‘Godzilla vs. Kong’ Delivers Monster Movie Escapism, Thrills

‘Godzilla vs. Kong’ Delivers Monster Movie Escapism, Thrills

By Lynn Venhaus
These two hulking movie icons return for an epic showdown in “Godzilla vs. Kong” — only the second time the atomic sea monster has been pitted against the gigantic ape – and they do not disappoint.

When ginormous forces of natures, Godzilla and King Kong, collide again, they might just have to ultimately team up to save mankind. But before a climactic battle, there is a mission into Hollow Earth. We will find out more origin information on the Titans as the good guys fight evil corporate conspiracies.

While the size and scope of these cinematic legends has changed over the years, the basic tenets remain the same. While an incredible hulk, Kong really does have a heart, and the Toho Company’s most famous creation, Godzilla, serves as a cautionary tale about messing with Mother Nature.

This modern match-up is the fourth movie in Legendary Pictures’ MonsterVerse, which began with a remake, “Godzilla,” in 2014, then “Kong: Skull Island” in 2017 and “Godzilla: King of the Monsters” in 2019. But overall, there have been 36 Godzilla and 12 King Kong movies.

A nifty touch is a clever opening credits sequence that gives the backstory of the past films, so you are all caught up by the time we see Kong asleep in his Skull Island habitat.

Intended to be pure monster movie escapism, don’t expect answers to your questions that may arise as you watch a well-executed blockbuster deliver the promised clash of the titans.

Director Adam Wingard, entrusted with this long-running franchise after a career making cheesy horror films, sticks the landing by providing the chills and thrills one anticipates. He keeps the story on track and moving at a nice clip – all under two hours.

While the screenplay by Eric Pearson and Max Borenstein is mainly a template of broad strokes, the stellar ensemble is convincing in their standard roles, with Rebecca Hall as the “Kong Whisperer” Dr. Ilene Andrews and Alexander Skarskard as the mission chief Dr. Nathan Lind leading the main plot.

Brian Tyree Henry, an Apex Cybernetics employee who records the Titan Truth podcasts, teams up with fan Millie Bobby Brown as Madison, daughter of Mark Russell of Monarch (and Kyle Chandler has maybe three scenes at most, compared to being a lead in “Godzilla: King of the Monsters.”) The inquisitive duo are too curious for their own good, winding up in Hong Kong, smack dab in a crisis of monster proportions.

The bad guys, are of course, with Apex – and that would be Demian Bichir as the head honcho and Iiza Gonzalez as his daughter.

Stealing the film is hearing-impaired Kaylee Hottle, who plays young orphan Jia, who forms a sweet bond with Kong and teaches him sign language. That emotional connection is one that boosts the likability of the film.

The attention to detail that production designer Thomas S. Hammock and his crew put into this film is impressive. Cinematographer Ben Seresin handles the faraway locations with flair, and the music score by Junkie XL (Tom Holkenborg) helps elevate the high concept.

This is the kind of movie that works best on the big screen, but in these pandemic times, HBO has provided a quality audio and visual experience.

“Godzilla vs. Kong” may not break new ground, but satisfyingly entertains its audience with a familiarity that’s expected and outstanding technical elements.

“Godzilla vs. Kong” is a science-fiction action adventure film directed by Adam Wingard and starring Alexander Skarsgard, Rebecca Hall, Brian Tyree Henry, Kyle Chandler, Millie Bobby Brown, Eiza Gonzalez, Demian Bichir and Kaylee Hottle. Rated: PG-13 for intense sequences of creature violence/destruction and brief language, it runs 1 hour, 53 minutes. It opened in theatres March 31 and is on HBOMax until April 30. Lynn’s Grade: B

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‘The Last Blockbuster’ Documentary is Nostalgic Treasure Trove

‘The Last Blockbuster’ Documentary is Nostalgic Treasure Trove

By Lynn Venhaus
A sentimental journey for anyone who spent any part of the 1980s, 1990s and 2000s renting movies at video stores, “The Last Blockbuster” will put a smile on your face, just like the talking heads who react over a clamshell case by breaking into big grins. It is like a muscle memory, sharing that pop culture experience — and it’s fun and sad at the same time.

This documentary, directed by Taylor Morden and written by Zeke Kamm, is focused on the last remaining Blockbuster Video, located in Bend, Oregon. But then it turns into a blast from the past.

The world has moved on, but this movie reminds us of everything we associated with the home entertainment boom after Video Cassette Recorders, aka VCRs, became a mainstay in American households around 1982. The ritual of selecting movies with your children or date or friends, and then returning them in the dropbox, is chronicled here.

The first Blockbuster Video opened in Dallas in 1985, and video rentals had largely been small mom-and-pop operations until then. Now, there is just one place in the whole world where you can go to recall the past — a functioning Blockbuster in Bend, Oregon. It is all there, in the blue and yellow corporate color scheme. People are coming from around the globe, all giddy, to walk down memory lane.

The genial manager, Sandi Harding, is known as the “Blockbuster Mom.” Her family works there, so do friends, and she is responsible for many a teenager in town’s first job. She provides quality customer service as she carries on the torch. Filmmakers capture “a day in the life” as she goes about her routine. She has received international fame by being the subject of global media coverage, and estimates she has done 500 interviews.

Famous folks talk about their part-time jobs when they were in school – including actors Adam Brody and Paul Scheer – while other comedians and actors share anecdotes, including Brian Posehn, Doug Benson, Ione Skye, Eric Close and Jamie Kennedy.

Director Kevin Smith, who broke through with his 1994 indie movie “Clerks”– about guys who worked in a video store, waxes nostalgic about the video phenomenon. He wonders if video stores may return as a niche market like record stores have.

In its heyday, Blockbuster had 9,000 stores and 60,000 employees, but technology moved on, and today, there is just one, after one nearby in Oregon shuttered, two in Alaska shut down in 2018 and a location in Perth, Australia, closed two years ago.

Bend is about 170 miles east of Portland. The store used to be Pacific Video, and the owners, Ken and Debbie Tisher, are interviewed. Because it is a franchise, and they have customers, they keep the doors open.

After a series of corporate missteps – did you know Blockbuster could have purchased Netflix when it was a mail-order DVD operation? – that are detailed by the business guys, and changes in habits and the evolving marketplace, its days were numbered.

Remember “No late fees”? What were they thinking? They lost a lot of money. Blockbuster filed for bankruptcy in 2010 and all the corporate-owned stores shut down in 2014.

Morden, who lives in Bend, began covering the store in 2017, wanting to preserve its history, as did writer Kamm.

Even in 86 minutes, the filmmakers are repetitive, and outside of people’s reminiscences and Harding’s story, there isn’t much substance.

But allow the wave of nostalgia to give you a warm glow, as the filmmakers have captured a bygone era that we now realize we miss.

Of course, Blockbuster isn’t the only corporate outfit that closed its video rental business – Family Video, the last bastion, is headed that way after the pandemic forced closing all its remaining stores (even in St. Louis, where Kevin Smith – yes, that Kevin Smith – donated money to help keep the Gravois Road one in south city afloat).

