‘Cabrini’ Biopic Illuminates the Nun’s Vast ‘Empire of Hope’ Efforts

‘Cabrini’ Biopic Illuminates the Nun’s Vast ‘Empire of Hope’ Efforts

By Lynn Venhaus

Inspiring and empowering, “Cabrini” is a remarkable portrait of the saintly frail and fearless nun who lived the virtues of faith, hope and charity every day, and made a huge difference in the world.

Francesca Cabrini believed that “one gesture of love can change everything,” and was driven to make life better for others. She arrived in New York City in 1889, accompanied by five nuns from the order she founded, Missionary Sisters of the Sacred Heart of Jesus, in 1880, in Lombardy, Italy.

Surrounded by disease, crime, squalor, and impoverished orphaned children, she set off on a daring mission to convince the hostile mayor (John Lithgow) to secure housing and healthcare for fellow immigrants. By using her entrepreneurial skills, she built a lasting empire of hope, despite obstacles and chronic ill health.

Frances Xavier Cabrini was canonized as the first U.S. citizen to become a saint in 1946 and is the patron saint of immigrants. She wouldn’t take no for an answer, helping to transform the squalid Five Points neighborhood in lower Manhattan into a safe refuge for abandoned children among the ‘huddled masses yearning to breathe free.” (Emma Lazarus, Statue of Liberty 1883).

The touching film, produced by the faith-based Angel Studios, is directed by Alejandro Monteverde, who was responsible for last summer’s “Sound of Freedom,” which is now among the highest grossing independent movies of all time.

Monteverde has illuminated Cabrini’s good deeds while overcoming adversity, clashing with the powers-at-be, and achieving goals against all odds. Some of the conflicts are very melodramatic, such as a violent pimp’s rage against helping the nuns and his vicious assaults on one of his prostitutes,. Vittoria (Romana Maggiora Vergano). She becomes a valuable part of the sisterhood. (Sadly, though, the other nuns are not given much time to showcase their development.)

While the local priest, Father Morelli (Giampiero Judica), was unsympathetic, Cabrini gained allies in an altruistic Dr. Murphy (Patch Darragh) and compassionate journalist Theodore Calloway (Jeremy Bobb) at the New York Times, whose hard-hitting expose that ‘rats live better than children’ opened others’ eyes. A fierce advocate, he continued to document her efforts to build an empire of hope.

As the entrepreneurial-minded Cabrini, a captivating Cristiana Dell’Anna conveys her strength. conviction and unwavering devotion, and is a considerable presence on screen. 

Tiny but mighty, she cuts an imposing figure in her black cape and veil – almost as if she was a superhero, not unlike Gotham City’s caped crusader, The Dark Knight.

Photo by Angel Studios

In taking on the political patriarchy and the Catholic Church male-dominated hierarchy, she called them out for their ethnic and gender discrimination. Most of those actors come across as cardboard villains, in the mold of dastardly cartoonish Snidely Whiplash. 

However, the filmmakers cast John Lithgow as the xenophobic mob-boss type mayor who favored the elite over the downtrodden “wretched refuse,” so he is a credible character, if over the top.

Veteran actor David Morse plays Corrigan, an Irish archbishop who doesn’t want to rock the boat, kowtowing to the influential mayor, and Oscar-nominated Giancarlo Giannini plays Pope Leo XIII, who was entranced by Cabrini’s gumption, but fretted that her ambitions were too grand.

Her mantra was always “we are bold — or we die,” and the dialogue reflects her zeal.

With a clear-cut confrontational agenda, screenwriter Rod Barr crafted exchanges such as this:
Mayor Gould: “It’s a shame that you’re a woman, Mother. You would have made an excellent man.”
Cabrini: “Oh no, Mr. Mayor, men could never do what we do.”

Illustrating how tenacious she was in her dedication, helping others who were dismissed, disregarded, disrespected and dehumanized to have their dignity restored, is an uplifting and timely message for today.

Two months premature at birth, she was in poor health for most of her life. After a dire diagnosis in her 30s that she likely only had three years to live, she managed to defy death until age 67 in Chicago in 1917. During her lifetime, she helped build 67 orphanages, schools and hospitals, and her order has gone on to build hundreds more across the world.

It’s an incredible legacy brought vibrantly to life. The studio’s production values seem to get stronger with every film: Carlos Lagunas’ sweeping scenic design contrasts the opulent :gilded age with the immigrants’ slums, and costume designer Alisha Silverstein modestly created the class divisions in the outfits as well.

Cinematographer Gorka Gómez Andreu framed scenes in mostly dark and light contrasts, using sepia tones for large group scenes. Notable was that he presented the19th century hallowed halls of civic buildings, churches, the Vatican, and stately mansions in such a towering way to make them dramatic cinematically as a small figure enters them, clad all in black, determined to turn ‘no’s’ into ‘yesses.’

The music score by Gene Back is grandiose, and over the credits, Andrea Bocelli sings “Dare to Be” with his young daughter Virginia, which Back co-wrote. As a character, Mexican opera tenor Rolando Villazon shows up as Enrico DiSalvo.

Monteverde could have been tighter — the film runs 2 hours, 22 minutes, and more judicious with the repeated scenes of her near-drowning as a child, but mostly, he zeroed in on Mother Cabrini’s courage and character for maximum effect

We are left with her words ringing in our ears: “What kind of world do we want, and what will we do to achieve it?”

“Cabrini” is a 2024 biographical drama directed by Alejandro Monteverde and starring Cristiana Dell’Anna, John Lithgow, David Morse, Giancarlo Giannini, Jeremy Bobb and Romana Maggiora Vergano. It is rated PG-13 for thematic material, some violence, language and smoking .and runs 2 hours, 22 minutes. It opened in local theatres in March. Lynn’s Grade: B.

Searing, Sobering ‘All My Sons’ Explores Tangled Family Secrets

Searing, Sobering ‘All My Sons’ Explores Tangled Family Secrets

By Lynn Venhaus

Why does contemplating personal accountability and public responsibility remain a potent topic these days?

Questions to ask ourselves, and the debate is put under a microscope in an outstanding example — New Jewish Theatre’s piercing, emotionally devastating production of “All My Sons.”

The illusions we live with – about families, neighbors, and success – results in an acting master class and impeccable direction.

A fascinating drama that showcases one of playwright Arthur Miller’s most explosive commentaries on the American Dream, director Gary Wayne Barker carefully calibrates the intensity while slowly peeling back the layers of gripping moral dilemmas.

In an ensemble full of revelatory performances, each actor brings fresh interpretations to a family – and their friends – unraveling because of secrets and lies. As we have discovered throughout history, it’s the cover-up that is so damaging – and with ripple effects because of an egregious swindle.

Seventy-seven years ago, “All My Sons” debuted on Broadway, and in many ways, is still relevant today. It was Miller’s first commercial hit and paved the way for his other epic commentaries on capitalism, American ‘exceptionalism,’ tangled loyalties, and the price for self-delusion, appearances, and power: “Death of a Salesman” in 1949, “A View from the Bridge” in 1955 and “The Price” in 1961, among them.

Miller based this on a true story, after reading a newspaper article about a similar incident.

Lintvedt, Johnston, Heil and Loui. Photo by Jon Gitchoff.

He has created vivid characters that live in an all-American neighborhood in an Ohio town in the late 1940s, where the locals would like you to believe that they’re living the high life in a setting not unlike a Norman Rockwell illustration.

And scenic designer C. Otis Sweezey was inspired by those popular Saturday Evening Post depictions of post-war prosperity.

The Kellers have been affected by World War II in several ways – their two sons, Chris and Larry served, but Chris (Jayson Heil) came home and works in the family-run munitions factory while Larry did not – he’s been missing in action for more than three years, and everyone but his mother Kate (Amy Loui) has given up on the likelihood that he is alive.

But more than that, military contracts were part of the family business, and selling defective parts has had serious repercussions.

Joe Keller (Greg Johnston) made a careless decision that came to light after faulty aircraft equipment was shipped overseas, resulting in 21 pilots’ deaths.

This misdeed, which he has rationalized and created an alternate reality about, sent his neighbor and partner Steve Deever to prison, while Joe was falsely exonerated, and his sentence commuted.

Still suppressing the secret that has upended their lives and torn apart the people around them, the Kellers are forced to deal with consequences. And a storm is coming, in that carefully cultivated backyard of theirs.

