Lynn Venhaus

Total Post: 1131

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.

‘The French Dispatch’ Is An Extremely Rich, Tasty Concoction

‘The French Dispatch’ Is An Extremely Rich, Tasty Concoction

By Alex McPherson

Wes Anderson’s “The French Dispatch” is an experience as eye-popping as it is utterly overwhelming.

“The French Dispatch,” largely inspired by writers at The New Yorker magazine, including James Thurber, James Baldwin, Mavis Gallant, and others this Gen Z critic has never heard of, recounts the experiences of four writers at the French Dispatch of the Liberty, Kansas, Evening Sun newspaper based in a fictional French town. These writings take place within “Ennui-sur-Blasé” (Boredom-on-Blasé), which proves to be far from boring. The editor-in-chief, a strict yet sentimental chap named Arthur Howitzer Jr. (Bill Murray), has just died, leaving behind one final issue of the paper filled with eccentric happenings and colorful characters. 

Anderson’s film is structured like an anthology narrated by the author of each “article,” opening with a biography of Howitzer and ending with his obituary. We get a scene-setter from a beret-wearing cyclist, Herbsaint Sazerac (Owen Wilson). Sazerac sets the scene, showcasing a French town packed with people of all sorts, as well as hundreds of rats and cats. We then delve into an arts report by JKL Berenson (Tilda Swinton) as she gives a PowerPoint presentation on an (in)famous incarcerated painter named Moses Rosenthaler (Benicio Del Toro), his muse/prison guard Simone (Léa Seydoux), and a greedy art collector named Julien Cadazio (Adrien Brody) wanting to capitalize on Moses’ works.

Afterwards, viewers are launched into a rather intimate profile, written by Lucinda Krementz (Frances McDormand), of a young, insecure revolutionary named Zeffirelli (Timothée Chalamet), who amid the student uprising in 1968 engages in high-stakes chess matches with authority figures. “The French Dispatch” saves the best for last, however, as food columnist Roebuck Wright (Jeffrey Wright) — a gay Black man — discusses on a talk show a profile he wrote of Lt. Nescafier (Stephen Park), an esteemed chef of a local police chief The Commissaire (Mathieu Amalric). Both Wright and Nescafier are dragged into a life-or-death situation. 

Timothee Chalamet as Zefferelli

If this sounds like a lot to digest, you’d be correct. There’s so much movie here that it’s hard not to be mentally swamped. This lessens the impact of individual vignettes that are, by themselves, quite profound. Nevertheless, “The French Dispatch” provides a nonstop barrage of aesthetically pleasing eye candy that holds attention even as the overstuffed whole threatens to undermine the compelling characters on display.

Ennui-sur-Blasé is a meticulously crafted setting, a cinematic dollhouse that refuses to be categorized in simple terms. In typical Andersonian fashion, everything moves like a clockwork machine coming to life. A quiet neighborhood suddenly fills with activity upon the rising sun, sets transition between one another as characters walk from room to room, and elegantly symmetrical shot compositions are once again used in full force. Interestingly, “The French Dispatch” also alternates between black-and-white and color photography shot-to-shot — perhaps representing timeless bursts of humanity that transcend the written word. 

Each section utilizes Anderson’s style in different ways, paying homage to French filmmakers like Jacques Tati and François Truffaut, as well as cartoonists from The New Yorker. That being said, “The French Dispatch” knows when to subvert its rules to emphasize the darker elements of this charming, albeit troubled dreamworld, particularly concerning the existential threats that tinge Wright’s perspective with sadness and dread. For brief moments, the madcap fades away to zoom in on true, deeply felt emotions. Alexandre Desplat’s score perfectly accompanies the action, eliciting joy and melancholy.

Of course, there’s an outstanding amount of acting talent here (including some cameos I won’t spoil), and everyone brings their A-game, even if we only spend a few minutes with them. Murray, Del Toro, and Wright are standouts — lending their characters a sense of three-dimensionality that’s all the more meaningful in such cartoonish locations. Although some performances are more effective than others — Chalamet is somewhat one-note, for example — they’re perfect vessels to deliver Anderson’s signature playful, occasionally irreverent dialogue that seems even more obsessive than usual.

Although some might say “The French Dispatch” is style over substance, Anderson’s film grows more meaningful the more I think about it, stretching my Film Studies muscles to approach coherent conclusions. We see a literal tortured artist being exploited for profit, an aging journalist mourning her youth, childish revolutionaries blinded by idealism, and outsiders seeking comfort in an alienating world. While the second portion featuring McDormand and Chalamet comes across as a bit precious and rushed in places, there’s rarely a dull moment. Despite the sections’ differences, they’re thematically bonded through exploring concepts of belonging, passion, storytelling, and the creation of art itself with a whimsical edge that likely benefits from repeat viewings. 