It’s certainly ironic that the company that is blamed for Blockbuster’s demise, the streaming service Netflix, added the 2020 documentary, which was on the festival circuit, to its roster March 15, and its popularity has exploded.

Recent news accounts report that the store is getting mail orders for T-shirts, stickers and face masks (all made by Bend businesses), and renewed interest.

It’s nice to see a well-intentioned film strike a chord about the community-building of neighborhood stores. And recalling how you’d discover a hidden gem because of the clerk’s recommendation – and us film critics alerting you to must-see movies.

Pop culture won’t forget our shared involvement, and like the store in Oregon, this movie conveys our collective memories, which is priceless.

Kevin Smith

“The Last Blockbuster” is a 2020 documentary directed by Taylor Morden. It stars Sandi Harding, her family, Kevin Smith, Eric Close, Doug Benson, Ione Skye, Adam Brody, Jamie Kennedy, Briah Posehn, and more. It is not rated and runs 1 hour, 26 minutes long. Lynn’s Grade: B+. It began streaming on Netflix March 15.

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‘French Exit’ Characters Hard to Like

‘French Exit’ Characters Hard to Like

By Lynn Venhaus
The filmmaker tries to sell the upper-class heroine as an eccentric, free-spirited widow that’s a cross between Auntie Mame and a Wes Anderson movie character but she is such an insufferable spoiled snob that it’s painful to watch.

Frances Price is a 60-year-old penniless Manhattan maven (Michelle Pfeiffer), her inheritance all gone from her late husband Franklin, decides to move to Paris, where a friend lends her an apartment. To make the transatlantic jump happen, she sells her possessions, then takes her cat, Small Frank, who may have assumed the spirit of Franklin (Tracy Letts), and her directionless son Malcolm (Lucas Hedges) with her. She attracts an odd assortment of people along the way.

As played by the miscast Michelle Pfeiffer, the annoying socialite has absolutely no redeemable qualities. She’s rude to kind people – you’ll wince when she is mean to the sympathetic and lonely Madame Reynard (Valerie Mahaffey, in the film’s best performance). Frances, who must have always gotten by on her beauty, likes causing a ruckus because she can.

In a flat screenplay adapted by Patrick DeWitt from his 2018 international bestselling novel, Frances gained notoriety 12 years ago when she discovered her husband dead in bed and still went away for the weekend instead of attending to the pertinent matters at home. DeWitt’s principal characters are too remote to care about, not to mention hedonistic.

The ubiquitous cat, as voiced by the droll Tracy Letts, brightens up this off-putting tale, but it is such a jarring shift in tone and a bizarre addition to the third act, which keeps going like a runaway train until we hit 1 hour, 50 minutes.

Lucas Hedges does himself no favors by playing the dullard son. He lumbers through this film with neither wit nor grace, which is so rare after his stellar work in “Manchester by the Sea,” “Boy Erased,” “Waves” and “Lady Bird.”

Malcolm, who doesn’t show emotion, is such a blank slate that it is not evident he is in love with Susan (Imogene Poots), and that subplot resurfaces when his former fiancé arrives in Paris, but it’s a tedious distraction because it doesn’t resemble any kind of relationship among healthy adults.

There is a random detour with Madeleine the Medium (Danielle Macdonald) that he meets on the cruise to Europe that goes nowhere, except for introducing the supernatural so the cat can be a bigger part of the story.

Now, Manhattan and Paris are exquisite locations, therefore the cinematography by Tobias Datum makes the cities inviting and luxurious.

But this is such a strange hodge-podge of rich people lifestyles that the after-thought style of director Azazel Jacobs doesn’t connect at all. Most of all, the pacing is maddening and the insipid characters forced on us are not worth our attention and time. Are they playing it deadpan or are they really deadbeats? We’ll never know and it doesn’t matter. 

“French Exit” is a 2020 comedy-drama directed by Azazel Jacobs, starring Michelle Pfeiffer, Lucas Hedges, Valerie Mahaffey, Imogene Poots and Tracy Letts. Rated R for language and sexual references, it’s run time is 1 hour, 50 minutes. Lynn’s Grade: D. Opened in theaters April 2.

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14th Annual Q Fest St Louis Runs Virtually April 16 – 25

14th Annual Q Fest St Louis Runs Virtually April 16 – 25

Stay home and still get your Q on!

The 14th Annual QFest St. Louis — presented by Cinema St. Louis (CSL) — will take place from April 16-25. Because of the Covid-19 pandemic, CSL will offer all programs virtually, protecting the health of patrons. Programs can be streamed at any time during the festival’s dates. Recorded introductions and Q&As will be available for most film programs.

The St. Louis-based LGBTQ film festival, QFest will present an eclectic array of 24 films (14 shorts, six narrative features, and four documentary features). The participating filmmakers represent a wide variety of voices in contemporary queer world cinema. The mission of the film festival is to use the art of contemporary gay cinema to spotlight the lives of LGBTQ people and to celebrate queer culture.

The fest is especially pleased to host the St. Louis premiere of new works by internationally acclaimed filmmakers Agnieszka Holland (“Charlatan”) and François Ozon (“Summer of 85”). Another QFest highlight is this year’s Q Classic, the 50th anniversary of the trippy, experimental 1971 film “Pink Narcissus.”

Thanks to several generous sponsors, CSL is able to make the festival more accessible to all by offering both shorts programs free for the duration of the event.

For the full schedule of screenings, including trailers and descriptions of the films, visit the festival website at www.cinemastlouis.org/qfest. Advance digital screeners of the features and some of the shorts are available for press review on request. Please inquire with QFest St. Louis artistic director Chris Clark.

The 2021QFest St. Louis begins on Friday, April 16, and runs through Sunday, April 25. Tickets go on sale March 24. Tickets are $14 general, $10 for Cinema St. Louis members and students with valid and current IDs. Passes are also available: Five-Film Passes are $60, and All-Access Passes are $115. All screenings will be held virtually for residents of Missouri and Illinois via Eventive, CSL’s online presentation partner. Direct ticket links are available on the QFest website.

QFest St. Louis is sponsored by AARP Missouri, Arts & Education Council, CheapTRX, Grizzell & Co., Missouri Arts Council, Bob Pohrer & Donnie Engle, Crafted., Just John Nightclub, Matt Kerns, Regional Arts Commission, Deb Salls, St. Louis Public Radio, Cindy Walker, and Webster U. Film Series.

Social media: Facebook: @QFestSTL | Twitter: @QFestSTL | Instagram: @QFestSTL

“Charlatan”

FEATURES

THE CARNIVORES director Caleb Michael Johnson

U.S / 2020 / 77 minutes

Trailer: https://vimeo.com/388481118

One of the oddest and darkest films screened at QFest to date, “The Carnivores” features a young lesbian couple, Alice and Bret, whose dog, Harvie, is slowly dying. The vet bills are adding up fast, Alice is quietly panicking, and high-strung Bret dotes on the dog and ignores the reality of the situation. When poor, innocent Harvie goes missing, the fragile status quo is finally shattered, and both women go off the deep end in their own way. What had been a bright and happy little family unit is undone by self-doubt, suspicion, and a disturbing amount of ground beef. The Hollywood Reporter writes: “(Director) Caleb Michael Johnson employs a dreamlike, David Lynchian aesthetic to the proceedings throughout the film. If you are a fan of abstract, surreal storytelling supported by strong central performances and a fascinating relationship dynamic, then ‘The Carnivores’ has more than enough meat for you to chew.”