Rarely has a World War II story focused so harshly on disenchantment amidst the winning rah-rah attitude afterwards as incisive as Miller’s play.

Confronting their greed and delving into those expectations that wreak havoc in ordinary lives, supplies the actors with richly textured material.

Johnston, outstanding in last year’s “Uncle Vanya” at St. Louis Actors’ Studio and “The Nerd” at Moonstone Theatre Company (also directed by Barker), has never been better as the patriarch who rules with an iron fist.

In his big booming voice, Johnston, as Joe, boasts about reclaiming his life, thinking that nothing has changed, but everything has, and denial is his tragic flaw.

His son Chris is racked with guilt, and has invited his brother’s girlfriend, Ann Deever (Kristen Joy Lintvedt), to stay at their house. They’ve reconnected and fallen in love, keeping it hidden from his parents. Now, he’s ready to pop the question.

But it’s complicated. Not only was she Larry’s sweetheart, but Ann is the daughter of Joe’s business partner whom he blamed for shipping defective cylinder heads. Ann has not visited her father since he began his prison sentence and believes in his guilt.

Photo by Jon Gitchoff

While Joe was focused on making money and providing for his family, he basically put “America’s sons” in harm’s way through his dishonesty. What is that price worth and what communal responsibility do we have for the greater good?

Joe clings to his power, not believing he put freedom in jeopardy, but the fissures become significant. And this downfall, classic tragedy-style, is meticulously measured by a cast at the top of their game, directed with exceptional precision by Barker.

With a sure hand, Barker brings out the deceptions that everyone in this neighborhood lives with, flush with economic success. It is thoroughly compelling and thought-provoking as he shapes the momentum.

In his perceptive way, Miller delves into moral questions about protecting your family – even though others will be negatively affected, and the nature of being complicit in someone else’s crimes.

Kate, the grief-stricken mother, deludes herself that Larry will return, and finds solace in any reason to continue the fantasy – even astrology that a kind neighbor, Riley Capp as Frank Lubey, works on for her.

A razor-sharp Loui smoothly alternates a quick-silver range of emotions as she won’t admit the obvious and demonstrates how trauma has affected her – nervous and tormented by insomnia, headaches, nightmares. Loui goes beyond the dutiful wife and mother depiction to earn our sympathy – and pity.

Heil conveys Chris’ duty, honor and loyalty in a stunning, powerful performance that builds into an unavoidable catastrophe. Confused and uncertain, he shows both the internal and external struggles in a deeply felt, moving portrait that is a breakthrough role for him.

As the girl next door, Lintvedt is a standout as well. In a smaller but pivotal role, Joel Moses commands attention as Ann’s fuming brother George, a son desperately trying to exonerate his father as the fall guy.

He shows up, seething and full of rage, and stirs up a dark cloud, escalating Miller’s tightly constructed tension. The collateral damage will soon be extensive, and these performers deliver in gut-wrenching fashion.

Zahria Moore and Joshua Mayfield as the Baylisses. Photo by Jon Gitchoff.

The local doctor Jim Bayliss (Joshua Mayfield) is pleasant but growing more cynical in acclimating to social post-war life while his straight-shooting wife Sue (Zahria Moore), a nurse, has claws that come out in more contentious ways.

The cast also includes sunny Summer Baer as cheerful neighbor Lydia Lubey, who stayed there and has three kids, and 10-year-old Shane Rose in his debut as a local youngster, Bert.

 Michele Friedman Siler’s stellar vintage costume design captures the era in comfy casual attire, with George traveling more formally in suit, tie, and hat. Dennis Milam Bensie provided the wig design. Katie Orr’s props match the period as well. Amanda Werre’s sound design is exemplary, and Denisse Chavez’ lighting design provides interesting contrasts.

“All My Sons” grapples with split-second ethical decisions that are life-changing, and this latest New Jewish Theatre production is dramatically impactful and hard-hitting. It should not be missed.

New Jewish Theatre presents “All My Sons” from March 21 to April 7, with performances Thursdays at 7:30 p.m., Saturdays at 4 and 8 p.m., and Sundays at 2 p.m. at the J’s Wool Studio Theatre, 2 Millstone Campus Drive, St. Louis, MO 63146. Individual tickets are $27- $58 and are available by phone at 314.442.3283 or online at newjewishtheatre.org.

In line with the difficult themes of war and readjustment to civilian life, the New Jewish Theatre has decided to partner with the Veteran’s Community Project for an exclusive post-show discussion following the March 31 matinee show. After the curtain closes, audience members will have the chance to learn about the work they are doing to provides high quality and well-developed strategic services that enable Veterans to meet the challenges of day-to-day living, resolve immediate crises, and move towards permanent stability.

Photo by Jon Gitchoff.

Fierce Performances Elevate Masterpiece ‘August: Osage County’

Fierce Performances Elevate Masterpiece ‘August: Osage County’

By Lynn Venhaus

Tracy Letts’ “August: Osage County” retains all its dark edges, biting wit and unflinching truths in a brilliantly acted and thoroughly engrossing interpretation by The Repertory Theatre of St. Louis that enhances its stature as one of the great American plays.

Produced 17 years after its blistering and probing landmark premiere at the Steppenwolf Theatre in Chicago in 2007, the Pulitzer Prize and Tony-winning play taps into the raw emotions of a family scorched by addiction and dysfunction.

A brittle mosaic of family dynamics exposes how nearly all have been burned by their white-hot proximity to drug abuse, emotional abuse, alcoholism, unhealthy relationships, and mental health issues.

(I think more people can relate than may admit, but also the play can be triggering for some, so warning, and understandable; there are resources to call listed at the Rep.)

To play these distinctive, damaged characters, this seamless large cast (13!) has developed an admirable rhythm with each other that shows facets of their personalities while revealing their vulnerabilities and coping mechanisms. They are fooling only themselves (and are they that unaware?)

Ellen McLaughlin is Violet Weston. Photo by Jon Gitchoff

Because of Letts’ extraordinary insight into the human condition and his exceptionally nimble dialogue, these are some of the meatiest roles of the new millennium.

“They” always say write what you know, and Letts based this play on his maternal grandparents. Charlie Chaplin once said, “Life is a tragedy when seen in close-up, but a comedy in long shot,” and Letts knows that all too well. He is also a gifted humorist, seeing life from both sides.

A window into his family’s soul, Letts skillfully outlined characters that these well-cast current actors have shaded into fully dimensional people that make us think, feel, and connect – and recoil, disengage from, and are horrified by, too.

The ensemble does not strive for black-and-white definitions, but rather leans towards the more fascinating gray areas, which make their thoughtful, layered performances convincing.

Front and center is the ferocious, drug-addled matriarch Violet, who reminds everyone ‘nothing gets by’ her but is often in such a stupor from popping prescription painkillers that she is most unpleasant to deal with in any meaningful way. Suffering from mouth cancer, she is also a heavy drinker and smoker. Her paranoia and mood swings are alarming, and she often cruelly targets anyone in her radar.

The Westons and Aikens. Photo by Jon Gitchoff

Sometimes, she waits until she can unleash the hurt for maximum effect. Ravaged by her demons, visible are the metaphorical open wounds from an impoverished, abusive childhood that will never heal.

Ellen McLaughlin’s virtuoso performance as this complicated wife, mother, sister, and vicious addict left me in awe. She flawlessly bristles with various degrees of impairment, then rambles or snipes, all in a rural Southwest accent. She’s haunting and unforgettable, among the pantheon of astounding actresses who have graced The Rep’s thrust stage.

The role, in many ways, can be compared to Mary Tyrone in Eugene O’Neill’s magnum opus “Long Day’s Journey into Night,” published posthumously in 1956, which dared to address a matriarch’s addiction and its ripple effect on a family.

The main story is that Violet’s husband, Beverly (Joneal Joplin), an alcoholic poet and former college professor, has gone missing. Their 30-year toxic relationship has resulted in two of their three daughters escaping to live elsewhere –Barbara (Henny Russell) in Colorado and Karen (Yvonne Woods) in Florida. Ivy (Claire Karpen) stayed in their small town but lives on her own.

After several days go by, family members return to the fold, with fireworks ensuing in a large country home outside Pawhuska, Okla., 60 miles northwest of Tulsa. The time period is a hot dusty August 2007.