Additionally, the notion of this newspaper traveling all the way back to corn-covered Kansas holds its own significance. Stories should be universal, after all, and “The French Dispatch” underlines how this form of humanistic journalism shouldn’t be discarded amid the changing media climate. As a tribute to artists of all kinds and a wistful thesis on the future of print, this is a film that deserves to be mulled over, and I’m eager to research the people who influenced it. Tighter pacing and more focus could have made it one of Anderson’s best, but “The French Dispatch” is most assuredly worth opening up.

Jeffrey Wright and Liev Shreiber

“The French Dispatch” is a 2021 comedy-drama directed by Wes Anderson and starring Bill Murray, Benicio del Toro, Lea Seydoux, Timothee Chalamet, Frances McDormand, Tilda Swinton, Adrien Brody, Jeffrey Wright, Owen Wilson and Elisabeth Moss. It’s run time is 1 hour, 48 minutes and is rated R for graphic nudity, some sexual references and language. In theaters Oct. 29. Alex’s Grade: B+.

Benicio del Toro, Lea Seydoux

 

Halle Berry, Jennifer Hudson, Barry Jenkins and Anthony Anderson to be Honored at the 4th Annual Celebration of Black Cinema, TV

Halle Berry, Jennifer Hudson, Barry Jenkins and Anthony Anderson to be Honored at the 4th Annual Celebration of Black Cinema, TV

Presented by the Critics Choice Association on Monday, December 6 in Los Angeles

The Critics Choice Association announced today select honorees for the annual Celebration of Black Cinema & Television, taking place on Monday, December 6 at the newly reimagined Fairmont Century Plaza Hotel. Since 2014, the Celebration of Black Cinema has honored standout achievements in Black filmmaking; this year, for the first time, the awards ceremony will also celebrate achievements in television. The event will feature 20 award categories (10 from film and 10 from television). A full list of honorees and presenters will be announced in the coming weeks.

Academy Award-winning actress Halle Berry will receive the “Career Achievement” Award as a tribute to her extraordinary roles over the years, as well as her highly anticipated directorial debut in her new film in which she also stars as the disgraced MMA fighter Jackie Justice in Netflix’s Bruised, which will release in select theaters on November 17 and globally on Netflix November 24, 2021. Berry’s career has spanned three decades, including performances in Die Another Day, Jungle Fever, Losing Isaiah, Bulworth, Swordfish, John Wick, and as legendary actress Dorothy Dandridge. She’s the first and only Black woman to win the Oscar for “Actress in a Leading Role” for her performance in Monster’s Ball in 2002.

“Berry’s iconic performances throughout her career have showcased her brilliance as an actor and blazed the trail for Black performers who have come after her. She has become the personification of excellence as she transcends from being in front of the camera to sitting in the director’s chair,” said Shawn Edwards, CCA Board Member and Executive Producer of the Celebration of Black Cinema & Television.

Emmy nominated Anthony Andersonwill receive the Producer Award for Television for his celebrated work on the critically acclaimed ABC series’ black-ish, grown-ish and mixed-ish. Anderson, who serves as an executive producer on all three series, has become a major force in Hollywood in front of and behind the camera.

Academy Award-winner Jennifer Hudson will be honored with the Actress Award for Film for her outstanding performance in the Aretha Franklin biopic, Respect. Hudson’s unique combination of singing and acting, perfectly captured the essence of the ‘Queen of Soul.’

Academy Award-winner Barry Jenkinswill receive the Director Award for Television for his critically acclaimed Amazon series The Underground Railroad, based on the Pulitzer Prize-winning novel by Colson Whitehead. The series was a transformative work of art that explored the perilous journey of an enslaved woman, Cora Randall, during her desperate bid for freedom in the antebellum South as she hopes to realize a life she never thought possible.

“2021 was an incredible year of creativity and growth in film and television, and we’re thrilled to be able to honor the changemakers who are making a difference,” said Critics Choice Association CEO, Joey Berlin. “Jennifer both starred in and executive produced Respect, giving the performance of a lifetime. Barry transformed the small screen with his innovative and thought-provoking series, The Underground Railroad which he wrote, executive produced and directed, and Anthony has become one of the most prolific and admired producers on television with black-ish, grown-ish, and mixed-ish,” Berlin added.

All Celebration of Black Cinema & Television honorees will be introduced by a prestigious group of presenters who will celebrate their work and their ongoing commitment to telling Black stories.

