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.

Rep-Commissioned Play ‘Until the Flood’ Receives Broadcast Premiere

Rep-Commissioned Play ‘Until the Flood’ Receives Broadcast Premiere

Dael Orlandersmith’s award-winning piece examining Ferguson, Missouri in the wake of Michael Brown’s death airs nationwide November 15

ST. LOUIS – After the death of Michael Brown in Ferguson in 2014, The Repertory Theatre of St. Louis commissioned acclaimed writer and performance artist Dael Orlandersmith to create a piece focused on the aftermath and a nation’s struggle for justice and freedom. Until the Flood’s 2016 world premiere at The Rep received critical acclaim, was named Outstanding New Play by the St. Louis Theater Circle Awards and has been produced around the country and in Ireland, Scotland and England.

The Rep, in collaboration with ALL ARTS and other theatres across the nation, will premier Rattlestick Playwrights Theater’s 2018 production online on Sunday, November 15 at 7 p.m. CST on the free ALL ARTS app and allarts.org, a broadcast and digital platform dedicated to the arts. This production features the same playwright/actor, director and design team that originated the piece at The Rep in 2016.

“The Rep is proud to support artists who examine our past, point us towards our future and bring us to a new understanding through art,” said The Rep’s Augustin Family Artistic Director Hana S. Sharif. “Dael’s work helps us examine a moment that forever changed our region.” 

Based on extensive interviews following the August 2014 shooting of Black teen Michael Brown by white police officer Darren Wilson, this tour-de-force one-woman show, directed for the stage and television by Neel Keller, gives voice to a community haunted by injustice and a country yearning for change. Brown’s death ignited weeks of social unrest, propelled the activist movement known as Black Lives Matter and prompted an investigation by the U.S. Department of Justice.

Orlandersmith traveled to the St. Louis region a few months after the shooting to conduct interviews with dozens of people. From these intimate conversations, she created eight unforgettable characters who embody a community struggling to come to terms with the personal damage caused by these complex events. Experienced in performance, these voices offer haunting reminders of America’s continuing struggle with racism and justice. 

Awarded a “Critic’s Pick” by the New York Times and acclaimed by critics and audiences across the country, Until the Flood is an unmissable drama that the Chicago Tribune raved, “achieves a great beauty by bringing us together rather than driving us apart.”

Joining Rattlestick in sponsoring the broadcast premiere are The Repertory Theatre of St. Louis, which originally commissioned the piece, A Contemporary Theatre in Seattle, Center Theatre Group in Los Angeles, Denver Center for the Performing Arts, Goodman Theatre in Chicago, Milwaukee Repertory Theater and Portland Center Stage.

Following the November 15, 2020, broadcast premiere, Until the Flood will be available for on-demand viewing on ALL ARTS until the Fall of 2023.

For more information, visit repstl.org or call The Rep Box Office at 314-968-4925. 

Ellie Kemper Joins Metro Theater’s Virtual Reading of ‘A Christmas Carol’

Ellie Kemper Joins Metro Theater’s Virtual Reading of ‘A Christmas Carol’


Metro Theater Company (MTC), St. Louis’s premiere theater for youth and families, presents a special virtual event for families this December to help keep the community connected during a holiday season that has been transformed by the COVID-19 pandemic.

MTC’s A Christmas Carol brings together artists, athletes, civic leaders, media personalities, and first responders, for a streamed reading of Charles Dickens holiday classic Thursday, December 10 at 6:30 p.m. and Sunday, December 13 at 2:30 p.m. The public can register for free or make a donation with their registration. As a thanks for a donation of $50 or greater, audiences can receive a commemorative DVD or digital download of the broadcast. The DVDs will be available for all donations made through January 1, 2021.

The beloved holiday story of redemption, transformation, and goodwill comes to life in this all-St. Louis reading. Metro Theater Company Artistic Director Julia Flood adapted the story to produce the hour-long program.

More than 25 outstanding St. Louisans serve as readers for the broadcast, each contributing excerpts on camera, stitched together to create the final broadcast. While additional readers will still be announced, the lineup includes Emmy-nominated television star Ellie Kemper, St. Louis Cardinals first baseman Paul Goldschmidt, two-time Tony Award-winning actress Judith Ivey, St. Louis Cardinals president of baseball operations John Mozeliak, Grammy Award-winning soprano Christine Brewer, film, stage and voice actor Ken Page, nationally syndicated columnist and St. Louis Post-Dispatch editor Aisha Sultan, St. Louis-based American Ninja Warrior Jamie Rahn, president of the St. Louis Black Authors of Children’s Literature Julius B. Anthony, and medical director for the St. Louis Fire Department Mark Levine. 

Metro Theater Company’s virtual reading follows a long tradition of readings of Dickens’ novella. Public readings of A Christmas Carol—one of the most beloved and famous holiday stories ever written—have been around since 1853. Dickens adapted the work for public readings, doing more than 120 performances until his death in 1870. The popularity of the readings—staged readings, radio-style readings, family readings, and now virtual readings—continues as does the enchantment of the story of Ebenezer Scrooge, and his transformation into a sympathetic man through visits from the ghost of Jacob Marley and the spirits of Christmas Past, Present and Yet to Come. 