KEYBOARD FANTASIES director Posy Dixon

U.S / 2019 / 63 minutes

Trailer: https://www.youtube.com/watch?v=5xLkZirOa4k

As a sci-fi-obsessed woman living in near isolation, Beverly Glenn-Copeland wrote and self-released the album “Keyboard Fantasies” in Huntsville, Ontario, in 1986. Recorded in an Atari-powered home studio, the cassette featured seven tracks of a curious folk-electronica hybrid, a sound realized far before its time. Three decades on, the musician — now Glenn Copeland — began to receive emails from people across the world, thanking him for the music they’d recently discovered. Courtesy of a rare-record collector in Japan, a reissue of “Keyboard Fantasies,” with support by such electronic musicians as Four Tet and Caribou, had finally found its audience two generations down the line. “Keyboard Fantasies: The Beverly Glenn-Copeland Story” tells an intimate coming-of-age story that transmutes the pain and suffering of prejudice into rhythm, hope, and joy. Half audiovisual history and half DIY tour video, the film provides a vehicle for this newly appointed queer elder to connect with youth across the globe and serves as a timely lullaby to soothe those souls struggling to make sense of the world.

PS BURN THIS LETTER PLEASE Directors: Michael Seligman & Jennifer Tiexiera

U.S / 2020 / 101 minutes

Trailer: https://www.youtube.com/watch?v=XqGRrAjYgq4

A box of letters, held in secret for nearly 60 years, ignites a five-year exploration into a part of LGBTQ history that has never been told. The letters, written in the 1950s by a group of New York City drag queens, open a window into a forgotten world where being yourself meant breaking the law and where the penalties for “masquerading” as a woman were swift and severe. Using original interviews, never-before-seen archival footage and photographs, and stylized re-creations, “P.S. Burn This Letter Please” reconstructs this pre-Stonewall era as former drag queens now in their 80s and 90s — including James Bidgood, director of this year’s Q Classic, “Pink Narcissus” — reveal how they survived and somehow flourished at a time when drag queens were both revered and reviled, even within the gay community. The government sought to destroy them and history tried to erase them, but now they get to tell their story for the first time.

TAHARA, director Olivia Peace and writer Jess Zeidman

U.S / 2020 / 78 minutes

Trailer: https://www.youtube.com/watch?v=Mk_cB8HgDU0

In this queer coming-of-age dramedy, two girlfriends attend a “Teen Talk-back” after the funeral service of their former Hebrew-school classmate. Although the session is designed to help them understand grief through faith, it instead leads to other discoveries, with surprising sparks igniting when one of the girls is manipulated into a romantic encounter with her best friend. The Queer Review writes: “Filmed on location at the Rochester synagogue where (screenwriter Jess) Zeidman attended Hebrew school, there’s a claustrophobic authenticity to the film’s setting. Much of the success of ‘Tahara’ relies on her well-crafted, layered screenplay and the two rich, subtle lead performances by (Madeline Grey) DeFreece and (Rachel) Sennott (also wonderful in ‘Shiva Baby’) keeping things compelling and intriguing. Refreshingly it’s a teen film that doesn’t look down on or objectify its characters, examining our shared human foibles with humor and poignancy.”

SHORT FILM

Eleven Weeks – director Anna Kuperberg (Wash U grad)

U.S / 15 MINS / 2020

Faced with a fast and aggressive cancer, Carla Jean Johnson accepts her diagnosis with clarity and grace, as photographer Anna Kuperberg, her longtime wife, documents their final days and weeks together.

“Pink Narcissus” celebrates 50th anniversary
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The Midnight Company Announces 2021 Season of 4 Plays

The Midnight Company Announces 2021 Season of 4 Plays

The Midnight Company will present four plays in 2021, including two St. Louis Premieres and one World Premiere.  The Company, which presented the only live theatre in town during the pandemic with Eric Bogosian’s SEX, DRUGS, ROCK & ROLL in November 2020, and mindful of the fears and realities of the ongoing virus war, will open the season with two one-man plays in June and July.

Midnight’s Artistic Director Joe Hanrahan said, “Last November, we worked with the State’s MissouriArtSafe program, the City of St. Louis and the Kranzberg organization to make sure all safety guidelines were in place and being followed.  We’ll be doing the same going forward, hoping that vaccine efforts will continue to positively affect quality of life, enabling us to provide  quality theatrical experiences for our audiences.”

Hanrahan also said, “If there’s a theme to this season, with theatre coming back it’s appropriate that these shows deal with the theatre and show business.  While HERE LIES HENRY focuses on the Art and Science of Lying (particularly relevant to this age of political and societal falsehoods), Marlon Brando did say ‘Acting is lying for a living.’  Our second show, NOW PLAYING THIRD BASE… specifically occurs during a young man’s introduction to live theatre, of a sort.  IT IS MAGIC, our third show, actually takes place during auditions in the basement of a theatre, and TINSEL TOWN, the season closer, tells three stories set in the Los Angeles entertainment world.”
  
The Company opens with HERE LIES HENRY by Daniel MacIvor, June 10-27 at the Kranzberg Black Box.  It will be directed by Ellie Schwetye, with Joe Hanrahan as Henry, a man in a room with a mission to tell you something you don’t already know.  He’s also a liar.  Midnight has presented two plays by MacIvor (a celebrated Canadian writer/performer) including CUL-DE-SAC, and then HOUSE at the 2015 St. Louis Fringe.  Hanrahan performed both one-man shows, and critics said “ CUL-DE-SAC takes you places you may not want to go.  But Hanrahan makes a spellbinding guide.” (Calvin Wilson, St. Louis Post-Dispatch) and “HOUSE is a perfect combination of virtuoso acting and compelling storytelling.” (Chuck Lavazzi, KDHX.)

Tickets for HERE LIES HENRY, a St. Louis Premiere, will go on sale May 10 at MetroTix.com, and prices, performances, capacity and safety procedures will be announced at that time.


Midnight will then present the rescheduled (from 2020) NOW PLAYING THIRD BASE FOR THE ST. LOUIS CARDINALS…BOND, JAMES BOND, written and performed by Joe Hanrahan, directed by Shane Signorino, with video design by Michael B. Perkins. It will run July 8-23 at The Chapel.  First presented at the St. Louis Fringe in 2018, the script has been expanded, and Hanrahan said, “The Fringe version of this show had to come in under an hour.  This version, with additional material, should be deeper, hopefully richer.”  NOW PLAYING… is a memory show, of when a teen was introduced, in an unusual way, to live theatre, while the rest of life, including baseball, James Bond, racism, The Beatles, the assassination of John F. Kennedy and more swirled around him.  Michelle Kenyon in Snoop’s Theatre Thoughts called the play “…entertaining, educational, thought-provoking…” and also said it was “…difficult to describe, but what it is is excellent.”