A portion of the proceeds will be designated to provide scholarships to students from underrepresented communities participating in the Academy of Motion Picture Arts and Sciences’ Gold Rising Program. The Academy Gold Rising Program is an industry talent development, diversity and inclusion initiative that provides individuals access and resources to achieve their career pathways in filmmaking.

The Celebration of Black Cinema & Television will be produced by Madelyn Hammond and Javier Infante of Madelyn Hammond & Associates and Swisher Productions, an event production agency specializing in live events.

About the Critics Choice Association (CCA) 

The Critics Choice Association is the largest critics organization in the United States and Canada, representing almost 500 media critics and entertainment journalists. It was established in 2019 with the formal merger of the Broadcast Film Critics Association and the Broadcast Television Journalists Association, recognizing the intersection between film, television, and streaming content. For more information, visit: www.CriticsChoice.com.

Virtuoso Performances Highlight Stray Dog’s Riveting ‘Blue/Orange’

Virtuoso Performances Highlight Stray Dog’s Riveting ‘Blue/Orange’

By Lynn Venhaus

Three actors deliver brilliantly nuanced performances in “Blue/Orange,” a multi-layered satirical comedy-drama that focuses on madness, health care and race within a framework of frustrating bureaucracy and power struggles.

William Humphrey, Ben Ritchie, and Jason Meyers turn in some of their best work by grasping every shifting thought, trigger and changing attitude in conversations that blur lines on mental health.

The discourse is hefty and the roles demanding, for the characters are opaque. Allegiances switch as reasoning seems plausible – but one can’t ever be certain in these fiery exchanges.

Stray Dog Theatre is presenting this intellectually stimulating material as its first indoor show inside the Tower Grove Abbey, their longtime home, in 2021. With a contemporary focus that is more tragic than comic, that tone suits the production’s interpretation of this thorny material.

Shrewdly written by British playwright Joe Penhall, known primarily for several “fringe” works, and set in a UK institution, the play, first staged by the National Theatre in 2000, went on to win the Laurence Olivier Award for Best New Play, with Bill Nighy, as Robert, and Chiwetel Ejiofor as Christopher, nominated for several acting awards.

(More fun facts: Andrew Lincoln played Bruce and the three moved on to the London West End in 2001. The next year, the show opened off-Broadway, with Harold Perrineau Jr. as Christopher, and an acclaimed British revival in 2016 starred Daniel Kaluuya as the patient.)

Stray Dog has wisely decided to forego British accents, so that we are not distracted from the dense amount of dialogue that rapidly volleys back and forth.

The day before Christopher (William Humphrey) is supposed to be discharged from a psychiatric ward, his doctor (Jason Meyers) begins to have reservations that he shouldn’t be released. He shares his concerns with a senior colleague (Ben Ritchie).

Practically jumping for joy as the hyper Christopher, Humphrey is gleefully ready to go – and already packed. He still insists his father is former Ugandan dictator Idi Amin Dada Oumee and sees the pulp inside an orange as blue. In his mind, is this real or delusional? Thus begins a bureaucratic battle.

As the now confused patient becomes increasingly agitated, is he having an acute psychotic episode or is he being unduly provoked? What must happen to prevent him from leaving?

Christopher was diagnosed with a borderline personality order, and on day 28 at the London National Health Service mental hospital, he is due for release – unless a diagnosis changes.

As Dr. Bruce Flaherty, Meyers sees red flags and makes a convincing case that Christopher could be a paranoid schizophrenic. His superior, Dr. Robert Smith, doesn’t detect it. Exuding authority and clinical acumen. Ritchie recites reasons why psychiatry can fail black men like Christopher. After all, Dr. Smith is writing a book – interesting! – on the cultural and ethnocentrism factors that come into play in these situations.

Perhaps drum beating and seeing himself as a “white savior,” the imperious Robert thinks Christopher should return to his neighborhood for the cultural support – even though he lives alone and doesn’t know that many people. Sure, his behavior is odd, but is it cause for alarm?

Smith is worried that if Christopher stays longer, he could get worse and thus begin a never-ending cycle — or is that more of a reflection on the lack of beds and prevalent bottom-line thinking?

Christopher would really like to return to Africa, where he says he has a job, but will settle for his diverse London borough neighborhood if it means his freedom. And there is a probable threat of being attacked by racist thugs, so his fear seems real, but is it indicative of instability – and is pompous Robert being patronizing?

England’s cultural population includes Caribbean and African expatriates, and there are statistics that more black people, percentage wise, are in mental and penal institutions.

And what exactly causes seemingly stable Bruce’s third-act meltdown – and earlier blurting out the “N” word, which could fill an entire act with discussion. This really complicates the narrative, not just exposing an ugly prejudice and stereotypical thinking.

