books, video games “Extreme Ghostbusters: The Ultimate Invasion” and “Ghostbusters: Sanctum of Slime,” music, and a female reboot in 2016, not to mention logo and merchandise tie-ins.

The elder Reitman formed Ghost Corps with Dan Ackroyd to explore expanding the “Ghostbusters” universe, and both are producers on this second sequel.

The affection for these characters is obvious. It’s a glorious moment to see quippy marketer Dr. Peter Venkman, earnest technician Dr. Ray Stantz and steady ex-Marine Winston Zeddemore strap on the proton packs and help save the day.

As much older versions of their leaner, faster selves, Bill Murray, Dan Ackroyd and Ernie Hudson strike the right tone re-emerging as the characters who helped them become pop cultural legends. Missing their brainy partner Egon is certain to leave some misty-eyed. Although he wasn’t as prominent initially as the trio of doctors, Winston’s growth is noteworthy this time.

Appearances by Annie Potts as former assistant Janine Melnitz and Sigourney Weaver briefly as elegant Dana Barrett add to the heartfelt glow.

The towering Stay-Puft Marshmallow Man is referenced in mini-versions who break out on the shelves of a big-box store. In a standout scenes, the adorable puffs wreak havoc and have unfortunate calamities involving flame-roasting and S’mores.

The Ecto-mobile returns, as do containment units and traps, and other vintage paraphernalia. It’s a sight for sore eyes.

The likable young cast enlivens the old story through fresh eyes and an abundance of energy, with “Stranger Things” actor Finn Wolfhard engaging as skeptical grandson Trevor and Mckenna Grace endearing as smart STEM kid Phoebe, the granddaughter who is a chip off the old block. Grace, a veteran of “Young Sheldon” and “Fuller House,” is a natural actress that draws audiences in to her character.

Supporting cast includes Celeste O’Connor, so memorable in “Selah and the Spades” and “Freaky,” as local carhop Lucky that Trevor likes and Logan Kim is funny as the talkative Podcast, who is both a sleuth and a science whiz, that makes friends with Phoebe.

As the leads, the revered Carrie Coon, more known for serious stage and screen work (like Weaver was before the original), is Egon’s abandoned daughter and struggling single mom Callie. She and newly crowned “Sexiest Man Alive” Paul Rudd, who plays teacher Gary Grooberson, are thrown together in a dating scenario that’s a stretch. Comic gold Rudd, with his appealing boyish charm, is the lazy summer school faculty who pops in VHS tapes of old scary movies.

Their respected skills help them turn into the gatekeeper and the keymaster, Zuul and Vinz, although this element gets ridiculous rather quickly. The demonic dogs do the bidding of Gozer, the shape-shifter destructive enemy from the first one, whom wealthy mine owner and land baron Ivo Shandor (J.K. Simmons) had a cult-like devotion to 37 years ago – and started the whole shebang. He’s entombed in an abandoned mine that’s a haven for paranormal activity.

While he has been gone for eight years, the talents and appeal of Harold Ramis looms large over this production, and modern technology enabled the salute to have sincere emotional pull.

Second City alum Ramis, who not only starred as the intellectual Egon but co-wrote the original, first worked with Ivan Reitman on “National Lampoon’s Animal House” in 1978 and went on to write “Meatballs,” “Stripes” and two “Ghostbusters” that he helmed.

A proud graduate of Washington University in St. Louis who stayed active as an alum, Ramis died in 2014 at age 69 from complications of autoimmune inflammatory vasculitis. He is acknowledged as one of the most gifted comedy writers of his time.

At 2 hours and 4 minutes, the film could have connected the dots better between post-big city Egon and his new saving-the-world mission in the middle of nowhere.

 The dirt farm setting seems an odd choice when New York City was such a major part of the storytelling back in the 1980s. In fact, the original is cited for contributing to the perception shift to a more positive outlook about the Big Apple.

The scientific mumbo-jumbo exposition starts wearing thin when the good and evil forces collide in a battle royale for souls, as dark clouds swirl and electrical currents go berserk. But then, the cavalry arrives.

The joy at seeing Peter, Winston and Ray is palpable, and hearing the effervescent “Ghostbusters” theme song, a chart-topper for Ray Parker Jr., induces warm and fuzzies.

Reitman, a multiple Oscar nominee for directing “Juno” and “Up in the Air” (writing and producing too), has crafted a work from his heart to fellow fans reconnecting with their childhood heroes.

Yet, he has dispensed gluttonous Slimer for corpulent Muncher. Nevertheless, the movie provides a family-friendly vibe and a satisfying throwback – at least enough to make you want a Hi-C Ecto-Cooler.

“Ghostbusters: Afterlife” is a 2021 comedy directed by Jason Reitman and starring Carrie Coon, Paul Rudd, Finn Wolfhard, Mckenna Grace, Dan Ackroyd, Ernie Hudson, and Bill Murray. It is rated PG-13 for supernatural action and some suggestive references and runs 2 hours, 4 minutes. It opens in theaters Nov. 19. Lynn’s Grade: B-

Fly North Theatricals Make Merry with Free ‘A Year With Frog and Toad’

Fly North Theatricals Make Merry with Free ‘A Year With Frog and Toad’

By Lynn Venhaus
Filled with whimsy and good cheer, “A Year with Frog and Toad” is a delightful example of clever staging and accessible theater for multi-ages.

The innovative Fly North Theatricals is presenting this sweet, sentimental show about friendship for free to all who can show their vaccination card and matching ID at the door. No ticket needed but there is limited seating because of social distancing.

The musical continues this Friday and Saturday at 7:30 p.m. and Sunday at 2 p.m. at The Marcelle Theatre in the Grand Center Theatre District.

Colin Healy and Bradley Rohlf, two creatives who founded Fly North Theatricals in 2019, are making sensible, affordable art and have established a Theatre for All initiative as part of their mission.

In this make-believe adventure, they are doing double-duty as the two amphibious leads. Rohlf plays the popular perky Frog while Healy is the grumpy worry-wart Toad as they journey through four seasons.