All funds raised through donations to this event will support MTC’s programs during COVID-19 to connect young people to the power and impact of theater, through live performances, virtual programs, and arts-integrated classroom experiences. Corporate and individual sponsorships are available.

WHEN:       Thursday, December 10 at 6:30 p.m. and Sunday, December 13 at 2:30 p.m.  

WHERE:       Virtual Event at http://metroplays.org/christmascarol 

TICKETS:  Tickets are free. Donations are appreciated. Registration is required to receive the link for streaming.

A downloadable digital recording or commemorative DVD is available through January 1, 2021 with a donation of $50. Donors who give $250 or greater will receive the recording as well as a commemorative set of MTC mugs and a hot chocolate mix from St. Louis’s own Kakao Chocolates.

To register for free or to make a donation, please visit http://metroplays.org/christmascarol. 

NOTES:        A Christmas Carol: A St. Louis Virtual Holiday Reading is 60 minutes and recommended for ages 6 and up. 

Major support for Metro Theater Company is provided by Emerson, Centene, Arts & Education Council, Berges Family Foundation, Kranzberg Arts Foundation, Missouri Arts Council, National Endowment for the Arts, and Regional Arts Commission. 

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. 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. 

Fox Announces Holiday Tours

Fox Announces Holiday Tours

The Fabulous Fox Theatre has announced holiday tours of the beloved landmark to begin following Thanksgiving and continuing through December.  Inspired by CharlesDickens’ “A Christmas Carol,” this delightful tour is titled “A Dickens of a Tour” and depicts several of that tale’s characters including the ghosts of Christmas Past and Present, Jacob Marley, Victorian dancers and more! 

This unique hour-long tour includes some of the history of the Fox Theatre while it is beautifully decorated for the holiday season.  Guest will visit five stations with access to backstage and the Fabulous Fox stage.  The tours are under the direction of Lara Teeter, Creative Director and Larry Pry, Music Director.

Tours will take place on the dates and times as follows and will be limited to 16 people per departure.

Tour times for Friday, November 27; Saturdays, November 28 and December 5 and 26; Sundays, November 29 and December 6, 13, 20 and 27 are:  1 p.m., 1:10 p.m., 1:20 p.m., 1:30 p.m., 1:40 p.m., 2:30 p.m., 2:40 p.m., 2:50 p.m., 3 p.m., 3:10 p.m., 4 p.m., 4:10 p.m.. 4:20 p.m., 4:30 p.m., 4:40 p.m., 5:30 p.m., 5:40 p.m., 5:50 p.m., 6 p.m. and 6:10 p.m.

Tour times for Friday, December 4 are 7:50 p.m., 8 p.m., 8:10 p.m., 9 p.m., 9:10 p.m., 9:20 p.m., 9:30 p.m. and 9:40 p.m.

Tour times for Friday, December 18 are:  6 p.m., 6:10 p.m., 6:20 p.m., 6:30 p.m., 6:40 p.m., 7:30 p.m., 7:40 p.m., 7:50 p.m., 8 p.m., 8:10 p.m., 9 p.m., 9:10 p.m., 9:20 p.m., 9:30 p.m. and 9:40 p.m.

In order to provide the best possible safety measures for Fox guests and to comply with the city health department requirements, the following protocols will be in place.  Tours will have a maximum of 16 people and will have timed entries every 10 minutes.  Tours will cover 3 levels of the auditorium and the stage, but will not include the narrow underground tunnels. Tours will move in one direction and not cross paths with other tour groups.  Tour participants will be required to wear a mask and observe social distancing. 

Each tour will be accompanied by a Fox tour guide and a monitor to assure adherence to mask-wearing and social distancing.  Hand sanitizer stations will be available throughout the tour. 

Tour tickets are $40 each for adults and $25 for children 12 and under. Parking is included. Season Ticket holders and Fox Club Members will receive their priority purchase opportunity by email this week.  Remaining tickets will go on sale to the public Friday, November 13 at noon.  All tickets much be purchased in advance as the Fox Box Office is not currently open.  Tickets will be delivered to guests by mobile device or for printing at home.  Food and beverage service will not be available during the tours. 

‘Freaky’ A Clever and Inspired Mix of Horror and Comedy

‘Freaky’ A Clever and Inspired Mix of Horror and Comedy

By Lynn Venhaus

As genre mashups go, successfully blending horror and comedy is a tricky task, but “Freaky” turns out to be a real treat. It’s a twisted take on the body swap movie by having a teenage girl switch bodies with a serial killer.

It should come as no surprise to fans of director Christopher Landon, who has hit it before with the time-loop “Happy Death Day” and its sequel, “Happy Death Day 2 U,” two clever and inspired funny thrillers.

This time, he and screenwriter Michael Kennedy smartly mix the teen-adult body swap tropes of “Freaky Friday” with the slasher scares of “Friday the 13th,” and infuse it with homages to the classics.