However, the roots of the problems are in the eye of the beholder. As the two professionals argue, drawing Christopher, pawn-like, into a tug of war of damaging rhetoric – clearly emotional scars are being inflicted.

Is this in any way beneficial and do the doctors think this will advance their careers?  

Penhall’s incendiary words, written more than two decades ago, seems as urgent now as they were relevant then. This is a living, breathing work that changes direction throughout its two acts, and the verbal dexterity required is admirable.

In a bracing portrayal, Humphrey straddles the line of helpless vulnerability and angry advocate for getting his life back on track. Both instinctive, Ritchie and Meyers convincingly earn and lose their characters’ credibility.

Associate Artistic Director Justin Been deftly moves the actors around so that we are caught off-guard as characters reveal their positions, transferring the ‘edge’ around – and the performers never get ahead of the script, not tipping their hand about what’s next.

The cast has smartly constructed their roles. It’s an exemplary showcase of control, and lack of, as perceptions differ and speeches flow.

“Blue/Orange” could have easily turned preachy but keeps its intensity, although the second act gets weighed down somewhat with repetitive opinions. And while it’s not predictable, the ending may not satisfy those who have become invested in Christopher’s well-being.

Besides directing, Been also designed the claustrophobic set and the sound, and both he and Artistic Director Gary F. Bell gathered the props. Lighting designer Tyler Duenow maintained the setting’s institutional glare.

The hell that is the ever-present boondoggle for those suffering from mental illness shows no sign of improvement in today’s uncertain world. As this riveting production demonstrates, it’s a difficult subject to ponder, and “Blue/Orange” daringly takes a stand.

Jason Meyers, William Humphrey and Ben Ritchie in “Blue/Orange.” Photo by John Lamb.

“Blue/Orange” is presented Thursday through Saturday, Oct. 7-9, 14-16 and 21-23 at 8 p.m., with a 2 p.m. matinee on Sunday, Oct. 17, at the Tower Grove Abbey, 2336 Tennessee Avenue, St. Louis, 63104.

Limited tickets are available because of physical distancing throughout the theater. For more information or tickets, visit www.straydogtheatre.org, or call 314-865-1995.

Safety precautions because of the COVID-19 public health crisis are in place for guests, actors, and staff. Masks are required to be worn by all guests, regardless of vaccination status. Stray Dog Theatre recommends, but does not require, that all guests be vaccinated. The up-to-date guidelines can be found on their website.

Documentary ‘Becoming Cousteau’ Takes Deep Dive Into Icon’s Work

Documentary ‘Becoming Cousteau’ Takes Deep Dive Into Icon’s Work

By Lynn Venhaus
Oceanographer Jacques-Yves Cousteau made underwater exploration his life’s passion. In his unmistakable red knit cap and sailing the intrepid vessel The Calypso, he got our attention through his inspiring voyages.

This competently assembled documentary from director Liz Garbus looks at his extraordinary life, achievements, and tragedies. Garbus, an Emmy winner for “What Happened, Miss Simone” and Oscar nominee for “The Farm: Angola, USA,” uses newly restored footage from his archives to create a respectable biography.

Narrator Vincent Cassel reads some passages from Cousteau’s diaries, and his aquatic life was cinematic-ready, so the visuals are what holds one’s attention.

If you are not familiar with his life’s work, finding out about Cousteau’s co-invention of the Aqua-lung, a breathing apparatus for below the ocean’s surface, his innovative filmmaking techniques for under the sea, and his early efforts on conservationism are fascinating.

If you paid attention to his adventures, so well-documented in 120 television documentaries and more than 50 books, then you won’t be surprised – but perhaps have a newfound appreciation for all that he did.

The film is best when it is in water, but not as interesting when it’s on land. The man himself preferred the water too. (His first wife said he ‘smelled like the sea.’) A curious, restless man, the ocean was his oxygen.

He was a young officer in the French Navy when he started his underwater pursuits. His first book, “The Silent World: A Story of Undersea Discovery and Adventure,” was published in 1953.

As a film pioneer, he adapted his book into a documentary, “The Silent World,” with filmmaker Louis Malle that won an Oscar and the Palme d’or at the 1956 Cannes Film Festival. A restless man, the ocean was his oxygen,

During his heyday in the 1970s, he was a household name. John Denver released a popular tribute song, “Calypso,” in 1975, and his television show, “The Undersea World of Jacques Cousteau” ran on ABC from 1966 to 1976. PBS then ran his “The Cousteau Odyssey” from 1977 to 1982.