Henny Russell and Michael James Reed. Photo by Jon Gitchoff

The adult daughters are played by three equally strong actresses, and even if you didn’t know what order they were in, you’d figure it out quickly – Barbara, the controlling eldest can’t keep her own life from falling apart (fight); Ivy, the unfulfilled middle child (froze); and self-absorbed Karen (flight). They are all keeping secrets about their relationships. Their family hierarchy roars here.

Barbara is separated from Bill (Michael James Reed), a college professor whose infidelity has caused a riff, but they are going through the motions in front of the family. They have brought their 14-year-old daughter Jean (Isa Venere) along, and she’s ready to burst out of a cocoon like most teenage girls.

In a mother-daughter chat, Barbara wisely tells Jean: “Thank God we can’t tell the future, or we’d never get out of bed.” It’s just one of Letts’ lines of astute dialogue that the audience responds to, recognizing themselves.

Bill is an ingrained family member, clearly respected by Violet, and considered a rock by others, and Reed straddles that turmoil without losing Bill’s humanity. Tightly wound Russell immediately indicates Barbara’s lifelong pattern of confrontations with her overbearing mother.

Breezing in from Miami, flighty Karen has a new fiancé in tow, thrice-married Steve (Brian Slaten), giving off a vibe as a player — yet Slaten takes his time bringing out his inner creep. Woods, as Karen, appears to not grasp the seriousness of the family’s despair (or is unwilling to do so).

Sean Wiberg and Claire Karpen. Photo by Jon Gitchoff

Introverted Ivy shields her personal life, and Karpen heartbreakingly expresses how disconnected she is from her sisters. Violet is always finding fault with her actions and appearance.

The Aikens arrive, and they are the Westons’ extended family. Hardened Mattie Fae (Astrid Van Wieren) is Violet’s blustery sister, and she’s nagged Charlie (Alan Knoll) over the years. He’s a decent guy who puts up with a lot, valued Beverly’s friendship. Their downtrodden son, Little Charles (Sean Wiberg), incurs Mattie Fae’s ire at every opportunity while Charlie sticks up for his sensitive boy.

Van Wieren and Knoll are remarkably sturdy in their roles, bringing out qualities I hadn’t noticed in three prior productions. Knoll is the lynchpin here, and it’s such a deftly delivered performance, crisp in its comic timing, and gut-wrenching in its ruefulness. Long a veteran actor, this just may be Knoll’s finest hour (or three).

Van Wieren may look familiar if you have seen “Come from Away” on Broadway (or the Apple TV+ filmed production) – she played Beulah starting in 2017. She shows how loudly Mattie Fae’s buttons are pushed, but also why she’s like she is.

The observer here is quiet but smart Johnna (Shyla Lefner), a kind and considerate Native American woman from the Cheyenne tribe, who Beverly hired as a live-in housekeeper. She becomes a steadfast, reliable presence, witness to the never-ending dramas, and intervening only when necessary. Nonjudgmental, she endures Violet’s haughty diatribes and harsh commentary.

Henny Russell and Isa Venere. Photo by Jon Gitchoff.

In the brief role of Sheriff Deon Gilbeau, Barbara’s old high school boyfriend, David Wassilak, makes it his own with clear-eyed compassion.

This cast is so riveting that you do not feel the play’s 3-hour and 20-minute runtime. When the second intermission happened, I thought “already?” That’s how enthralling this show is.

Directed by Amelia Acosta Powell, she understands the agitations and anguish of this family, and brings out the many levels of pain. There is a specific ebb and flow she achieves, and what culminates in the disruptive family dinner post-memorial service is one of the all-time jaw-dropping segments in live theater.

I do have a few quibbles about blocking, particularly building intensity between Barbara and Violet – I prefer a closer proximity to be more effective, but it shows how a family that ignores the elephant in the room will always have it blow up in their faces at some point.

The Americana musical interludes composed by Avi Amon help establish the setting, while Amanda Werre’s smooth and perceptible sound design is her customary top-notch work. At first, lighting designer Xavier Pierce’s work was too dark, but gradually evened out according to the action, and the shadows are an extension of the house’s buried secrets.

Venere, Russell, Reed and Brian Slaten. Photo by Jon Gitchoff.

Scenic Designer Regina Garcia fashioned a large interior, with some exterior nooks, using classic American furniture, but the shingles on a portion of the rooms inside were puzzling (I know, imagery, not literal)..

Sonia Alvarez’s contemporary costume design for casual attire suits the characters and the period, and the mourning outfits are spot-on, especially Violet’s black dress – reflecting what she used to look like before hard living took its toll. Noteworthy is Alison Hora’s wig design too.

Also notable is Michael Pierce’s fight choreography and Rachel Tibbetts’ and Will Bonfiglio’s intimacy coordinator work.

Shakespearean in tone and temperament, but truly an American masterpiece for the 21st century, Letts’ ruminations on life’s passages, aging, blood ties, and identity above all reflect on humanism.

While families can pour their own gasoline on deep-rooted issues without any assistance in real-life (and there are those who don’t see the need to pick at the scabs of their past), this retelling has an energy and an electricity that only the most genuine experiences can achieve, catharsis optional.

Letts has superbly blended the sharp wit of an observational humorous sitcom/stand-up special with the emotional turbulence of lively soap operas to expertly craft a relatable family in crisis.

Gloria Steinem said, “the healing is in the telling,” and it is my hope “August: Osage County” reaches people who may be in a painful place, who may leave with a modicum of hope, because if anything, we are not alone.

And no matter how regretful or defeated others are by their actions, the play says they are not us, and that trajectory can change. The Weston-Aiken clan holds a mirror up that is sharply in focus.

Shyla Lefner, McLaughlin and Russell in front. Photo by Jon Gitchoff.

The Repertory Theatre of St. Louis presents “August: Osage County” from March 19 to April 7 at the Loretto-Hilton Center, 130 Edgar Road, St. Louis.

Tickets: Purchase tickets online at Repstl.org, by phone at 314-968-4925, or The Rep Box Office will also be available for in-person support at the Loretto-Hilton Center Tuesdays and Wednesdays from 10:30 a.m. – 5 p.m. and 2 hours before curtain.
Rush Tickets: Available for students, seniors, educators, and theatre professionals by calling the Box Office at 314-968-4925, 1 – 2 hours prior to curtain time.

Audio-Described Performance: Thursday, April 4 at 7 pm – the show will be described for patrons who are blind or have low vision.

ASL Performance: Saturday, March 30 at 4 pm – the show will be signed for the deaf or hard of hearing.

Open-Captioned Performance: Sunday, April 7 at 2 pm – an electronic text ticker displays words being spoken or sung onstage.

Post Show Discussions follow Saturday, March 30 at 4 pm and Wednesday, April 3 at 2 pm performances.

Unremarkable Remake of ‘Road House’ Devoid of Any Charm

Unremarkable Remake of ‘Road House’ Devoid of Any Charm

By Lynn Venhaus

I was bored silly by Amazon’s unnecessary, ultraviolent streaming remake of “Road House,” a pale imitation of the original 1989 cheese-fest that starred the chiseled Patrick Swayze rocking a mullet as James Dalton, a black belt in karate and a Ph.D. in philosophy.

Granted, I am not the demo. This re-imagining is a macho man’s movie.

In “Southpaw” (2015) fighting mode, Oscar-nominated Jake Gyllenhaal is a campy, corny Dalton for the 21st century, a troubled soul who speaks with his fast fists. With the first name of Elwood, he’s jacked as an ex-UFC mixed martial arts fighter who pummels many a tough guy.

But sadly, Gyllenhaal is flat, nowhere near as magnetic as the late great Swayze, who knew how to elevate his roaming cooler in that rowdy ‘80s B-movie with his off-the-charts charisma, a world-class side-eye, and a Zen approach.

Devoid of any charm – where is Sam Elliott when you desperately need him? – this new version is mostly wall-to-wall vicious blood-spurting fighting where people are intent on maiming and breaking bones. It’s a whole lot of ugly. (Not that Swayze didn’t crack some liquored-up redneck skulls and rack up a high-body count).

The filmmakers have switched the location from a roughneck Jasper, Missouri honkytonk, the Double Deuce, to a coastal paradise in the Florida Keys, a fictional place called Glass Key Island. The open-air beach spot, owned by Jessica Williams (of “Shrinking”), is generically called “Road House,” and its claim to fame is that Hemingway drank there. OK…

In his new role as a highly paid bar bouncer, Elwood’s lean mean fighting machine takes on a lot of low-life high-wattage testosterone, and we watch big sweaty guys covered in tattoos mess with each other.