In October, Hanrahan’s short play PATIENT #47 will be presented as part of True Community Theatre’s TRUTH, LIES, and CONFESSIONS October 1-3 at The Chapel.  PATIENT #47 was originally presented at the 2019 Theatre Crawl And later in the month, Midnight will begin to add additional performers to their cast lists. 

Midnight will present Mickle Maher’s IT IS MAGIC, also rescheduled from 2020, directed by Suki Peters, October 21-November 6 at the Kranzberg Black Box.  IT IS MAGIC takes place in the basement of a community theatre.  Two sisters, tireless long-term theatre volunteers but ignored in the artistic process, have finally received their chance to write and act for the group.  While opening night of the company’s Scottish Play goes on in the MainStage above them, they’re holding auditions for the role of the Big Bad Wolf for their new script, an adult version of THREE LITTLE PIGS.  But an inebriated, jaded artistic director and an unexpected, wild Third Sister intrude, delivering dire changes, dangerous chaos and, eventually, magic.  

The cast for the production includes Nicole Angeli, Michelle Hand, Joe Hanrahan, Britteny Henry and Carl Overly.  Chicago’s Third Coast Review called IT IS MAGIC “…one of those love letters to theatre…delightfully wacky,” and New City Stage in Chicago said “Any show that juggles loving critics with tearing their throats out is good in my book.”  

Midnight has previously presented Maher’s THE HUNCHBACK VARIATIONS and AN APOLOGY FOR THE COURSE OF CERTAIN EVENTS AS DELIVERED BY DOCTOR JOHN FAUSTUS ON THIS HIS FINAL EVENING (twice each), and IT IS MAGIC will be a St. Louis Premiere.
And rounding out the year (and rounding out a cycle of plays from three St. Louis theatre artists) is the World Premiere of TINSEL TOWN 3 Short Plays – 24 Hours In L.A. by Joe Hanrahan.  It will run December 2-18 at Avatar Studios, a television production studio on the edge of Downtown St. Louis, near Market and Jefferson, and will be directed by Rachel Tibbetts.   (Midnight has previously presented TITLE AND DEED and LITTLE THING BIG THING at Avatar.)

Joe Hanrahan

 In TINSEL TOWN, Ellie Schwetye and Hanrahan each play characters in the three plays set in the Los Angeles entertainment world.  In LATE LUNCH ON MELROSE, Hanrahan is a talent agent trying to convince his movie star client, Schwetye, to accept the new normal.  In JUST OFF SUNSET, Schwetye is a rock singer/songwriter who’s just finished a frustrating gig at a club, and Hanrahan is a grizzled backup musician who’s seen it all in the industry.  And in SHOOT IN SANTA MONICA, Hanrahan is a British actor brought to Hollywood for a role in a science fiction film, and Schwetye is the director trying to get her first film under her belt.

Hanrahan first worked with Tibbetts when he recruited her to direct an earlier Midnight run of SEX DRUGS ROCK & ROLL, after seeing her direction of BACHELORETTE for her home company, SATE.  Thus began an association between their two companies, with Hanrahan acting in ONE FLEA SPARE, OF MICE AND MEN, DOCTOR FAUSTUS and 2020’s APHRA BEHN FESTIVAL for SATE; and Schwetye directing JUDGMENT AT NUREMBERG(with Tibbetts in the cast) and A MODEL FOR MATISSE for Midnight.

But it was during the winter of 2016/2017 that these three did two plays together that demanded a third, sometime in the future, to complete a triptych.  At that time, Hanrahan directed Schwetye and Tibbetts in the vampire drama, CUDDLES, for SATE, followed by Schwetye directing Tibbetts and Hanrahan in Midnight’s Irish thriller, LITTLE THING BIG THING.  So a third show was needed, with (as TINSEL TOWN provides) roles for Schwetye and Hanrahan, and Tibbetts directing.  And thus, the cycle will be complete, and TINSEL TOWN will bring Midnight’s 2021 season to  a close.

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Arts For Life to Announce Theatre Mask Awards Virtually On April 3

Arts For Life to Announce Theatre Mask Awards Virtually On April 3

AFL’s 2021 Theatre Mask Awards, honoring excellence in community theatre
productions of plays during 2020, will be pre-recorded and premiere as a virtual
ceremony at 10 a.m. on Saturday, April 3, on AFL’s YouTube Channel.
Act Two Theatre’s production of the farce “Who’s in Bed with the Butler?” leads this
year’s Theatre Mask Awards nominations with nine. Alton Little Theater, with its two
productions of “Inherit the Wind” and “The Miracle Worker,” earned 12 nominations in
total – six for each.

Two classic comedies by Clayton Community Theatre, “The Philadelphia Story,” and
Monroe Actors Stage Company, “The Solid Gold Cadillac,” both received eight
nominations apiece.

Arts For Life announced the TMA nominations on March 12, during the nonprofit
organization’s first-ever virtual trivia night.

Awards in nine non-musical play categories will be announced. The format has been
scaled back to reflect the number of eligible plays.

Normally, 11 community theater companies participate in the TMAs, with awards in 18
categories, but last year’s shutdown forced show cancellations.

“The TMAs were able to do eight shows last year and so the show must go on. Several
categories were combined to allow for more nominees,” said AFL President Mary
McCreight.

Tim Naegelin, co-chair of the TMA Steering Committee, explained the reasoning behind
2021’s awards ceremony.

“2020 was a difficult year. Most theatre was cancelled after March, but the TMA
Steering Committee and the AFL Board of Directors believed the Theatre Recognition
Guild had reviewed enough shows to make a successful TMA event. With only eight
shows eligible, some categories have been combined so that we do not lose the
integrity of our awards and nominations. To that end, there will not be a division of
drama and comedy categories for this year,” Naegelin said.

During 2020, beginning in mid-March, a shutdown because of the global COVID-19
pandemic happened. Because of the public health emergency in Illinois and Missouri.
performance venues were closed, gatherings limited to a percentage of capacity and
safety protocols in place, including social distancing and face coverings to lessen
community spread.

Because of the coronavirus crisis, AFL adopted measures to foster the protection of
those who work and play in metropolitan St. Louis-southwest Illinois community theater.
“We will continue our charitable mission of service and recognition once it is safe to do
so,” McCreight said.

TMA Eligible Shows
For this year’s TMA awards, Act Two Theater in St. Peters garnered nine nominations –
for production, actress, supporting actor and actress, director, costume design and
lighting design, and as the only nominee for Best Ensemble, has won that award
already.

They staged the 2004 farce by Michael Parker in February 2020. It is about a California
billionaire who has bequeathed all of his assets to his only daughter, Constance –
except the $22 million yacht he wanted Josephine to have, a $25 million art collection
left to Renee, and some priceless antique automobiles willed to Marjorie. She arrives at
her father’s mansion with her lawyer to find out who these women are and discovers the
butler seems to hold the key.