After his death in 1997 from a heart attack at age 87, Cousteau’s foundation kept up his environmental work, but the younger generation doesn’t know much about his achievements. He was one of the first to sound alarms about the environment and climate change, growing more panicked about the fate of mankind as the issues grew.

His personal life was complicated – not a particularly good husband or father, which he admits on camera, and his long absences from home affected his two sons, Jean-Michel and Philippe. At age 38, Philippe was killed in a plane crash, which devastated his parents, and Jacques became more driven about work – if that was even possible.

Some of his personal flaws are merely mentioned, but not really delved into – if you’re a tad confused about his marriages, join the club. When his wife of 53 years, Simone, died of cancer in 1990, he married Francine Triplet six months later – although he already had two children with her – Diane and Pierre-Yves. (Hmmm?) Both kids are co-producers of the film. Hmmm…

And while he had missteps – working for petroleum companies early in his career, for example, to pay the bills, his legacy is undeniable.

“Becoming Cousteau” is a nostalgic reminder of how we learned more about sea life through his perspective, and what a beautiful world he introduced us – whether we were enthralled kids or intrigued adults.

“Becoming Cousteau” is a 2021 documentary from National Geographic directed by Liz Garbus. Rated PG-13 for brief strong language, some disturbing images and smoking, its run time is 1 hour, 33 minutes. It opens in theaters on Oct. 22. Lynn’s Grade: B

Stylish Western ‘The Harder They Fall’ Falters with Flat Story

Stylish Western ‘The Harder They Fall’ Falters with Flat Story

By Lynn Venhaus
A good-looking film with a kicky soundtrack, “The Harder They Fall” comes across as a bloody western shot like a music video.

It’s no surprise, because first-time director Jeymes Samuel, a music producer and singer-songwriter known as The Bullitts, is a protégé of Jay-Z and worked with him on “The Great Gatsby” soundtrack for director Baz Luhrmann. Under his real name, Shawn Carter, Jay-Z is one of the film’s producers.

Samuel demonstrates an appealing slick style, but sadly the well-worn story lacks substance. Co-written by veteran screenwriter Boaz Yakin and Samuel as a tale of revenge and robbery, it’s merely ordinary – without much character development, squanders the talents of its extraordinary cast that includes solid-gold Idris Elba, Regina King and Delroy Lindo, with rising stars Jonathan Majors, Zazie Beetz and LaKeith Stanfield, who just gets better with every role.

The lethal shoot-outs and blood-spurting showdowns, an integral part of the western genre, are repetitive and do little to advance a gripping story. Overall, the plot is run-of-the-mill, mostly predictable, except for the third act revelation.

It’s unfortunate because you want to root for this type of new western that spotlights black cowboys. Supposedly, on the western frontier, one in four cowboys were black, and they haven’t been given proper due in America’s history on ‘go west’ and the great migration.

In the beginning, the director states that the story is fiction, but the people existed. Most of the action takes place in Redwood City, which was a primarily black community.

Faring well in this film are emerging stars Danielle Deadwyler as Cuffee, who identifies as him and would like a career in law enforcement, and Edi Gathegi as Bill Pickett, a young trigger-happy hotshot.

RJ Cyler has a solid turn as sharpshooter Jim Beckworth as does Deon Cole as Wiley Escoe, but it is Majors’ film. His outlaw Nat Love, no matter how many times he’s intimidated or dismissed, is driven and relentless.

Playing a man of few words who acts quickly, Elba’s physicality is felt throughout, a foreboding presence from the opening scene where he takes down a family, to breaking out of chains in prison stripes, and then as a feared frontier gang leader.

An interesting twist is how fierce the women are – Regina King as “Treacherous Trudy” and Zazie Beetz as Stagecoach Mary. They take the bullets out of their guns and use their fists and hand-held weapons for a rip-roaring knock-down drag-out brutal fight.

With its attractive production elements, the movie benefits from cinematographer Mihai Malaimare Jr.            ‘s framing of these newly constructed towns, showcasing the period production design by Martin Whist, with editing by Tom Eagles. The violence is graphic – a blown-off arm here, an exploding head there.

Amid the dusty outdoors and bullet-ripped clothes, Antoinette Messam’s costume design features a wide range of interesting vintage hats and lived-in frontier wear, with a few striking dusters and coats adding to the characters’ stature. You can always pick out Nat Love because of his jaunty red kerchief.

Not to be confused with a 1956 movie of the same name starring Humphrey Bogart, “The Harder They Fall” unfortunately lacks staying power because it preferred style over substance.