Seventeen-year-old Millie Kessler (Kathryn Newton) tries to be invisible at Blissfield High but then she is attacked on the football field – Go Beavers! – by the Blissfield Butcher (Vince Vaughn), the town’s urban legend-serial killer. He used an ancient mystical dagger, “La Doma,” they trade places and have 24 hours to reverse the curse or she lives inside the middle-age maniac forever.

Starting off with two teenage couples partying while one’s parents are away, they set up the urban legend of The Blissfield Butcher, who wreaked havoc Homecoming Night 20 years ago.

You know where it’s going – especially when the dad collects creepy artifacts – but the doomed kids’ demises are particularly gruesome. Be warned, this movie doesn’t cut away from the grisly carnage – and those bloodbaths are responsible for the R rating.

One artifact is a mystical Aztec dagger that The Butcher steals. Little does he know its use will start the harrowing reign of terror at the high school – and of course, the rogue Homecoming Dance.

Cleverly staged with genuine suspense, then expertly edited by Ben Baudhuin, “Freaky” wouldn’t be as effective without this pitch-perfect cast. Their full commitment to appear as terrified in this living hell is matched by the fun they’re having checking off the horror movie boxes.

The story hinges on Vince Vaughn’s hulking shadowy character, not unlike Michael Myers from “Halloween” or Jason Voorhees from “Friday the 13th.”

Vaughn goes for broke here, gleefully conveying an angsty teenage girl who reveals her crush and must convince Millie’s two besties, Nyla (Celeste O’Connor) and Josh (Misha Osherovich) — who has the bulk of zippy quips – that she is inside the deranged killer. He’s having a blast and demonstrates what a deft comic actor he is.

Swapping with the smaller in stature Kathryn Newton makes the physicality fun to pull off. Newton’s take on the killing machine is harder to achieve, with that “Terminator 2”-like glint in her eye, but the kids at school think she’s transformed herself into an empowered ‘bad girl’(because, of course, she’s wearing a red leather jacket instead of thrift shop frocks).

Only in Hollywood scripts would Newton, as the ‘before’ Millie, be referred to as ordinary and boring. Millie has a lot to deal with – her dad died a year ago, her grief-stricken mom Coral (Katie Finneran) falls asleep by drinking a bottle of chardonnay, she’s bullied by mean girls and the shop teacher (Alan Ruck) — and she’s trying to get Booker (Uriah Shelton) to notice her.

The story’s entertaining aspects help overlook some of the plot’s implausible elements — like where has this psychopath been all these years? And why exactly is she bullied, just for a standard subplot?

The usual horror genre trappings are all here, and that’s part of the fun. Bear McCreary’s score enhances both the humor and the thrills, and the jump scares are executed well.

When “Freaky” is light-hearted, it really is delightful, and when it’s graphic with the murders, I had to look away. Yes, I’m a wuss when it comes to frightening films but Landon’s worth watching – a born entertainer.

But this is a good way to spend a Friday the 13th or a day where you need to escape the realities of 2020. Producer Jason Blumhouse has added another gem in his horror film universe.

“Freaky” is a comedy-horror film directed by Christopher Landon, with screenplay by Michael Kennedy, and starring Vince Vaughn, Kathryn Newton, Alan Ruck, Katie Finneran, Misha Osherovich, Uriah Shelton and Dana Drori. Rated: R for strong bloody horror violence, sexual content, and language throughout, it’s run-time is 1 hr. 42 min. Lynn’s Grade: B+

Dispatch from the Hills: VOTE!

Dispatch from the Hills: VOTE!

By Lynn Venhaus
Ray Charles “America the Beautiful.” (See below). A reminder that we are all Americans. We’re better together. Right now, we have two Americas, each their own tribe with their own set of facts and their own vision for the future.

I am hopeful. I see people fighting so hard to save democracy. We want to be heard. Right matters. Nearly 100 million people have voted already!We are more engaged after these past four years. We know what the Hatch Act is, 25th Amendment, Emoluments Clause and have a long list of alarming facts and figures that will indeed be part of history when all is said and done.

After the ballots are counted, it would be great to unify, heal and work in bipartisan ways on our problems as this pandemic rages.But we are closer to another civil war than ever before. Terrifying. I pray that what we brace ourselves for will not materialize Tuesday night or days after.

This is the first time in my lifetime where a president may not accept the results of an election, and is ready to have lawyers swoop in, his demonizing rhetoric has made us all anxious. GOP has had a number of cases on voter suppression not go their way — including three on Monday. Marketing intimidation and suppression. Why?

If you, like me, vote on Election Day — do not be intimidated. This is your right. If something is not right with your registration at the polls, then ask for a PROVISIONAL BALLOT. That way, you can still vote for president if not the state and local races.IF you encounter any shenanigans, call 866-687-8683 (OUR VOTE).And if you need help getting to the polls, there are people to help. Reach out. Ride services like Uber are ready to go.

And if you aren’t planning to vote, think it doesn’t matter, how can we convince you it matters? This is your voice.

All over America, election officials have been working hard to insure the integrity of the process and will not tolerate any illegal activity. They’ve been envisioning all sorts of scenarios because of the past few months as the president’s repeated efforts to cast doubts on the election process. Before, the system has gone pretty smooth for hundreds of years — OK, it didn’t in 2000 and the hanging chads in Florida.Have faith in the process and the American people.