They unwisely pick fights with Dalton, who tries to control a deep well of rage. But like Swayze, he’s incorruptible and far smarter than the goons he’s tasked with keeping in line.

Co-screenwriters Anthony Bagarozzi and Chuck Mondry plus R. Lance Hill, whose name appeared on the first one as David Lee Henry, responsible for the story and screenplay with Hilary Henkin, have collaborated on a thin, uneven story with extremely ridiculous dialogue. Maybe they used AI because that script is soulless.

Like the original, it takes itself far too seriously – and should just have some fun with the over-the-top melodrama. Most surprisingly, it is directed by Doug Liman, who has helmed several crowd-pleasing films, like “Swingers,” “The Bourne Identity” and “Edge of Tomorrow.” Where is the verve?

The unremarkable cast brings very little personality to this tale and play mostly unlikable characters. In an off-putting opening, Post Malone, the singer, plays a hulking guy who isn’t the sharpest tool in the shed, and later, as a major big deal, Irish professional boxer Conor McGregor has a protracted fight, but his acting skills are severely limited.

The supporting cast providing the story’s conflicts are no match for the original – love interest Kelly Lynch had electric chemistry with Swayze while Melchior isn’t given much to do in this second go-round. Ben Gazzara’s slimy crime lord was a far superior villain than Billy Magnussen’s hard-to-believe slick corporate manipulator.

Furniture and glass break, bodies break, and the whole metaphysical dilemma about people’s purpose on earth is given a once-over. Eyes glare, fists fly, and highly choreographed fights ensue – although pointlessly heavily CGI’d in the remake.

Whatever floats your boat, but this floundering “Road House” doesn’t bring anything new to the genre. It seems to be just a whole lotta empty noise.

“Road House” is a 2024 action-thriller directed by Doug Liman and starring Jake Gyllenhaal, Daniela Melchior, Billy Magnussen, Jessica Williams, Conor McGregor, Lukas Cage, Hannah Lanier, and Post Malone. It is rated R for violence throughout, pervasive language and some nudity and has a run time of 2 hours, 1 minute. It began streaming on Amazon Prime on March 21. Lynn’s Grade: D-.

The original “Road House” is now streaming on MAX, FYI.

The 1989 “Road House” original cast of Patrick Swayze, Kelly Lynch and Sam Elliott.

‘Ghostbusters Frozen Empire’ Coasts on Nostalgia But Never Ignites

‘Ghostbusters Frozen Empire’ Coasts on Nostalgia But Never Ignites

By Lynn Venhaus
A silly and confusing nostalgia-infused stew that suffers from ingredients well past their sell-by dates, “Ghostbusters: Frozen Empire” is an erratic mess of plot and pacing, with too many layers and too many characters.

Whatever goodwill people have for the original cast Bill Murray, as Dr. Peter Venkman, Dan Aykroyd as Ray Stantz and Ernie Hudson as Winston Zeddemore, quickly evaporates when co-screenwriters Gil Kenan and Jason Reitman poorly integrate their beloved characters into a storyline weighted down by paranormal mumbo-jumbo.

It’s unnecessarily more complicated than any thread in “Oppenheimer,” and all the levity is sucked out of it, which is sad for tarnishing the late Harold Ramis’ legacy as the nerdy Egon Spengler, the big-brain of the original outfit.

This latest installment takes up after “Ghostbusters: Afterlife“ in 2021 resurrected the franchise that began with a bang in 1984, which was followed up with a 1989 sequel, and then dormant until a 2016 all-female reboot, which has largely been ignored but had a terrific cast.

In “Ghostbusters: Frozen Empire,” the Spengler family returns to the iconic New York City firehouse to team up with the surviving Ghostbusters, who’ve developed a top-secret research lab to take busting ghosts to the next level.

But when an ancient artifact unleashes an army of ghosts that casts a death chill upon the city, the new and old team join forces to save the world from a second Ice Age. The gizmos are more high-tech — drones! — but that doesn’t improve lucidity.

Sure, Slimer is back, and William Atherton shows up as the despicably oily Walter Peck, only he’s now the mayor of New York City instead of an EPA inspector — but still would like to rid his town of the ghostbusting heroes. A tiny army of mischievous mini-Stay-Puft Marshmallow Men cause more mayhem than when first introduced in 2021.

But even those welcome sentimental sightings don’t add much to an inexplicably leaden Kenan-Reitman script that is directed with a heavy-hand by Kenan, following “Afterlife” director Jason Reitman, the son of original “Ghostbusters” director Ivan Reitman.

As charming as Paul Rudd is as Gary Grooberson, the beau of Callie Spengler (Carrie Coon, one of the great modern actresses, just going through ‘mom’ motions), he can’t carry this cash-grab on his own. Grown-up make-believe needs a reason to watch.

Callie is Egon’s daughter, and her two teenage children Trevor (Finn Wolfhard) and Phoebe (McKenna Grace) are back, this time as fierce ghostbusters now enthusiastically embracing the family business.

There is a strange subplot where Phoebe is attracted to a ghost named Melody (Emily Alyn Lind) that is just a bizarre detour in an already complex template.

The Spenglers have taken over the Firehouse as a home, which is fun to explore, but then the ghosts they capture in the Ecto-Containment Unit start acting up (go figure) because of an apocalyptic diety hellbent on igniting a deep freeze (but why?). Layers and layers of confusing backstory prevent the film from ever taking off, and engaging in a way audiences might expect.

The set-up is unusually long and meandering, and is weighted down by the ancient lore explanations that seems to be as thick as mud. You can only watch so many electronic sparks before it becomes mind-numbing.

There is little to connect the “Afterlife” dirt farmer in Summerville, Oklahoma storyline, but two of the characters return with a passing reference — a podcaster played by Logan Kim and Lucky played by Celeste O’Connor.

The very funny comic actor and stand-up comedian Patton Oswalt is wasted in one solo scene as a librarian with vast knowledge of the spirits underworld, and ever-reliable Kumail Nanjiani offers goofy support as the slacker grandson of a deceased woman who held a lot of ancient (and kinky) secrets in their modest apartment.

While Aykroyd and Hudson are game as the more prominent returning heroes, Murray shows up rather late, with little to do, and coasts, devoid of the goofy charm that made Venkman so appealing. While Annie Potts is another welcome sight as former receptionist Janine Melznitz, it’s just a drive-by appearance, the role without any pizzazz of her past self.

This film is disappointing on multiple levels, but the by-the-numbers visual effects take over as a big chill plot point that is just deadening.

If you’ve seen Disney’s “Frozen” and its sequels, you’ve already seen everything a fast-moving widespread ice storm can do — and this plethora of GCI icicles is eye-catching for a few minutes, but in a repetitive loop, it quickly becomes tiresome. There was more heart in “Godzilla Minus One.”

While much of the “Ghostbusters” lore involves the childhood toys Millennials grew up with, that fondness is frittered away with this soulless, lifeless plot — although it might sell a few proton packs and jumpsuits.

And Ray Parker Jr.’s kicky “Ghostbusters” theme song can only do so much when it’s overused.

There is no reason to call these synthetically engineered characters ever again. Let it go.

“Ghostbusters: Frozen Empire” is a 2024 comedy sequel directed by Gil Kenan and starring Paul Rudd, Carrie Coon, McKenna Grace, Finn Wolfhard, Kumail Nanjiani, Patton Oswalt, Annie Potts, Dan Ackroyd, Ernie Hudson, Bill Murray. Logan Kim, Celeste O’Connor and William Atherton. It is rated PG-13 for supernatural action/violence, language, and suggestive references, and runtime is 1 hour, 55 minutes. It opens in theaters March 22. Lynn’s Grade: D

Sassy and Saucy ‘Sweet Potato Queens’ Urges Female Agency in Life

Sassy and Saucy ‘Sweet Potato Queens’ Urges Female Agency in Life

By Lynn Venhaus

A sweet-and-salty nutty mixed bag of brash gal pals and scummy exes who didn’t deserve them, “Sweet Potato Queens” sets a table for women to be proud and live out loud, no matter their lot in life.

With the exalted Boss Queen in the house, and members of the audience adorned with tiaras, sequins and neon pink feather boas, a spirited crowd – including the real inspirations behind some of the colorful characters – was in a feisty Saturday night mood to partake in the sassy and saucy Southern rock musical, “Sweet Potato Queens.”