They are joined in their woodland by a Snail, Turtle, Bird, Mouse, Mole and several other frogs. The young actors playing these characters sing and dance in musical numbers that recall vaudeville and merry make-believe.

The students of Fly North, who take voice and/or dance lessons, are cast members who bring a youthful energy to the production: Claudia Taylor, Trey Perlut, Ella Penico, Aislyn Morrow, Sarah Brown, Aiden Gildehaus and Julie Harris.

Earnestly directed by Alicia Like with a young audience in mind, she keeps the 85-minute show bright and breezy. Music Director Jermaine Manor smoothly kept the focus on entertaining all ages.

Their year begins in the Spring, as they wake from hibernation. They plant gardens. They swim in the Summer, rake leaves in the Fall and go sledding in the Winter.

As the two best friends celebrate their differences that make them unique and special, they learn life lessons along the way. In a non-cloying way, they tackle anxiety and fears – blissfully free of corny cheesy jokes.

The musical, based on the beloved children’s book series by Arnold Lobel, was nominated for three Tony Awards in 2003, including Best Musical. Because of its success, it was heralded as mainstreaming a children’s production as “regular” theater.

An enchanting score by brothers Robert and Willie Real is brought to life by conductor Jeremy Jacobs, also on keyboards, who leads the four -piece band with aplomb. Luke Mankovich is on reeds, Jacob Mreen on bass and Matthew Clark handles percussion.

Choreographers Angela Brandow and Carly Niehaus used a light touch in the peppy numbers to keep the show up-tempo and fun.

Stellar work is evident from light board operator Mason Hagarty and sound board operator Matthew Garrison, with fine lighting and strong sound without any difficulty.

Lauren Perry has designed the simple set with imagination in mind while costumer Sam Hayes mixed 19th and 20th century outfits and included animal accoutrements, like turtle shells, when necessary. Old-timey hats complete Frog’s and Toad’s appearances well.

An appealing romp for those young at heart who see imagination as a wide canvas, “A Year with Frog and Toad” is a good way to ease back into bringing young people to the theater. And watching such a cheerful presentation will make you smile underneath your mask!

To support their “Theatre for All” initiative, find out more: https://www.flynorthmusic.com/theatre-for-all

And/or attend their VIP fundraising brunch on Sunday, Nov. 14. Doors open at 11 a.m., and each ticket comes with one reserved seat for the closing performance of “A Year with Frog and Toad.”

The brunch will include a Breakfast Taco Bar from The Fifth Wheel of the Bailey’s restaurant family, bottomless mimosas and coffee and performances from cast members. The Studio Open House will be at 3617 Grandel Square in St. Louis.

Tickets are available on their website and all proceeds go toward future productions and resources for FNT students. Single tickets are available for a $100 minimum donation.

Part of FNT’s mission of promoting education through performance is to involve the students of its private voice and dance studio on and off stage in every show. This production has students work alongside their teachers to produce something wacky, fun, formative, and memorable. For more information, visit www.flynorththeatricals.com

NOTE: In accordance with the Kranzberg Arts Foundation’s recent COVID policy update, all attendees of “A Year with Frog And Toad” must show proof of COVID-19 vaccination or a recent negative test conducted less than 72 hours prior for admittance.

‘The Grand Bolero’ is a Musically Engrossing Experience

‘The Grand Bolero’ is a Musically Engrossing Experience

By Alex McPherson

Fueled by isolation, passion, obsession, and music booming with magisterial grandeur, director Gabriele Fabbro’s “The Grand Bolero” demands the biggest screen possible.

This genre-bending tale unfolds in Northern Italy during the early days of the COVID pandemic, and it primarily takes place in a single location — a massive church dating back to 1700. Residing within are a jaded pipe-organ restorer named Roxanne (Lidia Vitale) and Paolo (Marcello Mariani), who maintains the church, continually ringing “the death bell” as pandemic casualties increase. After Roxanne’s assistant dies, Paolo insists that Roxanne take on a 20-year-old, mute helper named Lucia (Ludovica Mancini) to nurse the aging instruments back to life in exchange for giving Lucia food, music lessons, and a place to sleep. Roxanne treats Lucia like a subhuman, strictly enforcing rules and waking her up each morning by blasting the organs with all her might. Still, Lucia is a bubbly, persistent soul, and she’s quite the musician herself, catching Roxanne off-guard and building a possibly romantic connection with her. As Roxanne’s attachment grows, “The Grand Bolero” evolves into something altogether more sinister — for each party has their secrets, bubbling to the surface in sometimes explosive fashion.

Although Fabbro’s film becomes unwieldy in its last act, “The Grand Bolero” captures a rich sense of place with intriguing characters brought alive by excellent acting and one of the best soundtracks of the year.

Indeed, “The Grand Bolero” thrives on mood-setting. We hear wind blowing through groaning walls, the tactile creak of floorboards baked in history, and boisterous organs creating fleeting moments of harmony and elation craved by Roxanne in particular, all while Fabbro skillfully guides us through the spacious yet claustrophobic structure. COVID is rendered more as a backdrop to the proceedings, but in the sequences where the characters leave the church, cinematographer Jessica La Malfa’s camera presents their environment as downright post-apocalyptic, with grey skies, thick fog, and ambulance sirens quietly singing in the background. 

The score — by Sean Goldman, Martino Lurani Cernuschi, and Paolo Sanvito — is adapted from works by classical composers, including Ravel, Wagner, and Tchaikovsky, among many others, and is a splendid accompaniment to the onscreen drama, channeling the central duo’s burgeoning love for one another, as well as lending Shakespearean weight to the craziness in the latter half. This music is its own character in the film, capitalizing on the animalistic impulses of the characters as if, in some strange way, judging them.