“The Harder They Fall” is a 2021 western directed by Jaymes Samuel and stars Idris Elba, Jonathan Majors, Regina King, Zazie Beets, LaKeith Stanfield, Delroy Lindo and Danielle Deadwyler. Rated R for strong violence and language, the run time is 2 hours and 16 minutes. In theaters Oct. 22 and streaming on Netflix on Nov. 3. Lynn’s Grade: C+

‘American Underdog’ To Be Centerpiece Event at St. Louis International Film Festival

‘American Underdog’ To Be Centerpiece Event at St. Louis International Film Festival


Cinema St. Louis (CSL) is pleased to announce that the Centerpiece Event of the 30th Annual Whitaker St. Louis International Film Festival (SLIFF) — held Nov. 4-21, 2021 — is “American Underdog,” a Kingdom Story Company production distributed by global content leader Lionsgate (LGF.A, LGF.B) and opening in theaters December 25. Kurt and Brenda Warner, who served as executive producers on the film, will attend and participate in a post-screening Q&A.

“American Underdog” tells the inspirational true story of Kurt Warner (played by Zachary Levi), who went from a stock boy at a grocery store to a two-time NFL MVP, Super Bowl champion, and Hall of Fame quarterback.

The screening will be held at 8 p.m. Monday, Nov. 8, at the Tivoli Theatre, 6350 Delmar Blvd. Tickets are $50 and go on sale at 9 AM for CSL members and 1 PM for the general public on Friday, Oct. 22, through the CSL website, www.cinemastlouis.org.

St. Louisans need no reminders about Warner’s storied career, which started here with the Rams when he went from essentially unknown backup to starter in 1999 after Trent Green suffered a torn ACL in the preseason. The Rams, of course, won the Super Bowl that season, and Warner and the “Greatest Show on Turf” went on an historic three-year offensive spree that produced a second
Super Bowl appearance.

Later, Warner did it again, taking the perennially woebegone Arizona Cardinals — another franchise familiar to locals — to their first Super Bowl.

Kurt Warner as St Louis Rams Quarterback

The film centers on Warner’s unique story and the years of challenges and setbacks that could have derailed his aspirations to become an NFL player. It is only with the support of his wife, Brenda (played by Anna Paquin), and the encouragement of his family, coaches, and teammates that Warner perseveres and finds the strength to show the world the champion that he already is. “American
Underdog” is an uplifting story that demonstrates that anything is possible when you have faith, family, and determination.

Also starring Dennis Quaid, the film is directed by the Erwin brothers from a screenplay by Jon Erwin & David Aaron Cohen and Jon Gunn, based on the book “All Things Possible” by Kurt Warner and Michael Silver. The producers are Kevin Downes, Jon Erwin, Andrew Erwin, Mar Ciardi, and Daryl Lefever.

To protect the safety and health of patrons, SLIFF will require masks and proof of vaccination at this and all in-person screenings. No concessions will be available. Full details on Covid-19 safety measures are on the Cinema St. Louis website: cinemastlouis.org.

Dune: Sand, Space and Part One of Visually Stunning Sci-Fi Adventure

Dune: Sand, Space and Part One of Visually Stunning Sci-Fi Adventure

By Lynn Venhaus
As far as big-budget cosmic spectacles go, “Dune” is impressive at filling the screen with wonder.

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

A mythic hero’s journey, “Dune” is the big-screen adaptation of Frank Herbert’s seminal 1965 bestseller about a feudal interstellar society in a galaxy far, far away, which is set in a distant future.

It’s the story of Paul Atreides, a gifted young man born into a great destiny beyond his understanding. As part of the noble house of Atreides, he must travel to Arrakis, the most dangerous planet in the universe for the future of his family and people.

The desert wasteland planet has an exclusive supply of “mélange,” aka “the spice,” a drug that extends life and enhances mental abilities. As it is the most precious resource in existence, malevolent forces are at work to prevent this, and only those who can conquer their fear will survive.

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

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

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

Josh Brolin, Oscar Isaac and Stephen McKinley Henderson

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

“Dune” is a 2021 science-fiction action adventure directed by Denis Villeneuve. It stars Timothee Chalamet, Rebecca Ferguson, Zendaya, Oscar Isaac, Josh Brolin, Jason Momoa, Dave Bautista, Stellan Skarsgard, and Javier Bardem. Rated PG-13 for sequences of strong violence, some disturbing images and suggestive material, its run time is 2 hours, 35 minutes. It opened in theaters Oct. 22 and is streaming on HBO Max for 31 days. Lynn’s Grade: B.