If you are unfamiliar with the SPQ national movement, founder Jill Conner Browne and her closest friends in Jackson, Miss., have been empowering women since 1982. A New York Times’ bestselling author, she has spawned 6,200 registered Sweet Potato Queens chapters in 37 countries around the world.

New Line Theatre is producing the musical’s regional premiere, which is attracting appearances by Sweet Potato Queens and the creative people behind the musical, which debuted in 2016 in Houston and so far, has only been performed four other times.

The plucky material blends Southern prototype ‘girl power’ settings like “Designing Women” and “Mama’s Family,” and pink-collar components to “Steel Magnolias,” “Sex and the City,” and “The Divine Secrets of the Ya-Ya Sisterhood” for a frothy ‘you go, girl’ energy shot.

Talichia Noah as Jill Conner Browne. Photo by Jill Ritter Lindberg..

These are belles without a cotillion, no sorority sisters in sight, but they’ve bonded in silly and sublime ways, thanks to going through some things. Directors Scott Miller and Tony L. Marr Jr. make a point to bring out the humanity amid a carnival environs.

On March 9, the regal Browne and her entourage made grand entrances in sparkly outfits at The Marcelle, and upon introduction before the show, she regaled the crowd with the origins of her girls’ group in a very funny warm welcome. Their first appearance in a St. Patrick’s Day parade is a hoot (Google it!).

A woman who grabs life with gusto and lives by the tagline, “Be Particular,” Browne is the author of nine books, starting with “Sweet Potato Queens’ Book of Love” in 1999, then “God Save the Sweet Potato Queens” in 2001, followed by “The Sweet Potato Queens’ Big-Ass Cookbook and Financial Planner” in 2003, and including “Sweet Potato Queens’ Field Guide to Men: Every Man I Love Is Either Married, Gay, or Dead” in 2004,  “The Sweet Potato Queens’ Guide to Raising Children for Fun and Profit” in 2008, and “Fat is the New 30: The Sweet Potato Queens’ Guide to Coping with (the crappy parts of) Life” in 2012.

While many fans are primarily middle-aged and middle-class women, many chapters have people from all walks of life, and all promote positive thinking and self-esteem. Browne says the SPQ movement is to inspire “all of us to do what makes our hearts sing,” and that’s the opening number of the show.

While the uninitiated may think the spotlighted women fall into Southern stereotypes, it is wise not to go there, for do not underestimate their wit, smarts, and resilience. These are not tsk-tsk yokels from another branch of the family tree or plucked fresh from the cabbage patch to be laughed at – you will laugh with them because they find out who they are and are OK with that.

Jeffrey M. Wright as Tyler and Talichia Noah. Photo by Jill Ritter Lindberg.

Brown refers to her first husband as the anti-Christ, and if he’s anything resembling Jeffrey M. Wright’s woeful dirtbag Tyler, whoa.

Wright is such a polished, likeable performer that at first, it’s hard to adjust accepting him as a sleazeball, but he oozes unctuousness in his ladies-man encounters and is slick as this low-life liar that’s not smart enough to be convincing in his ruses (and he has a couple dandy ones). Yes, it’s called acting, and he showed his range.

Meanwhile, his long-suffering wife, Jill Conner Browne, played by good-natured Talichia Noah, is at her wit’s end, and finally musters enough dignity and self-determination to break free from the ‘stand by your man’ mantra.

She does so as part of a playful quartet with her three lively BFFS, all named Tammy. Of course! They introduce themselves in the cheeky “It’s Me” and spunky “SPQ-tiful,” and give Jill advice in the ballad “Make a Wish.”

A consummate pro, Ann Hier Brown is a revelation as firecracker “Too Much Tammy,” with heaping helpings of street smarts and in-your-face bravado. She dives into the amusing second act opener “Funeral Food” with abundant zest.

Another veteran, Mara Bollini, sashays with attitude as Floozie Tammy, uninhibited in “One Last Kiss” and spills the sweet tea on her sexual escapades. Brown, Bollini and Noah are a force on “The Only Thing I Know.”

Aarin Kamphoefner leads “Mad Dog Twenty Twenty.” Photo by Jill Ritter Lindberg

Victoria Pines completes the Tammy trio, as Flower Tammy, an abused wife who leans on her friends about her predicament. She displays her terrific vocal skills in the poignant ballad “Cherries in the Snow.”

The show’s standout this performance was Aarin Kamphoefner as George, going beyond the cliches as a beacon of hard-fought self-acceptance, and a caring friend to the girls – no judgment, just reassurance.

He has fun leading “Mad Dog Twenty-Twenty” as a good time song. Comfortable in his skin as a queer in the deep South, George, a good listener, has something to say, and Kamphoefner shines, tugging at our heartstrings reprising “It’s Me.”

Performing on March 9, while the real “TammyGeorge” was sitting in the front row, he deserved a standing ovation for pouring his heart out in an emotionally vulnerable solliloquy while a patron’s cell phone was audible and wasn’t immediately turned off. Kamphoefner held composure and drew everyone into his character’s truth. Bravo!

Portraying the concerned parents dispensing homespun wisdom are Bethany Barr as Mama and Kent Coffel as Daddy. Coffel also has a couple different minor roles, and always shows his versatility as a local MVP. He kindheartedly reprises “Do What Makes Your Heart Sing” several times.

The music is composed by Melissa Manchester, a longtime singer, songwriter and actress, who has been active since the 1970s. She first came to prominence as one of Bette Midler’s back-up singers, “The Harlettes.”

Noah and Kent Coffel. Photo by Jill Ritter Lindberg.

Some of her career highlights include her first smash hit “Midnight Blue” (recently a music video duet with Dolly Parton!), her Grammy-nominated performance of Peter Allen’s “Don’t Cry Out Loud,” and co-writer with Kenny Loggins on his collaboration with Stevie Nicks “Whenever I Call You Friend.” She won a Grammy in 1983 for “You Should Hear How She Talks About You.”

As an actress, she played Maddy Russo on the TV show “Blossom” 1993-95, and last year played Mrs. Brice on the first national tour of “Funny Girl.”

Fun fact: Her solo 1984 concert at the Fabulous Fox Theatre here was my first review assignment from a St Louis Globe-Democrat editor.

Lyrics are by country songwriter Sharon Vaughn, who has penned hits for Randy Travis, Reba McEntire, Patty Loveless, Kenny Rogers and others. Her big breakthrough in 1976 was with the Waylon Jennings hit “My Heroes Have Always Been Cowboys,” which Willie Nelson covered for the 1979 Robert Redford movie “The Electric Horseman.” She was inducted into the Nashville Songwriters Hall of Fame in 2018.

With two women writing the female-forward songs, the numbers flavor the characters’ arc with a range of earnest emotions, what the characters are feeling at the time. The music has a peppy ‘60s girl-group vibe, with a splash of the self-acceptance of Tracy Turnblad in “Hairspray” and the boldness to be who you are of “Kinky Boots.”

“Five” is a showstopper, detailing Brown’s list for five men you must have in your life at all times: 1. Someone who can fix things 2. Someone you can dance with 3. Someone you can talk to 4. Someone who can pay for things (so you’re not paying their share) and 5. Someone to have great sex with. That about covers it, wouldn’t you say?

The Tammys and Jill. Photo by Jill Ritter Lindberg.

The band is tight, with seasoned New Line regulars John Gerdes on electric bass, Clancy Newell on percussion and Adam Rugo on electric guitar, and they are joined by Brandon Thompson on reeds, Nikki Ervin on keyboard, and conductor Dr. Tim Amukele on keyboard as well.

The enormity of the vocal load the lead must carry is daunting, as Jill must sing solo: “Do What Makes Your Heart Sing,” “Southern Side of Jackson,” “All That Matters,” and “To Be Queen,” and duos with Mama in “Sears,” Tyler in “We Had Some Good Times,” and the others in ensemble pieces. With that much to sing, Noah struggled at times, and her voice seemed strained because of the role’s demands the farther the show progressed. Perhaps Amukele’s guidance will help on the rough spots. But even for the most accomplished vocalist, that’s a herculean effort.

The book By Rupert Holmes lovingly spotlights the characters for their strength, grace under pressure, and their willingness to be audacious. Holmes won multiple Tony Awards for the book music and lyrics, all solo acknowledgements, for “The Mystery of Edwin Drood.” He’s known for the pop song “Escape (The Pina Colada Song).”