We were founded on “We the People” — never forget that. Let’s end this division and get to work on making this country better because we sure need to unite in the face of this unprecedented health crisis.

And end the electoral college and return to three separate branches of government for checks and balances, and…it’s a long list.

But we’re eager to have a good night’s sleep again. Rest up, roll up our sleeves, and restore the soul of our great nation.

Dispatches from the Hills: The Alternate Reality of the Pandemic, Oct. 30

Dispatches from the Hills: The Alternate Reality of the Pandemic, Oct. 30

By Lynn Venhaus
Trump has lied more than 22,000 times in less than 4 years. We have normalized this Pinocchio, which is really sad and mind-boggling. The fact-checking is exhausting. But this irresponsible narcissist leader’s dishonesty on the coronavirus pandemic is misleading and dangerous.

Today, he said this:”Our doctors get more money if someone dies from Covid. You know that, right? I mean, our doctors are very smart people.” WHAT?

This isn’t the last time he will lie about COVID-19 in his desperate attempt to hold on to power by downplaying his destructive response. But attacking health care workers now?Those of us believing in science and the health professionals know his alternative reality he is babbling about at these super-spreader rallies is false – deny and deflect, his M.O.

We have more than 88,500 new cases. How does this magically disappear in his narrative of ‘turning the corner’?His disregard for the public good is killing people. Blowhard Donald Trump Jr. told egregious hack Laura Ingraham that deaths are down to “almost nothing.” That’s the way he described 1,004 deaths on Thursday.

Our total count is 228,000-plus. They are down-playing this to the detriment of containing the spread. The arrogance and incompetence is unbelievable.This week, Bob Woodward released the Jared Kushner recordings basically saying their coronavirus response was a political strategy. All about re-election. Red states vs. blue states.This is a national disgrace.

Seven months in, still no national plan, health care workers are overwhelmed, bed capacity is maxing out, and surges continue. Everything we did in March, April and May is erased.

Now, Trump is pushing a baseless conspiracy that greedy American health care workers are overcounting coronavirus deaths, besmirching their integrity at a time they’re nearly at the breaking point.

His base still think it’s overblown. Believe at your own peril. No one is going to change the base’s opinion on their cult leader. Facts mean nothing. Only if they have been touched by the virus.

We shake our head because this is where we are, less than 100 hours from the first polling places closing on Election Day.There must be some accountability for making a pandemic political and a polarizing issue. This has resulted in more deaths than it should have.

And the fact that there are people who don’t care is something I can’t wrap my head around, on this 30th day in October in 2020.

‘His House’ Is Hypnotic, Haunting and Harrowing

‘His House’ Is Hypnotic, Haunting and Harrowing

By Lynn Venhaus

 Haunting and hypnotic, “His House” is one of the most original horror films in years.

Writer-director Remi Weekes, whose first feature debuted at the 2020 Sundance Film Festival, demonstrates assured, smart storytelling, slowly doling out bits of information that add psychological complexities to the couple’s journey.

After making a harrowing escape from war-torn South Sudan, a young refugee couple struggle to adjust to their new life in a small English town, complicated by something evil tormenting their lives.

As they fled, during their boat ride, a tragedy takes place.

Consumed by loss, Rial (Wunmi Mosaku) has a hard time adjusting to a new life, in dingy public housing, But, it’s their home, and she tries to make the best of it. The government has strict rules for refugees, so they must be careful.

Bol (Sope Dirisu) has an easier time adapting, but hears strange noises and begins to see weird things happening in their small place – lights flicker, gaping holes appear in the walls but then close, and then sinister images materialize.

She is spooked, he is trying to come to terms with what’s happening, and their lives are turned upside-down by this hellish existence.

Because of what they have been through leaving their homeland, their struggles have a sadness underneath. The psychological aspect is an intriguing part of the story, which was developed by  Felicity Evans and Toby Venables.

With the characters as asylum-seekers, that gives the haunted house story more weight. They must adhere to the strict guidelines, which has consequences and fleeing again isn’t possible. They struggle to hold it together, but things unravel in a disturbing and unusual way.

Ṣọpẹ́ Dìrísù, as the troubled husband, and Wunmi Mosaku, as the tormented wife, are mesmerizing in their roles. They bring out layers of emotion essential to understanding what they are going through.

British actor Matt Smith, known for “Doctor Who” and a varied resume, plays their government contact, who starts being suspicious about what’s going on in their home.

This gritty and gripping film has unpredictable scares and surprising developments that deepen the mystery and the trauma.

It’s a haunted house film unlike any you’ve seen, and that’s what makes it special, an instant classic.

“His House,” a horror-thriller, is directed by Remi Weekes and stars Sope Dirisu,Wunmi Mosaku and Matt Smith. Not MPAA, its run time is 1 hr. 33 minutes. Lynn’s Grade: A. Available on Netflix beginning Oct. 30.