In terms of characterization, “The Grand Bolero” doesn’t shine quite as brightly, but there’s some welcome complexity nevertheless. Roxanne remains a mysterious presence to the end, possessing a misanthropic view of humanity that lends itself both to moments of dry wit and immoral decisions. Vitale, a legendary Italian star, expresses Roxanne’s sassy demeanor and inner demons with a weathered, mysterious performance in which we’re never really sure what Roxanne will do to achieve her goals. Mancini, given less material to work with, also gives an impactful turn as Lucia, an energetic, upbeat young woman who’s somehow been able to survive while stripped of resources and the ability to effectively communicate with those around her. We don’t get much information about either characters’ backstories — ultimately to the film’s detriment — but “The Grand Bolero” renders their relationship satisfying to watch develop, always buoyed by their shared adoration of the pipe organs they look after.

It’s therefore disappointing that the slow-building, contemplative approach of the first half devolves into chaos that’s too melodramatic and self-serious for its own good. Without having enough grounding for Roxanne’s character especially, life-altering decisions come across as clumsy and overly exaggerated. No spoilers here, but the film’s detour into thriller territory is difficult to take as seriously as Fabbro and co-writer Ydalie Turk likely intended.

Gripes aside, however, “The Grand Bolero” is a technically impressive, thoughtfully put-together production. Few films this year have used music to such expressive heights, and there’s definitely merit in a narrative that doesn’t use COVID as a means to talk down to audiences. While the emotional core isn’t as strong as it could have been, there’s much to appreciate within this sensual, sensorial story for our times.

“The Grand Bolero” is a 2021 Italian film with English subtitles directed by Gabriele Fabbro and starring Lidia Vitale, Ludovica Mancini and Marcello Mariani. It is not rated and runs 1 hour, 30 minutes. It is available virtually at the St. Louis International Film Festival through Nov. 21. Alex’s Grade: B+

Lottery Announced for ‘Rent’ 25th Anniversary Tour at Stifel Theatre Nov. 17

Lottery Announced for ‘Rent’ 25th Anniversary Tour at Stifel Theatre Nov. 17

Stifel Theatre announced today that seats in the first rows of the orchestra section will be available for $23 (inclusive of facility fee) for the Wednesday, Nov. 17 performance of RENT, the Pulitzer Prize and Tony Award-winning musical.

The $23 tickets are available for in-person purchase at the Stifel Theatre Box Office, located at 1400 Market Street, on the day of the performance only, starting two hours prior to the show – 5:30 p.m. The $23 tickets are limited to two tickets per person.

The tradition of these tickets began in 1996 in New York when the show moved to Broadway after a sold-out run in a small downtown theatre. The producers of the show are committed to continuing the tradition of offering these orchestra seats in each city the show will play.

RENT performs at Stifel Theatre Wednesday, Nov. 17 at 7:30 p.m. 

For general ticket information, call the Stifel Theatre Box Office at 314-499-7600. The Stifel Theatre Box Office is open on event days only. For guests wanting to purchase tickets outside of the RENT Rush offer, they may do so at the Enterprise Center Box Office Monday – Friday, 10 a.m. – 5 p.m. or .https://www.ticketmaster.com/event/06005B359474349F

For more information, visit: www.rentontour.net

Facebook/RentOnTour  | Twitter.com/RentOnTour | Instagram.com/RentOnTour

‘Belfast’ Is Earnest Tribute to Home

‘Belfast’ Is Earnest Tribute to Home

By Alex McPherson

Accessible and brimming with directorial skill, Sir Kenneth Branagh’s future awards hopeful, “Belfast,” is an affecting coming-of-age story set amidst civil conflict.

Taking place during the summer of 1969 in Northern Ireland, “Belfast” functions as a cinematic memoir for Branagh — looking back at a seemingly idyllic stage in his life beset by the brutality of The Troubles between Protestants and Catholics. Buddy (a revelatory Jude Hill) is a boy nearing adolescence, possessing a wide-eyed curiosity and playfulness in his small, mostly Protestant neighborhood. He’s surrounded by his courageous mother (Catríona Balfe), his father (Jamie Dornan) who works in England, brother Will (Lewis McAskie), his rebellious older cousin Moira (Lara McDonnell), his lovably sardonic grandmother (Dame Judi Dench), and his grandfather (Ciarán Hinds), who remains Buddy’s primary confidant.. 

As destructive riots begin to take place within and around his community, Buddy (a Protestant) struggles to make sense of what’s happening, if one can even make sense of it to begin with. What matters most to him is having fun and attempting to build up the courage to talk to his school crush (a Catholic girl). The adult world creeping steadily upon his doorstep threatens to permanently influence the person he will become — forcing him to grow up as his parents debate whether or not to leave the only place they’ve called home.

“Belfast” could arguably be faulted for not painting a comprehensive picture of The Troubles, but Branagh’s film remains both uplifting and heartbreaking in equal measure. Seeing the story play out through Buddy’s eyes lends the proceedings a wistful edge, as we observe this young soul — full of life — navigate an increasingly perilous environment with loved ones by his side.

After an in-color introduction showcasing present-day Belfast, the film swiftly transitions to crisp black-and-white photography, evoking the sense of being transported back to an era both fantastical and menacing. The sequence that follows is one of 2021’s best. Buddy’s street devolves from safe and peaceful into utter chaos when a Protestant mob attempting to expunge any remaining Catholics from the neighborhood rounds the corner. The camera swirls around Buddy frozen in fear as the crowd approaches, and we’re launched into an intense situation not completely unlike a horror film. It’s reflective of Branagh’s fusion of tenderness and harsh reality that continues throughout, which makes each moment of grace between the characters all the more meaningful.

Composed largely of small conversations between Buddy and his family, “Belfast” gives the titular setting both a welcoming, lived-in feel, as well as the sense that unexpected violence could strike at any point. Indeed, thanks to the absolutely incredible cast and imaginative direction from Branagh, viewers can feel his passionate longing for those days gone by.

Even though the looming carnage casts a dark shadow over most scenes, there’s still plenty of humor to be found here, particularly in regard to Buddy’s heart-to-heart discussions with his grandma and grandpa about everything from the moon landing to how to woo girls to what to make of the outside world that’s seemingly falling apart.