According to press material, “The team continues to work on the show. The St. Louis production will be the fifth production of the show so far.” While entertaining, it does appear to be a work in progress, and the rough-around-the-edges effort is well-meaning and good-hearted, but some tightening up would make it zing.

Rob Lippert’s minimal set design emphasizes the vibrant spirit of the production, with the iconic pink sunglasses as a major focal point. Matt Stuckel and Ryan Day capably handled the lighting and sound.

Ann Hier Brown and Mara Bollini. Photo by Jill Ritter Lindberg.

Zachary Phelps designed the flashy and curvy baby-doll SPQ anthem costumes as well as the everyday attire of the cast. The shiny pink-and-green outfits look like a vamped-up creation crossing “Amazon Women of the Moon” with “Barbarella” and John Waters’ movies.

For anyone who has experienced dreams-deferred, “Sweet Potato Queens” is a reminder to believe in your potential and stay true to your ideals. It does so with an energetic mindset, a desire to spread goodwill, and a celebratory, humorous spirit. After all, real queens adjust each other’s crowns.

Addendum: To follow in the footsteps of other SPQs across the land, Browne recommends Revlon® “Love That Pink” lipstick, flowing red wigs, and majorette boots. They wore green hand-me-down ball gowns and tiaras for their first St. Patrick’s Day Parade, and said when she discovered she lived near Vardaman, Miss., the self-proclaimed Sweet Potato Capital of the World, that was all it took to offer herself as the queen for the farmers’ annual festival.

Bethany Barr as Mama. Photo by Jill Ritter Lindberg.

New Line Theatre presents “Sweet Potato Queens” from Feb. 29 to March 23, Thursdays, Fridays, and Saturdays at 8 p.m. at the Marcelle Theater, 3310 Samuel Shepard Drive.

Tickets are $25 for adults and $20 for students/seniors for the preview; and $30 for adults and $25 for students/seniors for all other performances. To charge tickets by phone, call MetroTix at 314-534-1111 or visit the Fox Theatre box office or the MetroTix website.

For more information about discounts, visit the website: www.newlinetheatre.com

The Queen herself, Jill Conner Browne. Lynn Venhaus Photo.
Sweet Potato Queens in the audience March 9. Lynn Venhaus Photo.

The Son Rises In Enthralling, Massive Sci-Fi Spectacle ‘Dune: Part Two’

The Son Rises In Enthralling, Massive Sci-Fi Spectacle ‘Dune: Part Two’

By Lynn Venhaus

A masterful melding of massive spectacle, heartfelt high-stakes performances, and astonishing visual artistry, “Dune: Part Two” expands the mythic hero’s journey to its full potential.

After the global embrace of “Dune” in 2021 as a stunning adaptation of Frank Herbert’s 1965 book, considered the best-selling science fiction novel of all-time, the sequel has been highly anticipated to complete the first book on screen.

Part Two chronicles the novel’s second half, which follows a feudal interstellar society in a galaxy far, far away. At this time, while seeking revenge against the conspirators who destroyed his family, Paul Atreides (Timothee Chalamet) unites with Chani (Zendaya) and other Fremen. Forced to make either a personal choice or save the fate of the known universe, he endeavors to prevent a terrible future only he can foresee.

While it’s more riveting because of the whole picture, there could always be further character development due to its gigantic scope – nevertheless, the entire arc’s lucidity is much improved here.

In the first’s attempt at world-building, the narrative was largely unwieldy. However, no one could deny its mesmerizing grand-scale wizardry. (A second viewing really helped sort out the planets and houses).

Now that we are familiar with the desert wasteland Arrakis, the risks between the warring dynasties are made clearer. That is, for those of us who didn’t read Herbert’s first novel (or the other five in the “Dune” series).

‘Spice,’ the most precious resource in this universe’s existence, spurs the malevolent forces who want to control its extraction in Arrakis, because it is necessary for space navigation and its multidimensional awareness and foresight properties.

By picking up where the first left off, this second part effectively ties up loose ends, and deepens what is at stake. The focus narrows on young Paul Atreides, who must grow from an unseasoned boy, without his royal father to guide him, into the man he needs to become. Sacrifices must be made, and he continues to manifest his future in visions/dreams.

The religious and political implications of whether he is fulfilling a prophecy is what makes for propulsive viewing. The screenplay, co-written by director Denis Villeneuve and Jon Spaihts, contains requisite bombastic and brutal confrontations, but also includes sincere intimate moments that give the film its beating heart.

To that end, all the actors in this finely-tuned sprawling ensemble bring their A game, but Chalamet discernibly takes the reins – and without question, has come into his own as Paul.

It’s an emotionally charged turn, as he conveys a range of feelings, tormented by the burden of expectations and the challenge of learning ways to survive, especially conquering fear. As he notably rises above the pressures, his brooding Paul summons a strength that is exhilarating to watch.

Chalamet is fully invested as the gifted heir of the noble house of Atreides, who saw nearly everyone he cared about massacred. As the Harkonnen sharpen their attacks, Paul, who escaped Caladan with his mother to find refuge in Arrakis, is aided by the Fremen so that his people, and his family, have a future.

Whereas in the first, he was a blank slate “to the manor born,” and being groomed to take over. He accepted his duties, although reluctantly. But now, it’s urgent that he ascend into this pre-ordained role, and the question looms about his readiness. So far, he’s demonstrated heroic bravery and fierce loyalty, and must believably transform to meet the moment.

Now called “Usul,” or “Muad’Dib,” the Fremen respond to him with reverence – if they believe he is their savior. There are skeptics, though.

His mother, Lady Jessica (Rebecca Ferguson), becomes a Reverend Mother, and has a more fully developed role, steering her son towards his destiny and acting mysteriously as she prepares for the birth of her second child, a daughter. Ferguson is shrewdly alert and misses nothing as Leto’s widow.

Zendaya is more prominent as well, as Chani, a devoted and fearless Fremen warrior. Paul, a nobleman, is everything she has previously despised, but admiring his derring-do, they fall in love. That, of course, is complicated, and the two become a dynamic duo. Now bona fide movie stars, the camera loves both actors.

Also given more heft is venerable Javier Bardem as the courageous and wise Stilgar, who becomes a mentor and protector of Paul, fully believing that he is the next Messiah “as written.”

In a spellbinding scene pitting man against “a grandfather” sandworm that is one of cinema’s most astounding ever, Paul wins over a majority of Fremen. This is the money shot folks will be talking about for a long while.

Bardem is terrific, and so is Josh Brolin, who returns as brawny Gurney Halleck, the war master of the House of Atreides, who is one of Paul’s trusted advisors. Noteworthy, too, is Souheila Yacoub as Shishakli, a powerful Fremen sandrider.

On the dark side, a hulking, menacing Dave Bautista rages as Beast Rabban, part of the ruthless Harkonnen House, never to be trusted, and Stellan Skarsgard is a slimy and treacherous baron, a grotesque cross between Jabba the Hut and Palpatine in the “Star Wars” universe.

New to the story is a mind-blowing Austin Butler as the diabolical Feyd-Rautha, the baron’s cruel nephew and heir apparent. A cunning psychopath, the na-baron is imposing physically, and Butler’s transformation is startling. He proves that he is no one-trick pony after his breakthrough Oscar-nominated role as Elvis in Baz Luhrmann’s biopic last year.

Another new wrinkle is Florence Pugh as savvy Princess Irulen, daughter of the scheming emperor, smartly played by Christopher Walken. Pugh is properly regal, and while she only has one scene with her “Little Women” suitor Chalamet, it’s a showcase for all – the battle royale.

The cast serves the complexities of the characters well, we care more about their fates, and while the uninitiated might not understand all the elements at play, this trajectory is much smoother with this second helping.

Villeneuve establishes himself as a true visionary here – while I’ve enjoyed many of his films (“Blade Runner 2049,” “Arrival,” “Sicario” among them), and he is a meticulous craftsman, this is the first time I understood his fully realized end game, how the storytelling rose to the level of the visual effects.

If “Oppenheimer” is Christopher Nolan’s magnum opus, then “Dune: Part Two” is Villeneuve’s. What is impressive about both directors is their desire to create cinematic experiences, films that demand big-screen viewings because they fill the screen with wonder.