Remastered Bong Joon-ho’s Earlier ‘Memories of Murder’ is a Crime Masterpiece

Remastered Bong Joon-ho’s Earlier ‘Memories of Murder’ is a Crime Masterpiece

By Lynn Venhaus

Had Bong Joon-ho not won multiple Oscars earlier this year for “Parasite,” including Best Director, it’s unlikely that we would have gotten an opportunity to see a remastered version of his second film, “Memories of Murder,” made in 2003. Now considered a crime masterpiece, Fathom Events released it on the big screen for two nights this month, and it is available video on demand, as of Oct. 27, and we are fortunate filmgoers.

Loosely based on the true story of South Korea’s first serial murders, which took place between 1986 and 1991 in Hwaseong, Gyeonggi Province, “Memories of Murder” details a frustrating investigation as more young women are raped and murdered.

Two inept local detectives, Park Doo-Man (Song Kang-ho) and Cho Yong-koo (Kim Roe-ha), struggle to find a culprit after a second young woman is found dead, so a detective from Seoul, Seo Tae-Yoon (Kim Sang-Kyong) joins them, realizing they are searching for a cunning serial killer.

As the mystery unfolds, the details engulf us in much the same way they get in the detectives’ heads, and the small-town setting, with its police force unable to meet the rigorous demands of the cases, heightens the frustration.

And adding to the intrigue, the real murderer was caught last year – although the film does not reference this in the epilogue. Lee Choon-Jae was convicted for the brutal rape and murder of his sister-in-law in 1994, and with DNA evidence, confessed to the Hwaesong murders – nine identified women — and five more.

Although Joon-ho made this film 17 years ago, and he’s been perfecting his craft ever since, his distinctive style was emerging in a noticeable way. He makes room for comic relief and references pop culture, which we now know is a signature move, and he mashes up genres that enhance his storytelling. In addition to directing, he co-wrote the screenplay with Shim Sung-bo, based on Kim Kwang-rim’s play.

For anyone intrigued by crime drama, this film is a treasure trove – a police procedural that Joon-ho turns into a character study on detectives and a blistering indictment on small-town prejudices. He also effectively builds suspense as women are targeted by an unseen predator.

The murders are brutal, as the women are found raped, tied and gagged with their own underwear. Because the town’s two detectives, Park and Cho Yong-koo, are bumbling hot-heads who torture suspects trying to get them to confess, their methods are under attack. The police chief calls in detective Seo, who is smart and practical. When he cracks some of the clues, friction develops between the Big City hot shot and the locals lacking in technique.

How they change on the hunt of the killer is an interesting – and chilling – aspect, and all three actors are superb. There is a madness to these methods. You might recognize Song Kang-ho as the dad in “Parasite,” and he has acted in many of Joon-ho’s films.

The technical elements enhance the bleak story, with brilliant cinematography by Kim Hyung-ku, editing by Kim Sun-min, and a stirring score by Taro Iwashiro.

The film is an engrossing look at cruelty and breaking points, with its last shot a haunting reminder of the devastating effects of criminal minds.


“Memories of Murder,” a suspense-mystery-thriller set in South Korea, was directed by Bong Joon-ho in 2003. It starred Song Kang-so, Kim Sang-Kyong and Kim Roe-ha. Not rated, this remastered version has English subtitles, and its run time is 2 hours, 11 minutes. Available Video on Demand. Lynn’s Grade: A.

Dance the Vote on CBS Special ‘Every Vote Counts’

Dance the Vote on CBS Special ‘Every Vote Counts’

Dance the Vote, a St. Louis based arts and civic engagement initiative, founded by theatre artist and activist Joan Lipkin four years ago will be featured in an upcoming program, Every Vote Counts: A Celebration of Democracy, a nationally televised event on Thursday, Oct 29, at 8pm Central on CBS and other platforms.

Following their first performance outside Vintage Vinyl, an iconic record store in St. Louis for a few dozen people on a rainy afternoon, Dance the Vote attracted over one thousand people at the midterms at the Missouri History Museum for a community dance class, performances by diverse dance companies, spoken word artists and singers about the history and importance of voting, paired with voter registration.

When the pandemic hit and following the deaths of Breonna Taylor and George Floyd, they pivoted to commission and center dance videos, predominantly by choreographers of color. The themes continue to be about the history and significance of voting, as well as what issues might compel someone to vote including: climate change, racial justice, disability, incarceration, gender equity, women’s suffrage, the wall, and more.

The pieces were released in a series of weekly episodes in pairs of two or three dances, and each episode included information on how to register to vote, check voter registration, and the phone number for the election protection hotline for questions or issues at the polls.

The pieces may be seen on YouTube, Instagram (@dancethevotestl), Facebook (@DanceTheVoteStl), Twitter (@DanceTheVoteStl), and Vimeo as well as their website www.dancethevotestl.org.

This summer, Dance the Vote and Webster University partnered to offer a competition for college students throughout the United States honoring the late congressman John Lewis, called Make Good Trouble: Why John Lewis Inspires Me to Vote. Cash awards have been issued in several categories including mixed media, video, dance pieces, painting, collage, and photo essay.

Joan Lipkin

“We are honored to be included in this exciting program about voting because it recognizes the essential role that the performing arts can play in voter education and advocacy. In addition, Dance the Vote exemplifies how a small grass-roots organization with a promising idea can offer a model for the arts and civic engagement for many communities. We are pleased to have St. Louis showcased on this important national platform,” said Joan Lipkin, founder of Dance the Vote.