Act Two, with 43 nominations since 2016, swept the 2017 TMAs, with “Drop Dead”
winning Best Comedy and “The Boys Next Door” winning Best Drama.

Over the years, Clayton Community Theatre has received 113 nominations, sweeping
last year’s TMAs with “A Soldier’s Play” and “Biloxi Blues” as winners in drama and
comedy.

They staged “The Philadelphia Story” in March 2020, the classic romantic comedy by
Philip Barry about privileged Tracy Lord, who is divorced from CK Dexter Haven, and
engaged to a successful young snob. A society paper sends a reporter to cover the
wedding arrangements, and she finds herself interested. Romantic entanglements
ensue. It has eight nominations – for production, director, actress, supporting actress
(2), lighting, costume and set designs.

“The Solid Gold Cadillac,” the 1954 play by George S. Kaufman and Howard
Teichmann, has a little old lady beat wicked corporate shareholders at their own game.
MASC staged it in February 2020 and has received eight nominations – for director,
actor, actress, supporting actor and actress, costume, set and lighting designs.

The Alton Little Theater has a total of 12 nominations, with six for “Inherit the Wind” –
production, director, actor, supporting actor and set design, which they staged last
January and February, and six for “The Miracle Worker” – production, director, actress
(2), costumes and set design, which they produced last October. Kevin Frakes is a
three-time nominee for both his set designs and directing “The Miracle Worker.”
“Inherit the Wind” is the fictional account of the 1925 Scopes Monkey Trial by Jerome
Lawrence and Robert E. Lee. “The Miracle Worker” by William Gibson tells the story of

Helen Keller, blind and deaf after childhood fever, and her governess and teacher,
Annie Sullivan.

Looking Glass Playhouse received four nominations – for production, actor, supporting
actor and set design for “It’s Only a Play,” a comedy by Terence McNally about an
opening night after-party where a producer, playwright, director, actors and their friends
eagerly wait for the reviews. They presented it in March 2020.

Since 2015, Monroe Actors Stage Company in Waterloo, Ill., has received 83
nominations over the years, Alton Little Theatre over 80 nominations, and Looking
Glass Players in Lebanon, Ill., 43 nominations.

The 2020 TMA nominations include:

BEST PRODUCTION
“Inherit the Wind,” Alton Little Theater
“It’s Only a Play,” Looking Glass Theatre
“The Miracle Worker,” Alton Little Theater
“The Philadelphia Story,” Clayton Community Theatre
“Who’s in Bed with the Butler?” Act Two Theatre

BEST DIRECTOR
Lee Cox, “Inherit the Wind,” Alton Little Theater
Kevin Frakes, “The Miracle Worker,” Alton Little Theater
Paul James, “Who’s in Bed with the Butler?” Act Two Theatre
Heather Sartin, “The Philadelphia Story,” Clayton Community Theatre
Rebecca Zimmermann, “The Solid Gold Cadillac,” Monroe Actors Stage Company

BEST ACTOR
Howard S Bell, “Inherit the Wind,” Alton Little Theater
Shea Maples, “Inherit the Wind,” Alton Little Theater
Steve Shininger, “It’s Only a Play,” Looking Glass Playhouse
David Zimmerman, “The Solid Gold Cadillac,” Monroe Actors Stage Company

BEST ACTRESS
Kelsey McCroskey, “The Philadelphia Story,” Clayton Community Theater
Marisa Puller, “Who’s in Bed with the Butler?” Act Two Theatre
Emily Schneider, “The Miracle Worker,” Alton Little Theater
Maria Wilken, “The Solid Gold Cadillac,” Monroe Actors Stage Company
Kya Wonders, “The Miracle Worker,” Alton Little Theater

BEST SUPPORTING ACTOR
Matt Dossett, “The Solid Gold Cadillac,” Monroe Actors Stage Company
Brad Kinzel, “It’s Only a Play,” Looking Glass Playhouse
Brant McCance, “Inherit the Wind,” Alton Little Theater
Todd Micali, “Who’s in Bed with the Butler?” Act Two Theater

BEST SUPPORTING ACTRESS
Linda Daly, “Who’s in Bed with the Butler?” Act Two Theatre
Jenifer Elias, “The Solid Gold Cadillac,” Monroe Actors Stage Company
Monica Lee, “The Philadelphia Story,” Clayton Community Theater
Trish Nelke, “Who’s in Bed with the Butler?”, Act Two Theatre
Caitlin Souers, “The Philadelphia Story,” Clayton Community Theater

BEST COSTUME DESIGN
Lee Cox, “Inherit the Wind,” Alton Little Theatre
Jean Heckmann, “Who’s in Bed with the Butler?” Act Two Theatre
Julie Smailys, “The Philadelphia Story,” Clayton Community Theatre
Rebecca Zimmerman, “The Solid Gold Cadillac,” Monroe Actors Stage Company

BEST LIGHTING DESIGN
Nathan Schroeder, “The Philadelphia Story,” Clayton Community Theatre
Todd Wilken, “The Solid Gold Cadillac,” Monroe Actors Stage Company

BEST SET DESIGN
Andrew Cary, Zac Cary and Heather Sartin, “The Philadelphia Story, Clayton
Community Theatre
Kevin Frakes, “The Miracle Worker,” Alton Little Theater
Kevin Frakes, “Inherit the Wind,” Alton Little Theater
Chris Resimius, “Who’s in Bed with the Butler?” Act Two Theatre
Brad Sanker, “It’s Only a Play,” Looking Glass Playhouse
Todd Wilken, “The Solid Gold Cadillac,” Monroe Actors Stage Company

BEST ENSEMBLE
Act Two Theatre, “Who’s in Bed with the Butler?”

AFL Adjusts Events in 2020-2021/Mission Remains the Same
Last year, AFL transitioned to streamed formats for both their TMA and Best
Performance Awards (musical theater and youth productions) shows honoring
productions in 2019.

The BPAs have been cancelled in 2021, and the few musicals that were performed in
early 2020 will be considered for the 2022 awards. In April 2020, the AFL president
suspended all public activities of the AFL organization, and then the board extended
suspension of the Theatre Recognition Guild judging activities, for the BPA branch
(musicals), through July 1, 2021.

“Arts for Life is plugging along with theater-starved actors for a new day! On Friday,
AFL proceeded to produce our first ever Virtual Trivia Night to announce the Theatre

Mask Awards (TMAs) nominations. It was well-attended and a lot of fun,” McCreight
said.

“With the Best Performance Awards cancelled this year due to not being able to have
shows in 2020, heads were down. But old habits don't die. The Trivia Night’s audio and
visual musical categories brought us back to life,” she said.

“All is well with AFL. We will survive and look forward to meeting again in July. Where
there’s a will, there’s a way, and I thank all theater groups who are working to create a
safe and pleasing future,” McCreight said.