Moments like these, given added texture through Hinds’ and Dench’s wise, knowing auras, pull at viewers’ heart strings and underline the fact that this resilient family can weather any obstacle if they stick together. Hill is a spectacular performer for someone 11 years old, conveying Buddy’s confusion, wonder, and eventual sadness in completely believable fashion.

The rest of the actors are just as excellent. Balfe is blindingly good as a beautiful, caring, deeply concerned parent who wants to protect her children and is strongly attached to her home base in Belfast. Dornan gives a rich performance as Buddy’s father, a man fiercely against viewing people in absolutes, who faces pressure from a radical acquaintance (Colin Morgan) to join a Protestant gang. The stressed couple fight over barely being able to pay rent and whether to move away, all while Buddy listens nearby, the sparkling glint in his eyes turning to tears.

Cinematographer Harris Zambarloukos does an admirable job depicting Buddy’s community as an interconnected unit teeming with energy where everyone knows each other, implementing tracking shots galore. Characters might be conversing quietly only to be interrupted by someone sitting in the corner of the frame, resembling a stage production. “Belfast” also reverts back to color photography when Buddy and company view a play or film together, likely emphasizing the profound impact that the arts had on Branagh as a child, but simultaneously feeling a bit on-the-nose.

With a soundtrack by Van Morrison accentuating moments of euphoria and tragedy among the characters, and a mournful, jazzy original score, “Belfast” depicts the city and Buddy’s family with a nostalgic glow tinged with sadness and regret. A few scenes feel too far separated from reality, and the film follows a relatively predictable framework, but the power of Branagh’s passion project is difficult to refute, and absolutely worth experiencing.

“Belfast” is a 2021 drama directed by Kenneth Branagh and starring Jude Hill, Caitriona Balfe, Jamie Dornan, Judi Dench, Ciaran Hinds Lewis McAskie, and Colin Morgan. Rated PG-13 for some violence and strong language and runs 1 hour, 38 minutes. Alex’s Grade: A-   

Documentary ‘Ferguson Rises’ on PBS Nine Nov. 8 Preceded by Town Hall

Documentary ‘Ferguson Rises’ on PBS Nine Nov. 8 Preceded by Town Hall

The documentary, Ferguson Rises, shines a spotlight on the town that inspired a new global civil rights movement and chronicles a father’s journey as he grapples with the pain of losing a son. 

Ferguson Rises, winner of the Tribeca Film Festival Audience Award, makes its U.S. broadcast premiere on Independent Lens, November 8, at 9 pm, on Nine PBS. Viewers can join the conversation on Twitter using hashtag #FergusonRisesPBS and a virtual town hall takes place before the premiere (see details below). The film will also be available to stream free after broadcast on the PBS Video App for a limited time.  

The film explores the depths of the protests following Michael Brown Jr.’s killing in August 2014 through the eyes of his father, Michael Brown Sr., and other voices in the community: residents, police officers, business owners, and activists who took to the streets in protest for more than 400 straight days.  

Strikingly different perspectives come to the forefront of the film. In interviews with both opponents of the Black Lives Matter movement and the activists leading it, audiences see a glimpse of the polarizing emotions that are still ingrained in justice reform conversations today. At the center of the documentary is Michael Brown Sr., who talks about his son’s death and the ways he overcame the pain that engulfed him and his family in the years that followed. 

“I hope that through the stories of Michael Brown Sr. and the community of Ferguson, we can learn not to judge things and people on a surface level. And, perhaps most importantly, I hope the film reminds America of all that they can learn from Black people when it comes to resilience, strength, and faith. With this mindset, we can then stop harping on the pathologies of Black Americans and, rather, focus on honoring their contributions,” says filmmaker Mobolaji Olambiwonnu. 


Help provide a local perspective on the national conversation around this film by joining our Twitter chat during the broadcast of the film using #FergusonRisesPBS.
Monday, November 8, 9 pm
Watch on PBS and the PBS Video app starting at 10/9c.

Register for Virtual Town Hall before the Premiere
Join Michael Brown, Sr., film director Mobolaji Olambiwonnu, and a constellation of changemakers to discuss how communities can help mend the wounds of racialized violence. Trained facilitators will share tools for communicating across differences to explore our common humanity. The virtual town hall culminates with a special appearance by Grammy-winning artist Aloe Blacc performing “Other Side,” whose single is featured in Ferguson Rises.
Monday, November 8, 6–7:45 pm

https://www.eventbrite.com/e/finding-purpose-within-pain-ferguson-rises-virtual-town-hall-tickets-178856553767

he documentary Ferguson Rises charts Michael Brown, Sr.’s emotional journey to find purpose within pain after a Ferguson, Missouri police officer killed his teenage son Michael, Jr. in 2014. In the film, we witness what happens when a Black father and an entire community grapples with the hard and urgent work of seeking accountability.

Leading into the PBS premiere of Ferguson Rises on Independent Lens, join Michael Brown, Sr., film director Mobolaji Olambiwonnu, and a constellation of change makers to discuss how communities can follow Mr. Brown’s footsteps along a path toward purpose—and help mend the wounds of racialized violence along the way.

Trained facilitators will share tools for communicating across differences as we explore our common humanity and shift entrenched narratives that stoke cycles of trauma. Throughout the town hall, we’ll view scenes selected from Ferguson Rises that spark conversation around topics that include:

  • How can we build trust across differences?
  • How can documentaries shape the conversation on racial violence in America?
  • Getting in touch with unconscious bias as a way to limit harm
Alyssa Grinder photo

The virtual town hall culminates with a special appearance by Grammy-winning artist Aloe Blacc performing “Other Side,” his single featured in Ferguson Rises.

Register here. Instructions on how to join the virtual town hall will be emailed to you two days prior to the event.

ASL interpreters will be present during the panel discussions and film clips will be closed captioned.