Every Vote Counts is a celebration of civic engagement and one last push to get people to vote.

Hosted by Alicia Keys, America Ferrera, and Kerry Washington, with appearances by Amy Schumer, Chris Rock, Cobie Smulders, Coldplay, Condoleezza Rice, Eva Longoria, Jennifer Lopez, John Kasich, Kelly Clarkson, Leonardo DiCaprio, Lin-Manuel Miranda, Natalie Portman, Shaquille O’Neal, Tan France, Wilmer Valderrama, and more, with performances by Alicia Keys, Dan + Shay, Offset, and Shawn Mendes.

Every Vote Counts: A Celebration of Democracy, a nationally televised and streamed event, will air on the CBS Television Network and will be streamed via CBS All Access on Thursday, October 29, 2020 at 9 PM, ET/PT, 8PM CST. The special will also be available via the following platforms: iHeartMedia radio stations and app, Apple Music, Apple TV App, Amazon Music, Twitch, NowThis, YouTube, Twitter, TIDAL and Facebook, with more to be announced.

Critics Choice Association Announces Nominees for 5th Annual Documentary Awards

Critics Choice Association Announces Nominees for 5th Annual Documentary Awards

The Critics Choice Association (CCA) has announced the nominees for the fifth annual Critics Choice Documentary Awards (CCDA). The winners will be revealed in a Special Announcement on Monday, November 16, 2020. 

The Critics Choice Associationwill once again be honoring the year’s finest achievements in documentaries released in theaters, on TV and on major digital platforms, as determined by the voting of qualified CCA members. 

Crip Camp: A Disability Revolution, Gunda, and Mr. SOUL! lead this year’s nominations with five each.

Crip Camp: A Disability Revolution is nominated for Best Documentary Feature, James Lebrecht and Nicole Newnham for Best Director, Best Editing, Best Archival Documentary, and Best Historical/Biography Documentary. The film also received an honor for Judith Heumann for Most Compelling Living Subject of a Documentary. 

Gunda is nominated for Best Documentary Feature, Victor Kossakovsky for Best Director, Best Cinematography, Best Editing, and Best Science/Nature Documentary. 

Mr. SOUL! is nominated for Best Documentary Feature, Best First Documentary Feature, Best Narration, Best Archival Documentary, and Best Historical/Biographical Documentary.

Recognized with four nominations each are Athlete A, Dick Johnson is Dead, My Octopus Teacher, and Totally Under Control. 

The nominations for Athlete A are Best Documentary Feature, Bonni Cohen and Jon Shenk for Best Director, Best Editing, and Best Sports Documentary. Maggie Nichols, Rachael Denhollander, and Jamie Dantzscher are also being recognized with the honor of Most Compelling Living Subjects of a Documentary. 

The nominations for Dick Johnson is Dead are Best Documentary Feature, Kirsten Johnson for Best Director, Best Cinematography, and Best Narration. The film also received an honor for Dick Johnson for Most Compelling Living Subject of a Documentary. 

The nominations for My Octopus Teacher are Best Documentary Feature, Best Cinematography, Best Narration, and Best Science/Nature Documentary.

The nominations for Totally Under Control are Best Editing, Best Score, Best Narration, and Best Political Documentary. The film also received an honor for Dr. Rick Bright for Most Compelling Living Subject of a Documentary. 

“At a unique time for the entertainment industry and the world, documentaries are more important and fortunately more abundant and more available and more essential than ever,” said Christopher Campbell, President of the Critics Choice Association Documentary Branch. “In 2020, documentaries have taken us to places and shown us perspectives we’ve never experienced before. They’ve chronicled events and life stories that are enlightening and enthralling – and sometimes frightening. It is a great honor for the CCA to celebrate these stories and subjects and shed light on the work of so many incredible filmmakers. The Documentary Branch faced its greatest task yet considering the quantity and quality of nonfiction cinema released this year. Ultimately, these nominees represent the best of the best of a remarkably fruitful moment for documentary filmmaking.”

At last year’s fourth annual CCDA event, Apollo 11 took home the evening’s most prestigious award for Best Documentary. Peter Jackson (They Shall Not Grow Old), and Julia Reichert and Steven Bognar (American Factory), tied for Best Director. American Factory also won the award for Best Political Documentary, and subsequently received many more accolades including the Academy Award for Best Documentary Feature.