It was also smart to delay the sequel’s release date from November because it becomes the first welcome and sorely needed blockbuster of 2024. Mark my words, if “Dune: Part One” won six Oscars two years ago (original score, sound, film editing, cinematography, production design and visual effects), clear the trophy case for this latest during next year’s awards season.

The mythology’s epic scale is presented in a next-level, state-of-the-art artisanal way. Oscar winner Greig Fraser’s cinematography again dazzles with his panoramic planetary landcapes, scary sandworm eruptions, and grisly gladiator confrontations.

Production designer Patrice Vermette has created eye-popping worlds distinguishing each planet and house. Hans Zimmer’s stirring music effectively underscores the action and enhances the moods.

The first film was 2 hours and 35 minutes, and this follow-up adds 11 minutes, but didn’t detract. It certainly sets up an eager anticipation for “Dune: Part 3,” which is supposedly in the works, and will be based on the second novel, “Dune: Messiah.”

Villeneuve’s “Dune” series is the most successful to date for the devoted fan base. Filmmaker Alejandro Jodorowsky attempted a film adaptation in the 1970s but was cancelled after three years in development. Then David Lynch made a complex adaptation in 1984, which was not well-received, although fans were receptive to a Sci-Fi Channel miniseries in 2000.

With its breath-taking and jaw-dropping visuals and big-stakes bravado, “Dune: Part 2” is an enthralling cinematic marvel that we can both admire and enjoy.

“Dune: Part Two” is a 2024 science fiction action-adventure directed by Denis Villeneuve and starring Timothee Chalamet, Zendaya, Rebecca Ferguson, Austin Butler, Javier Bardem, Josh Brolin, Florence Pugh, Christopher Walken, Dave Bautista, Stellan Skarsgard and Charlotte Rampling. It is rated PG-13 for sequences of strong violence, some suggestive material and brief strong language, and its runtime is 2 hours, 46 minutes. It opens in theatres March 1. Lynn’s Grade: A.

Super-Sized Yet Old-Fashioned, ‘Wonka’ Prequel Is A Sweet Treat

Super-Sized Yet Old-Fashioned, ‘Wonka’ Prequel Is A Sweet Treat

Film now available on DVD, Blu-Ray and Digital

By Lynn Venhaus

A charming origin story with a winsome Timothee Chalamet as a joyful chocolatier with grand ambitions, “Wonka” is a super-sized old-fashioned musical. It’s a sweet treat for families, but also anyone who is captivated by pure imagination.

While the British-based film might not soar to exciting uncharted horizons, it has a comfortable, whimsical feel amid its eye-popping magical world.

After traveling the seven seas gathering exotic ingredients, a young and poor Willy Wonka (Timothee Chalamet) dreams of setting up a candy shop in London, but discovers that the industry is run by a cartel of greedy chocolatiers.

As a prequel, there is no foreshadowing of a darker candy emperor, but a hint of the eccentricity and mischief Gene Wilder displayed in 1971’s now beloved “Willy Wonka & The Chocolate Factory,” or Tim Burton’s weirdness in the 2005 Johnny Depp take “Charlie and the Chocolate Factory” — just a sincere motherless son who will need pluck and luck to overcome the many hurdles in his path.

Inventive writer-director Paul King gave us a most enchanting double-shot of “Paddington” and “Paddington 2” that we didn’t know we needed in 2014 and 2017 — but were so grateful to receive (don’t miss the sequel and thank me later).

Inspired with the best of intentions, he approached Roald Dahl’s 1964 novel, “Charlie and the Chocolate Factory” with a big-sized heart.

Leaning into the anticipation of a fanciful adventure, he gives us a storybook tableau that’s part Dickensian London and part funhouse.

He’s also enlisted a splendid supporting cast to boost the entertainment value, with Keegan-Michael Key as the shady police chief who has a chocolate addiction and Rowan Atkinson, aka “Mr. Bean,” as a chocoholic priest.

Featuring exaggerated performances by a cadre of villains, the meanies are just obnoxious, not terrifying, starting with Oscar winner Olivia Colman as a cruel captor, Mrs. Scrubbit, who foils lodgers into signing rigged long term labor contracts. Character actor Tom Davis plays her boyfriend, “Bleacher,” a hulking enforcer.

The main trio of bad guys are a chocolate cartel straight out of old-timey melodramas – Slugworth (Paterson Joseph), Prodnose (Matt Lucas), and Fickelgruber (Mathew Baynton). They can’t have competition in the form of a wide-eyed world traveler, eager to elevate candy-making to high art.

They do everything they can to block him. But Chalamet’s Wonka is such a charming dreamer that he quickly forms friendships with the other downtrodden captives, and their newfound family bond will help him through many pickles he gets into while trying to succeed.

Calah Lane plays his orphaned wingman, Noodle, and they are a beguiling duo. Jim Carter, familiar to “Downtown Abbey” fans, is a kind leader in the sweat shop, Abacus Crunch.

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Stealing the show, however, is Hugh Grant as an annoyed Oompa Loompa, sporting a green wig – yet dances with glee.

The script was co-written by King’s frequent collaborator Simon Farnaby, who is also an actor known for the British version of “Ghosts.” He plays a goofy zoo security guard here. There are many good-natured dollops of humor, especially sight gags.

Six original songs are featured in the movie, composed by Joby Talbot, who worked on “Sing” and its sequel, and his former Divine Comedy bandmate, lyricist Neil Hannon. “A World of Your Own,” “A Hatful of Dreams,” and “For a Moment” are solid tunes that add flavor to the story.

While no one is going to mistake Chalamet for Josh Groban, he does an adequate job, eliciting a few tears from me with his heartfelt rendition of “Pure Imagination.” Anthony Newley and Leslie Bricusse’s classic is evergreen.

The big number establishing the chocolate rivalry is “You’ve Never Had Chocolate Like This (Hoverchocs)” and it’s a dandy in execution.

This new release is somewhere in the middle between the 1971 and 2005 films but offers an amusing and fresh perspective on a delightful story. And was a pleasant diversion amid more bombastic and edgy fare.

And if you didn’t get any candy at the concession stand beforehand, you’ll be craving a confection soon enough. An Everlasting Gobstopper won’t suffice – must involve a cacao bean,

If you want to view paradise, simply look around and view it, Anything you want to, do it. Want to change the world? There’s nothing to it…

A sentimental, nostalgic and earnest “Wonka” has all the ingredients to be a big crowd-pleaser, especially with its adorable reveal in the finale.

“Wonka” is a 2023 musical fantasy adventure film directed by Paul King and starring Timothee Chalamet, Hugh Grant, Olivia Colman, Keegan Michael Key, Rowan Atkinson, Sally Hawkins and.Calah Lane. It is rated PG for some violence, mild language and thematic elements and the runtime is 1 hour, 55 minutes. It was released in theaters Dec. 15 and as of Feb. 27, is now available on DVD, Blu-ray and Digital Code, 4K Ultra HD + Digital Doe, VOD and Digital. Lynn’s Grade: B

Blu-ray extras: “Unwrapping Wonka: Paul King’s Vision”; “The Whimsical Music of Wonka”; “Welcome to Wonka Land”; “Hats Off to Wonka”; “Wonka’s Chocolatier”: Chocolatier Gabriella Cugno provides an in-depth look at the creation of the beautiful chocolates seen in “Wonka.”

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Source: JustWatch

Uplifting ‘Ordinary Angels’ Spotlights Community Empathy, Kindness

Uplifting ‘Ordinary Angels’ Spotlights Community Empathy, Kindness

By Lynn Venhaus

If you didn’t know it really happened, “Ordinary Angels” is the type of schmaltzy movie aiming straight for the heart that some would scoff at, yet even though cynics will pick it apart, people seeking an uplifting jolt will be touched by the selfless acts of human kindness.

Inspired by the true story of Kentucky hairdresser Sharon Stevens (Hilary Swank) who single-handedly rallied an entire community to help a widowed father Edward Schmitt Jr. (Alan Ritchson) save the life of his critically ill young daughter Michelle (Emily Mitchell), who needed a liver transplant.

Those who need their faith in humanity restored can find plenty to respond to in this tearjerking drama, from the heartfelt performances to the duplication of a harrowing effort by a community responding to a life-or-death situation that really took place in Louisville, Kentucky, during an historic snowstorm when 17 inches fell on Jan. 17, 1994.

Two-time Oscar winner Swank plays a hot mess of a hairstylist who decides to help a widowed father and his two daughters after she reads a newspaper article detailing the youngest’s battle with an incurable liver disease. As brassy as she is, Sharon finds purpose in this mission and gets things done.