Speakers:

  • Sherry Simpson, ITVS, Sr. Director of Engagement & Impact Innovation (moderator)
  • Mobolaji Olambiwonnu (filmmaker, Ferguson Rises)
  • Michael Brown Sr. (Chosen For Change)
  • Reverend Osagyefo Uhuru Sekou (Organizer)
  • Theopia R. Jackson, Ph.D (Past President, The Association of Black Psychologists, Inc. and Chair, Clinical Psychology Degree Program, Saybrook University)
  • Reverend Renita Marie Green (Former Pastor, St. John A.M.E. Church)

Special appearance by:

  • Aloe Blacc
  • Resistance Revival Chorus

The Film

Ferguson Rises explores the depths of the aftermath and protests following Michael Brown Jr.’s killing through a wide range of community members: from Black and white residents to police officers, to business owners, including those who chose to say “enough is enough” by taking to the streets for a record 400 days straight. This varied chorus of perspectives is interwoven with an intimate portrayal of a Black father’s grief and resilience that bears witness to the human capacity to find purpose within pain.

Ferguson Rises premieres on Independent Lens Monday, Nov. 8.

About Nine PBS 

As an essential community institution, Nine PBS exists to enable access to information, knowledge, and learning opportunities for all. We tell stories that move us. We meet people where they are the most comfortable consuming content. Nine PBS’s platforms include four distinct broadcast channels (Nine PBS, Nine PBS KIDS®, Nine PBS World, and Nine PBS Create), ninepbs.org, social media, the free PBS Video App, streaming services, live and virtual events, and the Public Media Commons. Since 1954, Nine PBS has accepted the community’s invitation into their homes, schools, and businesses. 

About Independent Lens 

Independent Lens is an Emmy® Award-winning weekly series airing on PBS Monday nights. The acclaimed series, with Lois Vossen as executive producer, features documentaries united by the creative freedom, artistic achievement, and unflinching visions of independent filmmakers. Presented by ITVS, the series is funded by the Corporation for Public Broadcasting, a private corporation funded by the American people, with additional funding from PBS, Acton Family Giving, the John D. and Catherine T. MacArthur Foundation, Wyncote Foundation, and the National Endowment for the Arts. For more visit pbs.org/independentlens. Join the conversation: facebook.com/independentlens and on Twitter @IndependentLens. 

Dull ‘Eternals’ Doesn’t Offer Anything Fresh in MCU Superhero World

Dull ‘Eternals’ Doesn’t Offer Anything Fresh in MCU Superhero World

By Lynn Venhaus
Trying to save the world shouldn’t be boring, but “Eternals” is one big giant yawn — and easily the worst film in the Marvel Cinematic Universe.

Eternals are immortal beings from the planet Olympia, who came to Earth 7,000 years ago, shaping history and civilizations—but are not to interfere with any conflicts or alter human events — unless it’s their nemesis, the Deviants, so says their creator, Arishem, a Celestial.

After what transpired in “Avengers: Endgame” in 2019, these ancient aliens, who have been living in secret, must come out of the shadows and reunite to battle Deviants, their ancient ferocious winged enemy that they thought was vanquished but has reappeared, more vicious than ever. The lines blur between who is good and who is evil.

A cumbersome, confusing, and unexciting plot sets up a battle for world domination, attempts to explain why this course of action is necessary and tries to assert itself in a superhero world.

Question: if they didn’t help when Thanos wreaked havoc, but name-drop Avengers, then why aren’t any of our beloved ‘other guys” there? As they zip around through time, space and continents, The Eternals explain their places and fix things, as rivalries and romances emerge. However, it’s a lot to absorb, and are we caring by now?

The story is based on comic book characters created by Jack Kirby in 1976, and follows the same trajectory of the familiar debates of destiny and free will, and is living forever a blessing or a curse – or both?

The main problem, besides this overblown spectacle feeling average, is a too-large unnecessarily complicated cast that appears based on Greek gods, with riffs on those names. Sersi not Circe, Ikaris not Icarus, Ajak not Ajax — get it?

These generic characters, in various shades of virtuousness and villainy, are created from a grab bag of qualities and mass produced in a comic book assembly line. To its credit, Marvel has assembled its most diverse cast yet, including a gay character who is in a same-sex marriage.

While the ensemble has some very talented and interesting performers – including the versatile Brian Tyree Henry as Phastos, a genius scientist, and the poorly used Barry Keogan, so creepy in his breakout role in “The Killing of a Sacred Deer,” as a very crabby Druig whose superpower is mind control, several are under-utilized. 

Angelina Jolie seems like a waste of money as window dressing playing Thena, who can wield a sword and a spear very well in intense combat but has memory issues. And I couldn’t figure out Selma Hayak’s Ajak, for she is set up as the leader but mystery ensues about her intentions.

While others took on more than they could handle: Gemma Chan is one-note as omnipotent Sersi, who is desired both by her British professor boyfriend  Dane (Kit Harrington aka Jon Snow in “Game of Thrones,” barely in it) and her former lover Ikaris (Richard Madden, also a “Game of Thrones” alum), who is in full swagger mode.

Nevertheless, a few charmed in their roles, including a buff Kumail Nanjiani humorous as Kingo, a Bollywood superstar and Lia McHugh as the shapeshifter Sprite. Don Lee has fun as the hulking Gilgamesh, who has turned into a skilled chef/homebody taking care of Thena.

Phastos’ son Jack is winningly played by Esai Daniel Cross, and Lauren Ridloff is pleasant as the deaf Makkari.

Despite the gifts of Oscar-winning director Chloe Zhao, known for her visual style and was so distinct in “Nomadland,” this film has an undistinguished look. Sure, there are shots of beautiful landscapes, but we’re globe-trotting so much that it begins to look like stock footage advertisers use to entice us on vacations.

She was part of the screenwriting team too, that included Patrick Burleigh and Ryan Firpo. Complex and unwieldy, the script features lots of exposition inserted in between the customary superhero banter.