Haunted Garage Horror Festival This Weekend at The Gaslight Theatre

Haunted Garage Horror Festival This Weekend at The Gaslight Theatre

The First Annual Haunted Garage Horror Festival will take place Friday, Oct. 22, and Saturday, Oct. 23 at The Gaslight Theatre in the Central West End, 358 N. Boyle Ave., St. Louis

For tickets: Visit: https://filmfreeway.com/HauntedGarageHorrorFest/tickets

On Friday night, two experts on horror films will present “Dead Talk” at 7 p.m. Coltan Schrivner, an expert on morbid curiosity and horror, will talk about “The Psychological Benefits of Horror.” Antonio Pantoja will speak on directing horror and the horrors of life after post production.

It will be followed by “One Must Fall,” a 2018 horror-comedy slasher set in the 80s about a woman wrongfully fired from her office job and forced to take on a temporary job on a crime scene cleanup crew.

The film festival program will begin at 10:30 a.m. Saturday, Oct. 23, and conclude with awards presentation at 8:45 p.m. A short horror film, “Face Mask,” which is not in competition, will be shown at 7:22 p.m. Saturday.

Face Mask will be shown Saturday night

Micro Shorts Under !0 Minutes Selected:
Video Man by Peter Lundholm .
SMASHING by Kent Flaagan
Spin to Win Samantha Steinle
Intruder by Adam Mick Laughlin
Elegy for Unfinished Lives by Adam E. Stone
The Stop by Tom and Scott Hipp
One Nice Thing by Cory Byers
Chimera by Christian Wood

Short Films Under 59 Minutes
Safe Ride by Randy Rambeau
And The Darkness by Andrew Huggins
You Made Me by Ruben A. Sanchez
Cook with the Heart by Mike Hayhurst

Feature Films
Valentine Crush by Jamie Michael Wede
Mary by Khiray Richards
FRESH HELL by Ryan Imhoff and Matt Neal
A Savannah Haunting by William Mark McCullough
Massacre Academy by Mark Cantu

Student Film Selections
Last Bite by Ashley Seering
Abducted by Vincent Augusto
Packed Lunch by John W. Iwanonkiw

“The Last Bite”

ABOUT THE FESTIVAL
The 100 mile stretch to the west of the Mississippi has been a place of interest in horror film history. Unforgettable films such as Escape from NY, White Palace, and Up in the Air all have been filmed in this great midwestern state – Missouri. To honor a burning ember tradition of horror film’s place in our community, the guys from the Haunted Garage Podcast will be hosting Saint Louis’s first Haunted Garage Horror Film Festival this October!

The goal of this first year of our fest is to create a place where filmmakers of all levels can merge in a mutual love of the art of horror. Whether you are a film student or a seasoned industry professional, this festival is for you. In addition to screening student films and high budget, feature films, we have also recruited various film and horror experts to share their knowledge and stories of the trade. Among those in attendance will be Antonio Pantoja, the director of “One Must Fall,” who will share his experience on directing horror films, how to distribute your film, and post production costs. We will also be welcoming researcher and writer Coltan Scrivner, the leading expert in the science of Morbid Curiosity, to speak about the psychological benefits of horror and scary play.

Lastly, we are devoted to promoting diversity in filmmaking. We have selected trained judges from various parts of the country to provide a selection process that is fair and consistent for all film submissions. It will be our pleasure to welcome filmmakers of all races and genders so that we may all gain insight into horror filmmaking from all perspectives of human life.

We desire to turn Saint Louis and its surrounding counties into a safe, scary space where a diverse pool of horror content creators can meet, network, and learn – together.

May the best horror story win!

Awards & Prizes

Best of Horror “The Vincent Price”
$500.00 & Trophy *
(Only Feature Films are eligible )

Best Horror of Missouri/Illinois
$250 & Trophy *
(Illinois / Missouri Residents Only)
All categories are eligible for this Award

$250 & Trophy *
Best Student Film

Best Horror Short *
$100 & Trophy

Individual Awards:
Best Director
Best Actor (Male & Female Role)
Best Editing
Best Sound Design
Best Practical Effects
Best Special Effects
Best Original Music
Best Cinematography
Best Writer/Screenplay (Jason C. Klefisch Award)

*Must be in attendance to accept cash prizes. Trophy’s will be sent at shipping cost to winners if not in attendance.Rules & Terms

• Short Films must be shorter than 50 minutes and longer than 10 minutes. Feature films
must be 50 minutes or longer
• We accept all foreign films as long as english subtitles are present, so long as they were created in the United States of America.
• Selected films will be screened in front of a Live audience
• We are not responsible for copyright infringement on your materials
• All submitters agree to the terms and conditions and to receiving marketing emails and

For more information, visit: https://shiftfilms.net

‘Mass’ Is Hard-Hitting, Honest Drama

‘Mass’ Is Hard-Hitting, Honest Drama

By Alex McPherson 

Unrelenting and riveting, director Fran Kranz’s directorial debut, “Mass,” provides a complex meditation on grief and healing, as well as a mesmerizing showcase of acting talent.