McCreight emphasized that the AFL board will continue to base their decisions upon the
best information currently available and will continue to share information promptly and
transparently.

Naegelin is hopeful that more productions will be able to be mounted in 2021.

“I love the work that AFL/TMA does in supporting and promoting community theatre.
From helping provide a sense of community, to providing scholarships, and mentoring
at risk students in local theatre programs, AFL/TMA provides a full range of support to
the St. Louis metro area. I'm excited that we can continue that, even in our limited way,
in 2021, he said.

Co-chair Melissa Boyer was optimistic as well.

“I can’t wait to see what the future holds for the TMAs. I’m excited to co-chair this
committee and look forward to finding ways to grow the TMAs and find opportunities for
people to be involved with this wonderful, dedicated group. We are all looking forward to
theatres being able to safely open again and welcoming new members to the TMA
Theatre Recognition Guild,” Boyer said.

AFL was founded in 1994 by Lucinda Guyrci as a local non-profit organization dedicated
to the healing power of the arts through its work with youth, the under-served and the
community. The BPAs have honored musical theater since 1999 and the TMAs have
honored plays since 2015.

“We hope that you and your loved ones have stayed safe during this difficult time,”
McCreight said. “Because of your commitment to our community and belief in our
mission, my optimism is not diminished about AFL being able to move forward once this
unprecedented time passes.”

Besides co-chairs Boyer and Naegelin, the TMA Steering Committee officers are Laurie
Blanner, recorder; Linda Daly, marketing facilitator; and Keaton Treece, Theatre
Recognition Guild director.

To see a complete list of the nominees and awards history, visit the website:
www.artsforlife.org

For more information, contact AFL TRG Secretary Kim Klick at afltrg@artsforlife.org
 The YouTube Channel link:https://www.youtube.com/channel/UCnCSL5RPbHTrhbc0mbHcWnA

The awards be available afterwards for later viewing. Please subscribe to the Arts For Life
STL channel so you can get a reminder of the event.
Be sure to subscribe/like to our social media:
https://www.facebook.com/artsforlifestlouis, https://twitter.com/arts_for_life

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Intermission’s Over – Touring Shows Return to The Fox This November

Intermission’s Over – Touring Shows Return to The Fox This November

The Fabulous Fox Theatre is thrilled to announce the return of the U.S. Bank Broadway Series to the Fox stage.  “After our long intermission that began in March 2020, we can’t wait for this new season to begin on November 16, 2021” said Director of Programming John O’Brien.  The six-show season will include two of the shows that were postponed at the end of the 2019-2020 season, HAMILTON and CATS; and four postponed shows from the 2020-2021 season, PRETTY WOMAN: THE MUSICAL, THE PROM, MEAN GIRLS and MY FAIR LADY.  “We are thrilled to fit most of our missed shows in the coming season,” said O’Brien.  “Although Disney’s Frozen will need to wait until a future season, we will have the return of Disney’s THE LION KING in the summer of 2022.”  Subscribers will have the option to purchase the six-show package or add THE LION KING for a seven -show package.

“The Fabulous Fox is working with government and health officials to create and implement health and safety protocols that will ensure the safe return of audiences at full capacity so subscribers can enjoy their same great seats.  This does include improvements to the Theatre’s air handling system. More information along with a detailed outline of protocols will be made available prior to our reopening,” said O’Brien.  

PRETTY WOMAN: THE MUSICAL | November 16-28, 2021

After an incredible run on Broadway, Audience Choice Award winner PRETTY WOMAN: The Musical will begin its national tour this fall. PRETTY WOMAN: The Musical is brought to life by a powerhouse creative team representing the best of music, Hollywood, and Broadway. Featuring direction and choreography by two-time Tony Award® winner Jerry Mitchell (Hairspray, Kinky Boots, Legally Blonde), an original score by Grammy® winner Bryan Adams and Jim Vallance (“Summer of ’69”, “Heaven”), and a book by the movie’s legendary director Garry Marshall and screenwriter J.F. Lawton, PRETTY WOMAN: The Musical will lift your spirits and light up your heart. “If you love the movie, you’ll love the musical!” (BuzzFeed News).


CATS | December 21, 2021-January 2, 2022

CATS, the record-breaking musical spectacular by Andrew Lloyd Webber that has captivated audiences in over 30 countries and 15 languages, will resume its tour across North America!  Audiences and critics alike are rediscovering this beloved musical with breathtaking music, including one of the most treasured songs in musical theater—”Memory”. Winner of 7 Tony Awards® including Best Musical, CATS tells the story of one magical night when an extraordinary tribe of cats gathers for its annual ball to rejoice and decide which cat will be reborn. The original score by Andrew Lloyd Webber (The Phantom of the Opera, School of Rock, Sunset Boulevard), original scenic and costume design by John Napier (Les Misérables), all-new lighting design by Natasha Katz (Aladdin), all-new sound design by Mick Potter, new choreography by Andy Blankenbuehler (Hamilton) based on the original choreography by Gillian Lynne (Phantom) and direction by Trevor Nunn (Les Misérables) make this production a new CATS for a new generation!

The Prom

THE PROM | January 25-February 6, 2022

Everyone’s invited to the joyous Broadway hit that New York Magazine calls “smart and big-hearted” and The New York Times declares it “makes you believe in musical comedy again!” THE PROM is a new musical comedy about big Broadway stars on a mission to change the world and the love they discover that unites them all.  Variety raves, “It’s so full of happiness that you think your heart is about to burst.” And The Hollywood Reporter cheers, “It’s comic gold!” You belong at THE PROM!

MEAN GIRLS | February 15-27, 2022

Direct from Broadway, MEAN GIRLS is the hilarious hit musical from book writer Tina Fey (“30 Rock”), composer Jeff Richmond (“Unbreakable Kimmy Schmidt”), lyricist Nell Benjamin (Legally Blonde) and director Casey Nicholaw (The Book of Mormon). Cady Heron may have grown up on an African savanna, but nothing prepared her for the vicious ways of her strange new home: suburban Illinois. Soon, this naïve newbie falls prey to a trio of lionized frenemies led by the charming but ruthless Regina George. But when Cady devises a plan to end Regina’s reign, she learns the hard way that you can’t cross a Queen Bee without getting stung. New York Magazine cheers, “MEAN GIRLS delivers with immense energy, a wicked sense of humor and joyful inside-jokery.” USA Today says, “We’ll let you in on a little secret, because we’re such good friends: Get Your Tickets Now!”

MY FAIR LADY | March 22-April 3, 2022

From Lincoln Center Theater and director Bartlett Sher comes “a sumptuous new production of the most perfect musical of all time” (Entertainment Weekly), Lerner & Loewe’s MY FAIR LADY.  Boasting such classic songs as “I Could Have Danced All Night,” “The Rain in Spain,” and “Wouldn’t It Be Loverly,” MY FAIR LADY tells the story of Eliza Doolittle, a young Cockney flower seller, and Henry Higgins, a linguistics professor who is determined to transform her into his idea of a “proper lady.”  But who is really being transformed?