The soundtrack has some unusual ‘on-the-nose’ choices, including good use of “Time” by Pink Floyd but really, Skeeter Davis’ “The End of the World”?

The computer-generated graphics are repetitive, the battles are bloated, and two hours and 37 minutes later, I could not wait for it to end (and with a Foreigner song?). But you have to stay for the obligatory revelation scene during the credits.

Filmmakers promise that the Eternals will return. I wouldn’t be so presumptuous about that.

“Eternals” is a 2021 action-adventure-sci-fi-fantasy directed by Chloe Zhao and starring Gemma Chan, Richard Madden, Brian Tyree Henry, Angelina Jolie, Barry Keogan, Kumail Nanjiani, Selma Hayak, Kit Harrington, Lia McHugh, Don Lee and Lauren Ridloff. Rated PG-13 for fantasy violence and action, some language and brief sexuality, its run time is 2 hours, 37 minutes. It opens in theaters on Nov. 5. Lynn’s Grade: D.

‘The Beta Test’ Is Blistering Comedy

‘The Beta Test’ Is Blistering Comedy

By Alex McPherson

Watching a nervous breakdown unfold has rarely been as fun as it is in Jim Cummings’ and PJ McCabe’s “The Beta Test.”

Set within a smarmy world of Hollywood agents willing to manipulate and asskiss their way to wooing prospective clients, “The Beta Test” zeroes in on one distasteful chap named Jordan Hines (Cummings) willing to spend thousands of dollars to do just that. Despite having a well-paying job and a beautiful fiancée, Caroline (Virginia Newcomb), Jordan can’t help but feel that he’s becoming obsolete. The macho, alpha dog persona he once embodied pre-Weinstein can’t exist anymore, changing power dynamics in his personal and professional bonds. 

 Meanwhile, Jordan’s company (A.P.E.) is on the defensive from the Writers’ Guild of America, who claim A.P.E.’s use of talent “packaging deals” rips off writers while connecting them with industry higher ups. Repeating the same fake pleasantries minute after minute, along with planning for his wedding, Jordan is eager for a release from the colossal burden of his daily existence — a chance to indulge his entitlement. Soon enough, he receives a fancy letter inviting him to a no-strings-attached, blindfolded sexual encounter at a lavish hotel. Jordan, despite his early attempts to ignore the temptation, soon gives in, and has the time of his life. 

Afterwards, though, his actions start to gnaw at him: Who was the woman in the hotel room? Is he being blackmailed? Could Caroline have set him up? With his job and home life at stake, Jordan embarks on a farcical mission to uncover the truth — which holds far more paranoia and laugh-out-loud moments than viewers might expect. Plus, other people receiving the letters start turning up dead.

Indeed, Cummings’ and McCabe’s film is compulsively enjoyable, as we observe an abhorrent character get the reckoning he deserves, digging himself further and further into a Hell of his own making. Lampooning toxic masculinity, societal expectations of relationships, and the uncompromising access we permit online, sometimes unknowingly, “The Beta Test” excels in immersing viewers into Jordan’s crumbling headspace, all the while putting him in deliciously humorous situations that showcase just how truly pathetic he is.

Cummings — who previously directed the greenlit indie flicks “Thunder Road” and “The Wolf of Snow Hollow” — brings a finely calibrated chaotic energy to Jordan’s interactions. He tries to gain the upper hand through blatant lies, but more often than not winds up lashing out at those around him, brute-forcing his way to his goals. He’s extremely reluctant to appear vulnerable in front of anyone, including Caroline, only able to talk semi-honestly with his colleague, PJ (McCabe). In practically every scene, his pent up tension seems poised to explode at any point, but how long can he keep up the trickery and misdirection before it comes back to bite him? From posing as a detective to interrogating an innocent hotel clerk who refuses to take his frantic B.S., Jordan remains an aggravating presence from beginning to end, but a protagonist who’s so unlikable he’s almost endearing.

Similarly, the film’s editing, also done by Cummings, creates the sense that we can’t always trust what we see. A brief locking of eyes from across a room could spark Jordan’s suspicions, and the film lets us see the inner workings of his pervasive fixations. Absurd yet unsettling hallucinations, such as a Neanderthal-esque mating ritual, and dizzying montages ratchet up anxiety to a boiling point by the conclusion. Ben Lovett and Jeffrey Campbell Binner’s score expertly complements the heightening stress, while adding a touch of ironic melancholy at Jordan’s dying way of life, drenched in outdated workplace norms that, one hopes, will die off.

Side characters aren’t as well developed, but they add a welcome dose of groundedness to Jordan’s wild delusions. “The Beta Test” doesn’t spend much time at all with Caroline, probably by design, yet Newcomb’s acting effectively demonstrates her deep frustration at being constantly patronized and ignored. PJ, himself a successful agent who’s better able to pull off Jordan’s workplace schtick, is a loyal confidant, and his friendship with Jordan is easy to buy into. Jacqueline Doke gives a memorable turn as Jordan’s office assistant, Jaclyn, who is willing to maintain an illusion herself to advance her career.

The final reveals don’t pack as much of a cathartic punch as Jordan’s de-evolution, and some scenes of brutality aren’t necessary to get the story’s points across (particularly in a vicious opening that feels tonally separated from what follows). Still, “The Beta Test” is a scathing piece of work. My eyes were plastered to the screen, eager to see where the film would take me next. That “The Beta Test” is somehow able to remain comedically deft while tackling serious issues is undoubtedly impressive. So go ahead, I insist you give it a shot.

“The Beta Test” is a 2021 comedy directed by stars Jim Cummings and PJ McCabe. The film also stars Virginia Newcomb and Jacqueline Doke. It is not rated and runs 1 hour, 33 minutes. It opens in theaters and is available video on demand on Nov. 5. Alex’s Grade: B+ 

Muny Announces 7-Show Schedule for 104th Season; Two Premieres

Muny Announces 7-Show Schedule for 104th Season; Two Premieres

The Muny announced the exciting seven show lineup for its 104th Season in 2022 Thursday.