The story largely takes place within a rural Episcopalian church, where the parents of two children gather to have a discussion concerning an incident that’s haunted them for six years. One of these children, named Evan, was slain in a school shooting by the other, named Hayden, who then killed himself. The parents attempt to gain greater insight and reach emotional catharsis after their lives were permanently changed. 

Following an opening where church employees Judy (Breeda Wool) and Anthony (Kagen Albright) anxiously prepare the sterile room for the meeting, all the while supervised by social worker Kendra (Michelle N. Carter) and a large crucifix on the wall, parents Jay (Jason Isaacs) and Gail (Martha Plimpton) arrive. Jay puts up a veneer of strength and stability, but there’s a simmering anger bubbling within that threatens to break loose at any moment. Gail is nearly monosyllabic and often requires Jay to speak for her, only growing more cagey when Hayden’s parents — uptight, sharply dressed Richard (Reed Birney) and deeply earnest Linda (Ann Dowd) — show up. As the conversation shifts from awkward pleasantries to burning anger, rage, sorrow, and compassion, we’re forced to sit with these people in their raw exchanges, authentic in their relatable contradictions. 

Indeed, “Mass” is a harrowing, bleak, and profoundly real story, unfolding at an almost real-time pace. Kranz’s first feature plays like a horror film. It leaves viewers with the ideas that grief can’t always be overcome, that fighting for clear-cut answers can itself victimize, that communicating anguish is a messy and unpredictable task, and that true empathy is all-but-required to make peace with a world that refuses to make sense.

Needless to say, “Mass” isn’t an easy watch, but it’s impossible to avert your eyes from the screen once it begins. We feel the parents’ claustrophobia and vulnerability in being molded from the horrific act of violence all these years later. There’s no tidy resolution to this meeting of four broken souls, presented with the best acting I’ve seen all year so far. Each of them approaches the situation with different attitudes and perspectives, which gradually erode and evolve as their conversation carries on. 

Isaacs brilliantly depicts Jay’s internal battle of impatience, lending the film considerable tension as tempers escalate. Plimpton shines as a mother who has experienced irreparable loss and who enters the conversation unsure of what exactly she wants to get out of it — retribution or forgiveness? Richard and Linda, the parents of the shooter, are just as layered. Richard’s initial defensiveness belies the guilt he harbors, blaming himself for Hayden’s decisions. Linda, gestures of goodwill notwithstanding, is also self-loathing — torn between her motherly love for Hayden and the act that forever harms his memory. Portrayed by Dowd with heartbreaking power, Linda at one point states that she continues to mourn her son even as her community doesn’t.

Kranz, who wrote the screenplay in addition to directing, excels in giving his subjects naturalistic dialogue that never once loses its authenticity. Hot button topics are brought up briefly, but the film doesn’t jam them into the narrative. Rather, by focusing on a small group of individuals confronting a deeply personal disaster, “Mass” handles its sensitive subject matter in a respectful manner without talking down to viewers. Additionally, religious aspects of the plot are used for subversive means. The difficulty of confronting the unspeakable and practicing forgiveness can’t be done through belief alone, after all, but through individual determination and perseverance.

Although “Mass” would likely work equally as well as a stage production, Kranz and editor Yang Hua Hu deploy cinematic stylings that, for the most part, amplify the proceedings. The editing gives Isaacs, Plimpton, Birney, and Dowd each their time in the spotlight, while the camera work progresses from static to handheld, and the aspect ratio condenses with new revelations. Kranz also brings the camera outside the church at brief intervals, emphasizing critical moments while not always feeling totally necessary.

Jason Isaacs and Martha Plimpton appear in Mass by Fran Kranz, an official selection of the Premieres section at the 2021 Sundance Film Festival. Courtesy of Sundance Institute | photo by Ryan Jackson-Healy.

In the end, “Mass” is tough to recommend to general audiences, but a film that’s difficult to fault in any particular area. It’s a near-perfectly constructed drama, one that refuses to sugarcoat life’s uncompromising reality, and that remains all the better for it. 

“Mass” is a 2021 drama written and directed by Fran Kranz. It stars Ann Dowd, Martha Plimpton, Reed Birney and Jason Isaacs. It is rated PG-13 for thematic content and brief strong language, and the runtime is 1 hour, 50 minutes. In theaters Oct. 22. Alex’s Grade: A