HAMILTON | April 12-May 15, 2022

HAMILTON is the story of America then, told by America now. Featuring a score that blends hip-hop, jazz, R&B and Broadway, HAMILTON has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre—a musical that has had a profound impact on culture, politics, and education. With book, music, and lyrics by Lin-Manuel Miranda, direction by Thomas Kail, choreography by Andy Blankenbuehler, and musical supervision and orchestrations by Alex Lacamoire, HAMILTON is based on Ron Chernow’s acclaimed biography. It has won Tony ® , Grammy ® , and Olivier Awards, the Pulitzer Prize for Drama, and an unprecedented special citation from the Kennedy Center Honors. This “theatrical landmark has transformed theater and the way we think about history” (The New York Times)

THE LION KING | June 1-18, 2022

More than 100 million people around the world have experienced the phenomenon of Disney’s THE LION KING, and now you can, too, when St. Louis’ best-loved musical returns to the Fabulous Fox Theatre.  Winner of six Tony Awards®, including Best Musical, this landmark musical event brings together one of the most imaginative creative teams on Broadway.  Tony Award®-winning director Julie Taymor brings to life a story filled with hope and adventure set against an amazing backdrop of stunning visuals.  THE LION KING also features some of Broadway’s most recognizable music, crafted by Tony Award®-winning artists Elton John and Tim Rice.  There is simply nothing else like THE LION KING.

Series Specials

Four additional Broadway shows will be offered as specials to 2021–2022 season ticket holders for priority seating before their public on-sale dates.

The splendor of the holiday season at the Fox will return in 2021.   One of the world’s most beloved and timeless stories is a holiday tradition at the Fox: the Nebraska Theatre Caravan production of A CHRISTMAS CAROL will play December 2-5.  A MAGICAL CIRQUE CHRISTMAS brings dazzling performers and breathtaking cirque artists to the Fox stage for a spell-binding holiday production December 9.  The most famous reindeer of all will soar into the Fox December 17-18 when RUDOLPH THE RED-NOSED REINDEER the Musical takes the Fox stage.  

The 25thAnniversary production of RIVERDANCE returns March 11-13. This tour is a powerful and stirring reinvention of this beloved favorite, celebrated the world over for its Grammy award-winning score and the thrilling energy and passion of its Irish and international dance. Disney’s THE LION KING will also be available as a special for those who choose the six-show season.

Current season ticket holders will receive their specific account information with their options for the six or seven show package in late April.

New season ticket packages will go on sale June 7.  On-sale dates for individual shows will be announced later. For more information, visit www.FabulousFox.com.  The Broadway Series at the Fabulous Fox Theatre is presented by U.S. Bank.  The Fox Box office is currently closed.

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Bob Odenkirk Punches Up ‘Nobody’ As A Wimpy Dad Hiding Dark Secret

Bob Odenkirk Punches Up ‘Nobody’ As A Wimpy Dad Hiding Dark Secret

 By Lynn Venhaus
This is one of the most violent movies I have ever seen. That said, it is a mostly satisfying thriller of kick-it-up-a-notch action, interesting plot developments and a nimble cast that elevates the good vs evil throwdown.

An ordinary husband and father with a desk job, Hutch Mansell (Bob Odenkirk) is in a rut. Every day is monotonous and nondescript until intruders break into his suburban home, and while his son Blake (Gage Munroe) acts, he thinks twice before using a golf club he grabbed to defend himself. While everyone thinks he’s a chump, the incident sparks a long-simmering rage and he becomes a vigilante of sorts.

However, this isn’t as far-fetched as you think because he has a dark secret. When he gets in the way of a brutal drug lord (Aleksey Serebryakov), things really heat up.

From Charles Bronson’s “Death Wish” in 1974 that ushered in mild-mannered dads exacting their own street vengeance to Liam Neeson’s dangerous dad in the “Taken” trilogy (2008-2014) and all the copycats in between, these movies have an appeal as strictly black-and-white action, no gray areas or nuance, in seeking retribution. You get exactly what you expect.

With a sharp script by Derek Kolstad, co-creator of the John Wicks trilogy, the pleasures of seeing a regular Joe reveal his long-dormant lethal skills in clever ways are central to the secret identity plot.

Carrying the film with genuine authority is Bob Odenkirk, who not only stars but is a producer. The Chicago native attended Southern Illinois University Carbondale and after years as a comedy writer and performer, is now best known as glib attorney Jimmy McGill from “Breaking Bad,” which was spun off into the hit series “Better Call Saul.” The Emmy nominated actor’s keen sense of timing is a plus as an action hero, although he’s not a stranger to drama either, having appeared in “The Post” and “Little Women.”

Director Ilya Naishuller, an indie rock musician and lover of hard-core video games, kicks the film into high gear with non-stop mayhem after Hutch turns his frustration and anger into vengeance that sets into motion a battle royale with Russian drug lord Yulian Kuznetsov, played by Aleksey Serebryakov as a ruthless hothead with some clownish behaviors.

But first establishing the drudgery of Hutch’s daily life and his family dynamic is key to understanding the transformation and the shocking previous life.

Hutch works on the finances of his father-in-law’s manufacturing business. He’s the butt of his more macho brother-in-law Charlie’s jokes. His teenage son thinks he’s a wimp, unlike his younger daughter Abby (Paisley Cadorath) who adores him. His wife Becca (Connie Nielsen) is a successful realtor and distant. He keeps taking life’s indignities on the chin as a “nice guy.”

So, in the aftermath, when they are in further harm’s way, his sudden protective reflexes are a surprise.

Somehow, his dad David (Christopher Lloyd), a retired FBI agent living in a nursing home, and his brother Harry (RZA), do not raise an eyebrow when he must do what he has to do. After all, they have secrets too, and it is fun watching the tables turn. Lloyd and RZA are terrific in support.

The barrage of gunfire and fights gets tedious because of its take-no prisoners formula, but that’s what the action genre delivers, and the mind games are an interesting twist.

Bob Odenkirk as Hutch Mansell in Nobody, directed by Ilya Naishuller.

Hutch won’t be considered a “nobody” for much longer, and they did leave it open to a sequel. Odenkirk, as a new action star in the Jason Statham lane, is one of the more startling notes of the spring movie season. But I would never bet against him, would you?


“Nobody” is an action-thriller directed by Ilya Naishuller that stars Bob Odenkirk, Connie Nielsen, Aleksey Serebryakov, Christopher Lloyd, RZA, Gage Munroe and Paisley Cadorath. It is rated R for strong violence and bloody images, language throughout and brief drug use. Lynn’s Grade: B-. In theaters March 26.

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Period Spy Yarn ‘Six Minutes to Midnight’ Lacks Crisp Execution

Period Spy Yarn ‘Six Minutes to Midnight’ Lacks Crisp Execution

By Lynn Venhaus
Based on true events, “Six Minutes to Midnight” is a period spy yarn that sounds more exciting than it is.

On Aug. 15, 1939, seventeen days before World War II, an English language teacher disappears from the coastal boarding school, Augusta-Victoria College, where he worked. The 20 pupils are all daughters of Nazi VIPs and tension is high.