Joining the previously announced “Disney and Cameron Mackintosh’s “Mary Poppins” and Stephen Sondheim’s masterpiece “Sweeney Todd,” will be the 2021 show “Chicago” cut short and the second premiere, “The Color Purple,” in addition to three fan favorites.

The triumph of the 2021 season returns when six-time Tony Award-winning Chicago kicks of 2022 (June 13 – 19). The salacious turns enchanting with Lerner and Loewe’s Excalibur-sharp classic Camelot (June 22 – 28). Fulfilling two 2020 commitments to the Muny audience: all-time family favorite Disney and Cameron Mackintosh’s Mary Poppins (July 5 – 13) will finally soar over The Muny (July 5 – 13), followed by the long-awaited Muny debut of Stephen Sondheim’s spine-tingling musical masterpiece, Sweeney Todd (July 16 – 22). The fabulously fun award-winning musical Legally Blonde (July 25 – 31) bounces back to the Muny stage for its
first production in 11 years. Making its Muny debut, the landmark musical The Color Purple (August 3 – 9) bears a Grammy Award-winning score and moving tale of love, faith, resilience and sisterhood. Closing out the 104th Season is Tim Rice and Andrew Lloyd Webber’s multi-colored family favorite, Joseph and the Amazing Technicolor Dreamcoat (August 12 – 18).

The seven shows are: Chicago (June 13 – 19), Camelot (June 22 – 28), Disney and Cameron Mackintosh’s Mary Poppins (July 5 – 13), Sweeney Todd (July 16 – 22), Legally Blonde (July 25 – 31), The Color Purple (August 3 – 9) and Joseph and the Amazing Technicolor Dreamcoat (August 12 – 18).

“Last summer was extraordinary for so many reasons,” said Muny Artistic Director and Executive Producer Mike Isaacson, “and now we will return with our full seven show season, and this extraordinary line-up of shows.”

“More than ever, we are so grateful to be a place where the community gathers each summer,” said Muny President and CEO-elect Kwofe Coleman. “For what will be my first season as President and CEO, I am excited for us to produce a season that reflects the breadth of musical theatre and welcomes audiences from far and wide.”

Season ticket renewals will begin in December, with new subscriptions on sale in March 2022. Muny gift cards for the 104th Season are now available online and at The Muny Box Office. For more information, visit muny.org or call (314) 361-1900.

Information about auditions for the 2022 Muny season can be found at muny.org/auditions.


Show Descriptions:

Chicago
The triumph of the 2021 Muny season returns! Audiences and critics went “Whoopee!” for last
season’s thrilling production of Chicago. Following an abbreviated run and early close to the
2021 season, our 2022 season opens with this encore production! Hailed as “Musical Theater
Magic,” “Downright Breathtaking” and “Nothing Short of Brilliant,” Chicago was the talk of the
town! So re-start the car and head to Kander and Ebb’s internationally-acclaimed, Tony Award-winning musical about fame, fortune and justice. Merry murderesses Roxie Hart and Velma Kelly await!

Camelot
The Broadway legend returns for its first Muny production in 13 years! Come re-discover this
powerful, moving and enchanting tale of romance and political intrigue, as we all live for “one
brief shining moment.” Based upon T.H. White’s novel, Lerner and Loewe’s Camelot features a
lush and Excalibur-sharp score, including “If Ever I Would Leave You,” “What Do the Simple Folk
Do?” and of course, “Camelot.” With this enchanting classic tale, you are guaranteed an
unforgettable (k)night at King Arthur’s Round Table.

Mary Poppins
Based on one of the most popular films ever, Disney and Cameron Mackintosh’s Mary
Poppins returns to The Muny with its irresistible story, unforgettable songs and breathtaking
dance numbers! This Tony Award-winning stage adaptation shares the tale of the mysterious,
magical nanny who arrives to give the Banks family some order – and maybe a bit of tough love.
With winds in the east and mist coming in, your heart will soar for this enchanting show – and
yes, Mary Poppins will fly over The Muny!

Sweeney Todd
Muny premiere! The spine-tingling American musical masterpiece makes its long-awaited Muny
debut. Set in 19th century London, Sweeney Todd has captivated audiences around the world
with its murderous melodies and a haunting tale of love, revenge and hilarious mayhem.
Considered to be one of the greatest scores in Broadway history, this eight-time Tony Award-
winning musical offers both thrills and laughs and is guaranteed to be an unforgettable night at
The Muny


Legally Blonde
“Omigod You Guys,” Elle Woods returns! Based on the smash hit movie, Legally Blonde follows
the transformation of quintessential blonde Elle Woods from sorority sister to Harvard Law
graduate. Her journey of determination, self-discovery and finding true love receives its first
Muny production in 11 years. Complete with a chihuahua, a bulldog and a UPS guy, The Muny is
ready to “Bend and Snap” for a great time!

The Color Purple
Muny premiere! Based on Alice Walker’s Pulitzer Prize-winning novel and Steven Spielberg’s
landmark film, The Color Purple makes its long-awaited Muny debut! Featuring a Grammy
Award-winning score infused with jazz, ragtime, gospel and African blues, this moving tale is a
testament to the healing power of love, faith, resilience and sisterhood. Winner of the 2016
Tony Award for “Best Revival of a Musical,” this epic staging promises a joyous evening of
courage, hope and healing.

Joseph and the Amazing Technicolor Dreamcoat
Originally written by Tim Rice and Andrew Lloyd Webber as a children’s oratorio, Joseph and
the Amazing Technicolor Dreamcoat has, in time, expanded to become one of the most beloved
shows ever. The story of Jacob, his 12 sons, and the amazing Technicolor® adventures of Joseph
features a multi-colored score of favorites including “Any Dream Will Do,” “Go, Go, Go Joseph”
and “Close Every Door.” The first Muny production in a decade, audiences are guaranteed a
night of big Muny family joy – with, of course, a megamix!