You know the adage, “People come into your life for a season or a reason,” well this is that moment. Thirty years ago, in one of Kentucky’s worst blizzards, a life was saved by people going the extra mile, coming together, and making things happen against impossible odds.

Alan Ritchson as Ed and Emily Mitchell as Michelle in Ordinary Angels. Photo Credit: Allen Fraser

Not that life was easy for the Schmitts under any circumstance. Think: The Book of Job. Or Stevens, for that matter.

The film is set mostly in 1993. Ed’s beloved Theresa (Amy Acker) has died of a congenital liver disease, biliary atresia, which their daughters have, Ashley (who received a transplant in 1991, which the film leaves out), and Michelle, who is in desperate need of a transplant, as medical bills mount, and her condition worsens. The film is at its best when focusing on the not-enough time and money scenario.

And then the cavalry arrives when Stevens becomes their lifeline, starting a fundraiser and then crusading for financial breaks, corporate donations and helping Ed find more work as a roofer.

 It is one of these incredulous examples of divine intervention. The film, in partnership with Kingdom Story Company, a faith-based operation responsible for Kurt Warner’s story “American Underdog,” isn’t preachy, in case you were wondering, or pandering. The filmmakers display earnest intentions, and it’s a terrific public service announcement for organ donors.

Stevens is fictitiously written as an alcoholic with an estranged grown son, and Swank sympathetically shows a tormented woman masking her pain by throwing herself into the role of miracle worker. She leans in as this sassy, saucy do-gooder who won’t take no for an answer, but her undivided attention and tenacity help a grieving family in need.

This is the kind of role Swank excels at, transforming into a force of nature. It’s inspiring to watch this flawed woman’s journey as she makes a difference, called to action (my sister refers to these ‘Godwinks’ as ‘Angels with skin on”), and restores her faith – and those around her.  

Hilary Swank as Sharon in Ordinary Angels. Photo Credit: Allen Fraser

Ritchson, who has played a wide array of tough action heroes, from Aquaman on “Smallville” and Raphael in “Teenage Mutant Ninja Turtles” movie reboots to Lee Child’s retired military police officer Jack Reacher on the current Amazon Prime Video TV series, is good at depicting the strong, silent type who’s hiding his pain. He’s overwhelmed by grief, medical bills and a nagging feeling he isn’t doing enough for his family.

The conflict here – because of course we need one – is that Ed resents Sharon swooping in and helping his family when he thinks he should be the superhero. He’s wary of her pushiness and questions her motives. But as he pushes back, she pushes forward. His mom Barbara (Nancy Travis), helping with the girls, considers her a gift, and so do the kids.

The young actresses playing Ashley (Skywalker Hughes) and Michelle (Emily Mitchell) couldn’t be cuter, and the situation resonates easily (and not in a manipulative way – but have tissues nearby).

Director Jon Gunn’s filming of the race-against-the-clock sequence to get to an Omaha hospital for Michelle’s liver transplant is truly remarkable when empathy and mutual aid are tested by nature’s harsh elements. Cinematographer Maya Bankovic intensely captures the raging blizzard and editor Parker Adams’ work ramps up the tension.

Co-screenwriters Meg Tilly, the actress now retired, and Kelly Fremon Craig, who wrote and directed “Are You There God? It’s Me, Margaret” highlight the transformative power of human connection and what happens when people collectively meet a moment.

If a film celebrating community and kindness doesn’t elicit some joy during this dreary winter, then we, as a people, are in a truly sad place. We need every opportunity to see how people can respond to others in need with extraordinary compassion and resourcefulness. “Ordinary Angels” is a welcome beacon of hope in these difficult divisive modern times.

Hilary Swank as Sharon and Alan Ritchson as Ed in Ordinary Angels. Photo Credit: Allen Fraser

“Ordinary Angels” is a 2024 drama based on a true story, directed by Jon Gunn and starring Hilary Swank, Alan Ritchson, Nancy Travis, Tamala Jones, Emily Mitchell and Skywalker Hughes. It is rated PG for thematic content, brief bloody images and smoking and the run time is 1 hour, 56 minutes. The film opens in theaters Feb. 23. Lynn’s Grade: B.

Soul Siren’s Powerful, Provocative ‘Dutchman’ Presents A Fresh Voice

Soul Siren’s Powerful, Provocative ‘Dutchman’ Presents A Fresh Voice

By Lynn Venhaus

With its sinister hints of Adam-and-Eve symbolism, “Dutchman” is a daring and thought-provoking ritual drama that indicates Soul Siren Playhouse is a new group with something to say.

The gritty and raw one-act is now playing at the well-appointed Greenfinch Theatre (formerly the Way Out Club), the newest performing space in St. Louis. The intimate setting lends itself to focus on the two bravura performances by Cameron Jamarr and Eileen Engel.

Written by Amiri Baraka, aka poet activist LeRoi Jones, he had much to say about black men in ‘60s society during the heightened civil rights struggle. With its themes of racism, sexism, and discrimination, it may make people uncomfortable, but its intention is to start a dialogue, and that’s necessary.

Soul Siren’s co-directors – Jamarr, Engel, Bradford Rolen and Zahria Moore — unpacks the complexities of this revolutionary play related to bias, stereotypes, race relations in America and our social responsibility as bystanders. An interactive dramaturgy display designed by Moore is at the back of the room and illuminating the period that influenced Baraka – beat poets, emerging black artists and the avant-garde movement in a vibrant Greenwich Village.

Photo by Zak Littrell

Fast forward to the 21st century, and divisions, misinformation and social media outrage fan flames that point out that we have a long way to go towards understanding common humanity.

Jamarr and Engel are fearless in undertaking this challenging work, which is as disturbing as it was in 1964. Bakara boldly presented a distinct sociological situation, heavy on symbolism, to propel audiences into action, and the pair convey the intensity required. It’s quite the tango.

The first slave-bearing ship to America was from the Dutch, and Bakara also references the legend of “The Flying Dutchman,” a doomed ship cursed with never finding safe harbor.

In describing his short play’s metaphorical setting, Bakara wrote: “In the flying underbelly of the city, steaming hot and summer on top, outside. Underground. The subway heaped in modern myth.”

Rolen’s scenic design puts us on the subway car, and Lenny Banks’ lighting design sets the mood well. De’Janna Scales-Hand’s sound design has enhanced the experience too.

Jamarr is an unsuspecting sharp-dressed man named Clay on a mass transit train who encounters a mysterious white woman, Lula, who looks like a wild flower-child dressed in Bohemian attire. Unfiltered, Lula is obviously trying to seduce the man, who is at first wary, but then gives in to the temptation.

Engel’s character is no hippy-dippy chick, although she looks like a poster-girl for 1967’s “Summer of Love.” Presenting herself as a flirty seductress with a good time on her mind, she slowly indicates her intensions are not noble.

Calculating, with a maniacal unhinged laugh, Lula tries to manipulate, but Clay is no push-over. An eerie aspect is that Lula seems to know things about Clay and that is both mysterious and unsettling.

The confrontations become emotionally charged, compelling in a horror-movie jump-scare kind of way. This collision course of a play, unpredictable and with actions unexpected, will linger. It’s certain to spark conversations.

Photo by Zak Littrell.

That, of course, was Baraka’s point. The fact that we can still talk about social injustice in a meaningful way is a unifying message, but it also points out that much more change is needed.

This production takes a timeless approach to the story – a cell-phone! – as the play will celebrate its 60th anniversary next month, of its premiere off-Broadway in March 1964 It won the Obie Award for Best Play that year.

The cast includes Jeremy Thomas and alternate DeAnte Bryant as the conductor and an annoying drunk passenger, and Donald Kidd in a brief role.

Racially explicit language is used, and physical violence is part of the piece.

One can see and feel the passion and commitment involved in this well-produced show, and I look forward to seeing what’s next on their schedule.

Soul Siren Playhouse presents Amiri Baraka’s “Dutchman” Feb. 1 through Feb. 18 at Greenfinch Theatre and Dive Bar on 2525 South Jefferson. Performances are Thursday at 7 p.m., Friday at 8 p.m., Saturday two shows – 4 p.m. and 8 p.m., and Sunday at 2:30 p.m. The cost is free (donations can be made), but RSVPs are necessary. For more information: www.playsiren.com

Photo by Zak Littrell