The headmistress Miss Rocholl (Judi Dench) hastily hires a replacement, Thomas Miller (Eddie Izzard), who is an undercover British agent trying to find out what happened. But he becomes compromised and is wrongly accused of murder, trying to stay out of jail and not attract enemy attention while the PE teacher Ilse Keller (Carla Juri) is a Nazi sympathizer. Tension skyrockets and everybody is in danger.

A very thin story, co-written by the film’s star Izzard, director Andy Goddard and Celyn Jones, isn’t helped by erratic pacing and dull execution.

The characters are poorly developed, and Oscar winners Judi Dench and Jim Broadbent, as the Bexhill-on-Sea bus driver, are not given much to do, which is a shame.

The August-Victoria College really took in German teenage girls from 1932 to 1939 on the southern coast of England. Izzard grew up in the area, so he has an interest in sharing this little-known tale.

The period production design by Candida Otton and the seaside cinematography by Chris Seager are both first-rate, with an appropriate mix of danger levels in the music score by Marc Streitenfeld.

Izzard, a comic genius whose one-woman shows have earned much acclaim and awards over the years, is a capable actor. He was the best thing about “The High Note,” in a small role as a global rock superstar. But a gentleman spy, who plays the piano, might be a tad far-fetched.

The local lawmen are part granite, part camp — although James D’Arcy as Captain Drey and Kevin Eldon as Sergeant Simmons seem to enjoy stretching their stereotypical roles.

While the intrigue gains momentum in the second half, ratcheting up the tension because no one can be trusted, it still is a choppy mess. At 99 minutes, the film feels as if portions are missing that could have illuminated the story better.

Given what they had to work with, the result shouldn’t have been so stodgy.

“Six Minutes to Midnight” is a drama, thriller directed by Andy Goddard and co-written by Goddard, Eddie Izzard and Celyn Jones, based on a true event. It stars Izzard, Judi Dench, Carla Juri, James D’Arcy and Jim Broadbent. The 2020 film, which runs 1 hour, 39 minutes, is rated PG-13 for some violence. Lynn’s Grade: C+. It is in theaters and video on demand March 26.

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“Zack Snyder’s Justice League” A Super-Sized Superhero Extravaganza

“Zack Snyder’s Justice League” A Super-Sized Superhero Extravaganza

By Alex McPherson

“Zack Snyder’s Justice League” is an entertaining, four-hour superhero epic that greatly improves on Joss Whedon’s 2017 version. After leaving the first production due to a family tragedy, director Snyder is finally able to give fans what they’ve been craving. 

Batman (Ben Affleck), Wonder Woman (Gal Gadot), Aquaman (Jason Momoa), The Flash (Ezra Miller), Cyborg (Ray Fisher), and another familiar face team up to take down a world-ending threat. This time, a horned monstrosity named Steppenwolf (Ciaran Hinds) seeks to eliminate humanity from Planet Earth via three powerful “Mother Boxes” and rebuild it under the leadership of Darkseid (Ray Porter), who wants to control the galaxy. Feeling partly responsible for the death of Superman (Henry Cavill) in “Batman V. Superman: Dawn of Justice,” Batman becomes a reluctant leader as he and Wonder Woman bring the squad together. Heroes both new and old undergo their own arcs, to varying degrees — involving the topics of grief, faith, hope, and unity in times of crisis.

Aiming to please those who willed it into existence, “Zack Snyder’s Justice League” is difficult to recommend to viewers who aren’t already fans of the DC Cinematic Universe. The film contains moments of emotional resonance and visual spectacle, but proves grueling by the final hour — reverting to predictable plotting and repetitive, CGI-reliant action sequences.

At least the central characters are given more opportunities to shine. From its opening frames, “Zack Snyder’s Justice League” establishes itself as a slower, mournful affair, with a 4:3 aspect ratio, dour chapter titles, muted color palette, and a clearer sense of organization. Snyder has crafted an unarguably more coherent storyline than before, maintaining a grittier tone than the original cut and giving scenes more time to breathe. Even though the storytelling itself is clunky, largely thanks to hit-or-miss dialogue and frequent exposition dumps, I appreciate Snyder’s ambition. 

The added depth to Cyborg (a.k.a Victor Stone) is particularly noteworthy. After Victor and his mother are killed in a car crash, his father, Silas Stone (Joe Morton) uses a Mother Box to resurrect Victor in a robotic body. Thanks to his new abilities, Victor becomes an all-powerful presence, able to tap into the world’s technological web with ease, and representing the League’s key to vanquishing Steppenwolf. Despite his powers, Cyborg is gripped with resentment towards his father and deeply uncertain of his own future. Fisher’s acting is endearing and empathetic, the most convincing in the entire film. His character  — practically deserving of its own standalone installment — remains the heart and soul of the whole endeavour. 

The Flash (a.k.a. Barry Allen) is also further fleshed out, but his journey lacks the nuance and complexity of Cyborg’s. He is much more confident in his speedy capabilities and doesn’t spout as many cringey quips as in the 2017 iteration. Batman, Aquaman, and Wonder Woman, on the other hand, aren’t given much new material to work with under Snyder’s guidance, but we’re given more context for their actions. This helps create a stronger sense of flow from scene to scene than before, and all the actors give decent performances.

In terms of antagonists, Steppenwolf’s goals are more clearly outlined. Exiled from his demonic homeworld, he’s trying to prove himself to his master, Darkseid. Even though we understand where he’s coming from, Steppenwolf is still difficult to empathize with. Revealing more about his history doesn’t automatically fix his blandness or render him memorable. He’s big, powerful, odd-looking, and ready to slice and dice his way to victory.

Speaking of violence, “Zack Snyder’s Justice League” is rated R, allowing Snyder to indulge in bloody carnage that feels far more visceral than other cinematic comic book offerings. As expected, however, Snyder deploys an over-abundance of slow motion to present every shot as a work of art to be gawked at. Yes, there’s instances of beauty in his eye-popping, effects-heavy compositions, but they lose their thrill as the hours pile up.

Combined with an unnecessary epilogue that’s purely fan service, “Zack Snyder’s Justice League” doesn’t quite justify its existence for casual moviegoers. Nevertheless, I wholeheartedly support Snyder’s efforts to realize his vision. That being said, four hours is a huge time commitment, especially when viewed in a single sitting, and his film doesn’t differentiate itself enough to truly stand out.

A self-serious, over-indulgent, yet admirable effort, “Zack Snyder’s Justice League” isn’t the masterpiece that some have touted it as, but it proves sporadically enjoyable. I just needed a long nap afterwards.

“Zack Snyder’s Justice League” is a 2021 release from Warner Brothers that is exclusively showing on HBOMax, as of March 18. It stars Ben Affleck, Gal Gadot, Jason Momoa, Henry Cavill, Ray Fisher and Ezra Miller as the six superheroes in the DC Justice League. is Rated R for violence and some language. It has a run time of 242 minutes. Alex’s Grade: B –

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