The nominees for the fifth annual Critics Choice Documentary Awards are:

BEST DOCUMENTARY FEATURE
Athlete A (Netflix)
Belushi (Showtime)
Crip Camp: A Disability Revolution (Netflix)
Dick Johnson is Dead (Netflix)
Feels Good Man (Wavelength Productions/PBS Independent Lens)
The Fight (Magnolia Pictures/Topic Studios)
The Go-Go’s (Showtime)
Gunda (Neon)
Mr. SOUL! (Shoes in the Bed Productions)
My Octopus Teacher (Netflix)
The Painter and the Thief (Neon)
A Secret Love (Netflix)
The Social Dilemma (Netflix)
Time (Amazon Studios)

BEST DIRECTOR
Garrett Bradley, Time (Amazon Studios)
Bonni Cohen and Jon Shenk, Athlete A (Netflix)
Kirsten Johnson, Dick Johnson is Dead (Netflix)
Victor Kossakovsky, Gunda (Neon)
James Lebrecht and Nicole Newnham, Crip Camp: A Disability Revolution (Netflix)
Dawn Porter, John Lewis: Good Trouble (Magnolia Pictures)
Benjamin Ree, The Painter and the Thief (Neon)

BEST FIRST DOCUMENTARY FEATURE
Robert S. Bader, Ali & Cavett: The Tale of the Tapes (HBO)
Chris Bolan, A Secret Love (Netflix)
Melissa Haizlip, Mr. SOUL! (Shoes in the Bed Productions)
Arthur Jones, Feels Good Man (Wavelength Productions/PBS Independent Lens)
Elizabeth Leiter and Kim Woodard, Jane Goodall: The Hope (National Geographic)
Elizabeth Lo, Stray (Magnolia Pictures)
Sasha Joseph Neulinger, Rewind (Grizzly Creek Films/PBS Independent Lens)

BEST CINEMATOGRAPHY
Michael Dweck and Gregory Kershaw, The Truffle Hunters (Sony Pictures Classics)
Roger Horrocks, My Octopus Teacher (Netflix)
Kirsten Johnson, Dick Johnson is Dead (Netflix)
Victor Kossakovsky and Egil Håskjold Larsen, Gunda (Neon)
Scott Ressler, Neil Gelinas and Stefan Wiesen, The Last Ice (National Geographic)
Gianfranco Rosi, Notturno (Stemal Entertainment)
Ruben Woodin Dechamps, The Reason I Jump (Kino Lorber)

BEST EDITING
Don Bernier, Athlete A (Netflix)
Eli Despres, Greg Finton and Kim Roberts, The Fight (Magnolia Pictures/Topic Studios)
Lindy Jankura and Alex Keipper, Totally Under Control (Neon)
Helen Kearns, Assassins (Greenwich Entertainment)
Victor Kossakovsky and Ainara Vera, Gunda (Neon)
Eileen Meyer and Andrew Gersh, Crip Camp: A Disability Revolution (Netflix)
Charlotte Munch Bengtsen, The Truffle Hunters (Sony Pictures Classics)

BEST SCORE
Ari Balouzian and Ryan Hope, Feels Good Man (Wavelength Productions/PBS Independent Lens)
Marco Beltrami, Brandon Roberts and Buck Sanders, The Way I See It (Focus Features)
Tyler Durham, Sven Faulconer and Xander Rodzinski, The Last Ice (National Geographic)
Peter Nashel and Brian Deming, Totally Under Control (Neon)
Daniel Pemberton, Rising Phoenix (Netflix)
Jeff Tweedy, Long Gone Summer (ESPN)
Jeff Tweedy, Spencer Tweedy and Sammy Tweedy, Showbiz Kids (HBO)

BEST NARRATION
David Attenborough: A Life on Our Planet (Netflix)
   David Attenborough, Narrator
   David Attenborough, Writer
Dick Johnson is Dead (Netflix)
   Kirsten Johnson, Narrator
   Kirsten Johnson, Writer
Fireball: Visitors From Darker Worlds (Apple)
   Werner Herzog, Narrator
   Werner Herzog, Writer
Mr. SOUL! (Shoes in the Bed Productions)
   Blair Underwood, Narrator
   Ellis Haizlip, Writer
My Octopus Teacher (Netflix)
   Craig Foster, Narrator
   Craig Foster, Writer
Time (Amazon Studios)
   Fox Rich, Narrator
   Fox Rich, Writer
Totally Under Control (Neon)
   Alex Gibney, Narrator
   Alex Gibney, Writer

BEST ARCHIVAL DOCUMENTARY
Ali & Cavett: The Tale of the Tapes (HBO)
Belushi (Showtime)
Class Action Park (HBO MAX)
Crip Camp: A Disability Revolution (Netflix)
MLK/FBI (Field of Vision/IFC Films)
Mr. SOUL! (Shoes in the Bed Productions)
Spaceship Earth (Neon)

BEST HISTORICAL/BIOGRAPHICAL DOCUMENTARY 
Belushi (Showtime)
Crip Camp: A Disability Revolution (Netflix)
Howard (Disney+)
John Lewis: Good Trouble (Magnolia Pictures)
Mr. SOUL! (Shoes in the Bed Production)
Mucho Mucho Amor: The Legend of Walter Mercado (Netflix)
Natalie Wood: What Remains Behind (HBO)

BEST MUSIC DOCUMENTARY
Beastie Boys Story (Apple)
Crock of Gold: A Few Rounds with Shane MacGowan (Magnolia Pictures)
The Go-Go’s (Showtime)
Laurel Canyon (Epix)
Once Were Brothers: Robbie Robertson and The Band (Magnolia Pictures)
Other Music (Factory 25)
Zappa (Magnolia Pictures)