Muny Mission

The Muny’s mission is to enrich lives by producing exceptional musical theatre,
accessible to all, while continuing its remarkable tradition in Forest Park. As the nation’s largest
outdoor musical theatre, we produce seven world-class musicals each year and welcome over
350,000 theatregoers over our nine-week season. Celebrating 104 seasons in St. Louis,
The Muny remains one of the premier institutions in musical theatre.
For more information about The Muny, visit muny.or

Metro Theater Company’s ‘Digging Up Dessa’ Champions Women in Science

Metro Theater Company’s ‘Digging Up Dessa’ Champions Women in Science

Metro Theater Company (MTC), St. Louis’s premiere professional theater for youth and families and St. Louis’ third-oldest theater company, opens its 2021/22 Season with Digging Up Dessa — a poignant, funny, and empowering family-friendly adventure that champions women in science while highlighting self-discovery in young people. Best for ages 10 and up, MTC presents Digging Up Dessa live at the Grandel Theatre, October 17 – November 7, with socially distant seating. A virtual streaming option is also available October 21 – November 7 at metroplays.org. Tickets are $20-$36 and available through MetroTix. 

Digging Up Dessa, written by playwright Laura Schellhardt, had its world premiere at The Kennedy Center in 2018 as part of the Women’s Voices Theatre Festival. The Washington Post celebrated it as a “handsome, funny show,” with D.C. area critics calling it “thoughtful entertainment that is intelligent and involving” (DC Theatre Scene) and “full of heart and innovation…. a rewarding piece of theatre for young audiences” (Theatre Bloom). 

Metro Theater Company’s production of Digging up Dessa is directed by MTC Artistic Director Julia Flood. The all-St. Louis four-member cast of performers includes Rae Davis as Dessa, John Katz as Nilo, Alicia Revé Like as Esther, and Lizi Watt as Mary Anning. 

Dessa is a modern-day 12-year-old with no shortage of mysteries to solve and fossils to find. Her days are filled with buried treasures just waiting to be uncovered. But when her family of three unexpectedly becomes a family of two, this smart, funny young scientist struggles to overcome her grief and anger at all the changes in her world. Dessa’s unlikely comfort comes from a remarkable new friend, one only she can see and hear—Mary Anning, the 19th-century paleontologist who discovered a breakthrough dinosaur fossil at the age of 12 and became a pioneer in her field. But why is her portrait not on the museum wall alongside those of her male counterparts? Dessa decides that she’s going to fight to earn Mary the respect she deserves. With help from her new classmate and once-rival, Nilo, Dessa unearths secrets of the past and present—for Mary’s legacy and her own way forward.
Digging Up Dessa is a 70-minute production with no intermission. The play is recommended for ages 10 and up.  
Themes of the play include comedy-drama-adventure, empowerment for girls, resilience, history, STEAM, and grief. 

WHEN: October 17 – November 7, 2021Sundays at 2 p.m.: Oct. 17, 24, 31 & Nov. 7
Fridays at 7 p.m.: Oct. 22, 29 & Nov. 5
Saturdays at 4 p.m.: Oct. 23, 30 & Nov. 6Wednesdays – Fridays at 10 a.m.: School matinees available upon request for in person field trips
WHERE: The Grandel Theatre, 3610 Grandel Square, St. Louis, MO 63103

TICKETS: Tickets are $20-$36 and are available now through MetroTix at 314-534-1111 or https://www.metrotix.com/events/detail/metro-theater-company-digging-up-dessa. 
Online virtual streaming begins at $20 and is available October 21 – November 7 through the MTC website at https://www.metroplays.org/dessa. (The video for the virtual streaming is from a mid-October filmed performance.)  

School groups can enjoy live performances or virtual field trips at heavily discounted rates, with streaming tickets available for $5 or less and in-person tickets available for $10 per student.

PAY-WHAT-YOU-CAN VIEWING PERIOD: Metro Theater Company is committed to ensure that economic barriers do not prevent families from experiencing its programs. MTC is offering a three-day pay-what-you-can viewing period October 21 – 23 for both virtual streaming and in-person performances. More information at https://www.metroplays.org/dessa.

COVID-19 SAFETY: Metro Theater Company has been approved as Missouri ArtSafe Certified. MTC continues to update its policies to protect all patrons from COVID-19 exposure risks. For Digging Up Dessa, the following safety measures apply:   

• Mask wearing is required for ages 2+• Guests ages 12+ must be fully vaccinated against COVID-19 and will be asked to show proof of vaccination upon arrival at The Grandel• Unvaccinated patrons ages 12+ with documented medical conditions must be able to provide a negative PCR test taken within 72 hours of the performance or a negative antigen test taken within 6 hours of the performance• A minimum of two empty seats and one empty row will separate all parties from one another in the theater
For more detailed information on Metro Theater Company’s COVID health policies, please visit metroplays.org/covid. 

SUPPORT:
Digging Up Dessa is supported in part by Berges Family Foundation, Regional Arts Commission, Emerson, Crawford Taylor Foundation, PNC Arts Alive, The Shubert Foundation, Whitaker Foundation, Centene Charitable Trust, and Missouri Arts Council. Streaming of Digging Up Dessa is part of MTC Remote, a new virtual initiative supported by PNC Arts Alive.

About Metro Theater Company: Since 1973, Metro Theater Company has been creating productions that respect young people’s intelligence, tell compelling stories, stimulate curiosity and provoke thoughtful reflection. The Company has reached a total audience of more than two million and has a national reputation for excellence in the field of professional theater for young audiences. Institutional support for Metro Theater Company is provided Berges Family Foundation, Regional Arts Commission, Emerson, Crawford Taylor Foundation, Shubert Foundation, Whitaker Foundation, Children’s Theater Foundation of America, Missouri Arts Council, National Endowment for the Arts, and the Arts and Education Council. Metro Theater Company has received major honors and awards, both locally and nationally. The company is led by Artistic Director Julia Flood and Managing Director Joe Gfaller. For more information, visit http://metroplays.org.