BEST POLITICAL DOCUMENTARY
All In: The Fight for Democracy (Amazon Studios)
Boys State (Apple)
John Lewis: Good Trouble (Magnolia Pictures)
MLK/FBI (Field of Vision/IFC Films)
The Social Dilemma (Netflix)
Totally Under Control (Neon)
The Way I See It (Focus Features)

BEST SCIENCE/NATURE DOCUMENTARY
Coded Bias (7th Empire Media/PBS Independent Lens)
Fantastic Fungi (Moving Art)
Gunda (Neon)
I Am Greta (Hulu)
The Last Ice (National Geographic)
My Octopus Teacher (Netflix)
Spaceship Earth (Neon)

BEST SPORTS DOCUMENTARY
Ali & Cavett: The Tale of the Tapes (HBO)
Athlete A (Netflix)
Be Water (ESPN)
A Most Beautiful Thing (50 Eggs Films)
Red Penguins (Universal Pictures)
Rising Phoenix (Netflix)
You Cannot Kill David Arquette (Super LTD)

BEST SHORT DOCUMENTARY 
Blackfeet Boxing: Not Invisible (ESPN)
   (Directors: Kristen Lappas and Tom Rinaldi. Producers: Craig Lazarus, José Morales, Lindsay Rovegno, Victor Vitarelli and Ben Webber)
The Claudia Kishi Club (Netflix)
   (Director and Producer: Sue Ding) 
Crescendo! (Quibi)
   (Director: Alex Mallis. Producers: Matt O’Neill and Perri Peltz)
Elevator Pitch (Field of Vision)
   (Director and Producer: Martyna Starosta)
Hunger Ward (Spin Film/Vulcan Productions/RYOT Films)
   (Director and Producer: Skye Fitzgerald. Producer: Michael Scheuerman) 
Into the Fire (National Geographic)
   (Director: Orlando von Einsiedel. Producers: Mark Bauch, Harri Grace and Dan Lin)
My Father the Mover (MTV Documentary Films)
   (Director: Julia Jansch. Producer: Mandilakhe Yengo)
The Rifleman (Field of Vision)
   (Director: Sierra Pettengill. Producer: Arielle de Saint Phalle)
The Speed Cubers (Netflix)
   (Director and Producer: Sue Kim. Producers: Evan Krauss and Chris Romano)
St. Louis Superman (MTV Documentary Films)
   (Directors and Producers: Sami Khan and Smriti Mundhra. Producer: Poh Si Teng)

MOST COMPELLING LIVING SUBJECTS OF A DOCUMENTARY (HONOR)
Dr. Rick Bright – Totally Under Control (Neon)
Steven Garza – Boys State (Apple)
The Go-Go’s – The Go-Go’s (Showtime)
Judith Heumann – Crip Camp: A Disability Revolution (Netflix)
Dick Johnson – Dick Johnson is Dead (Netflix)
Maggie Nichols, Rachael Denhollander, Jamie Dantzscher – Athlete A (Netflix)
Fox Rich – Time (Amazon)
Pete Souza – The Way I See It (Focus Features)
Taylor Swift – Miss Americana (Netflix)
Greta Thunberg – I Am Greta (Hulu)

DISTRIBUTOR NOMINATION TOTALS:
Netflix: 31
Neon: 15
Magnolia Pictures: 9
Showtime: 6
Amazon: 5
HBO: 5
National Geographic: 5
PBS Independent Lens: 5
Shoes in the Bed Productions: 5
Apple: 4
ESPN: 3
Focus Features: 3
Wavelength Productions: 3
Field of Vision: 2
Hulu: 2
IFC: 2
MTV Documentary Films: 2
Sony: 2
7th Empire Media: 1
50 Eggs Films: 1
Disney+: 1
Epix: 1
Factory 25: 1
Greenwich Entertainment: 1
Grizzly Creek Films: 1
HBO MAX: 1
Kino Lorber: 1
Moving Art: 1
Quibi: 1
Spin Film/Vulcan Productions/RYOT Films: 1
Stemal Entertainment: 1
Super LTD: 1
Universal: 1

About CRITICS CHOICE AWARDS
The Critics Choice Documentary Awards are an off-shoot of The Critics Choice Awards, which are bestowed annually by the CCA to honor the finest in cinematic and televised/streaming achievement. Historically, the Critics Choice Awards are the most-accurate predictor of the Academy Award nominations.

The 26th annual Critics Choice Awards will air LIVE on The CW Network on Sunday, March 7, 2021, with acclaimed film, television, and stage star Taye Diggs returning to host for his third consecutive time.  The show will continue its combined Film and Television awards format, honoring the finest in both cinematic and televised/streaming achievement, and take place once again at the Barker Hangar in Santa Monica, health considerations permitting.

About CRITICS CHOICE ASSOCIATION (CCA)
The Critics Choice Association is the largest critics organization in the United States and Canada, representing more than 400 television, radio and online critics and entertainment reporters. It was organized last year with the formal merger of the Broadcast Film Critics Association and the Broadcast Television Journalists Association, recognizing the blurring of the distinctions between film, television, and streaming content. For more information, visit: www.CriticsChoice.com.