A WRINKLE IN TIME – RE-REVIEW – A GLOWING EXAMPLE OF LIBERAL COMMON NON-SENSE

I have long maintained that liberals in Hollywood were willing to throw money away on financing abyssmal movies if they think it will further whatever agenda they are after: socialism, destruction of the definition of marriage, sexualization of children, artifically inflammed racial divisiveness, atheism. I have had a lot of conversations with people who don’t believe me – that they think “Hollywood” will learn their lesson when this or that movie fails.

I hate to disabuse them of the notion that liberals have the slightest bit of common sense but one only needs to read the following article on the deserved thrashing A Wrinkle in Time is getting to understand how far liberals will go: A Wrinkle in Time:…$100 million…Disney…Bomb

In this article you will read quotes by the sneering and smug Ava DuVernay, a stridently vociferous anti-Trump liberal and the director of this $100 million turkey. “I don’t care what anybody thinks about it,” she told the Times. “I know it’s $100 million for the studio. They’ll be fine.” In typical liberalese – she doesn’t care that Disney may have just lost $100 million so she could display her little propaganda tantrum – why SHOULD she care? It’s not her money she is wasting.

For a more detailed review about the movie in general go to my previous review of this waste of celluloid at: A Wrinkle in Time – Disturbing and Repulsive

I don’t feel sorry for Disney. After all they knew what they were getting into when they funded this bomb. But let’s be clear about what it is they have done.

Many of the reviewers went right along with Ms. DuVernay’s sentiment, bending themselves into pretzels attempting to avoid saying A W.I.T. is a BAD movie:

Marie Claire of the Hollywood Reporter: “’A Wrinkle in Time’ isn’t a great movie, but that’s completely irrelevant.”

Yolanda Machado, a free lance film journalist said, “Because of this film, my daughter will never question that she can be strong.”

The FOX article reads: “One reviewer called it a ‘big bold beautiful mess’ before praising DuVernay for ‘swinging for the fences’ with a ‘not great’ script.'”

Ms. DuVernay CLAIMS she is trying to demonstrate that black women can be shown as strong leaders. This is all a massive load of what Biff Tannen and his relatives kept falling head first into in the Back to the Future movies.

For the purpose of the following points some acquaintance of the original book’s story is necessary – check out: Wikipedia Synopsis of: A Wrinkle in Time

First, Meg’s race is irrelevant. Storm Reid is terrific as Meg. The only ones who care what race she is are the liberal racists. The story of A Wrinkle in Time depends on a daughter’s love for her family and not at all on the race of the family members. As long as the genetics are logical or there is a mention of adoption, the young lady could be Chinese, Hispanic, white, black, Indonesian, Aleusian or any combination. (As in, if two white people have a black baby or two black people have a white baby some mention of adoption would need to be thrown into the script for the sake of practicality.) Meg being black has NOTHING to do with the story one way or the other and I couldn’t have cared less. All that is required is acting ability which Ms. Reid has. Meg’s race is irrelevant.

Second, the original story HAD a strong female character that everyone followed. At the risk of SPOILERS, in the end, not even Meg’s father could go back and save Charles Wallace. ONLY – and I repeat this emphasized emphatically ONLY Meg could or was even allowed by the Mrs. W’s to return for her younger brother. Meg was the only one whose love was strong enough. (It was explained that her father had not seen his son in four years and Calvin had only just met him.) Calvin, in the book, followed Meg like a puppy the entire way. He was a strong character in and of himself, but recognized Meg’s purpose and inner vigorous soul. What Ms. DuVernay proposed was nothing Madeleine L’Engle had not already put in the original source material. In other words DUVERNAY IS TAKING PLAGERISTIC CREDIT FOR SOMETHING ALREADY IN THE BOOK!

Third, and most importantly, even if what Ms. DuVernay said was true or even believed was true – that she had sought to make a movie which showed a strong black woman in the lead – there was ZERO reason to make the single change which has made this movie such a spectacular BOMB. Ms. DuVernay has stripped the flesh off of the reason the story was written. She deliberately, and I believe with malice, removed every iota of Christianity there was to be found in what is essentially a Christian allegory.

I really didn’t care one way or another about The Golden Compass. The Golden Compass was another child’s story which was filmed as an anti-religious tome and bombed. The G.C. was written by Philip Pullman, a self-described atheist, as an atheistic yawner and was so filmed, receiving the attention it deserved – earning less than half of its production budget.

But A Wrinkle in Time was created as a CHRISTIAN allegory by a devout CHRISTIAN and DuVernay has gone out of her way to brutalize it. You’d think Disney, if not the agenda-driven Ms. DuVernay, would have exercised more foresight and not dumped quite so much money into a movie which shoves a middle finger in the face of the very demographic who made the source book a children’s classic. I mean – from a business P.O.V. alone you’d think they would have filmed it with the intent with which it was written to bring in the moolah from the audience who liked the book in the first place! But, in keeping with longstanding liberal “ethics,” as long as it is someone else’s money, they do not care if it is thoughtlessly and carelessly fizzled away.

Yes, make the lead child a black girl – make her Tibetan or Hawaiian – who cares one way or the other?  I LOVED Storm Reid as Meg. She brought a fierce intensity to the role as the determined and dogged young lady who devotedly goes to rescue her father in the face of tremendous uncertainities and great evil. It is a tragedy that DuVernay took a great performance and threw it away on her trash fire of New Age proselytizing.

DuVernay is a poster child for my now proven assertion that Hollywood is willing to throw away a fortune to foist their own ungrateful dystopian indoctrination into the very culture that tolerates them the way no other culture would. And until and unless they manage to chokehold us into sponsoring their ideologies through taxation or forced attendance, the movie going public will likely continue to vote with their closed pocketbook.

To sum up – Ms DuVernay is using the race of this lovely child actress as a smoke screen to hide her anti-Christian agenda. And to me this is not just nonsense – it a demonstration of racism, child abuse and religious bigotry. SHAME ON YOU MS. DUVERNAY!!!

HURRICANE HEIST – EDGE OF YOUR SEAT POPCORN COMBO DISASTER/CRIME THRILLER

SHORT TAKE:

Hurrricane Heist is Twister meets Den of Thieves in this well written taut thriller.

WHO CAN GO:

Some language and a lot of violence – most of it natural disaster – would bump this up to an older teen minimum, but there is no sexual content, blasphemy or nudity.

LONG TAKE:

Estranged brothers Will (Toby Kebbell from Kong: Skull Island as both one of the soldiers AND Kong, and Masada in the recent Ben Hur), a meterologist in Alabama and Breeze (Ryan Kwanten) an ex-Marine shared a childhood trauma with a hurricane. Now living on the coast they must join forces with a Treasury agent, Casey (Maggie Grace – Liam Neeson's daughter in all the Taken movies, the doomed vampire in Twilight: Breaking Dawn and a damsel in distress in the sci fi thriller Lockout) to stop a team of ambitious thieves endeavoring to steal $600 million worth of used bills from a coastal mint facility in a sleepy Alabama town just as a Cat 5 hurricane hits. Cut off from the outside and virtually alone the three take on an entire well planned crew of professional thieves and corrupted law enforcemant agents.

Each plot line alone – the heist and the hurricane – would make an interesting story. Combined it is a lot of fun. Creativity, after all, is not inventing anything genuinely new. There is really nothing new under the Sun. Creativity is taking two or more existing things and putting them together in a new and creative way. 

Kebbell and Kwanten do reasonably respectful justice to the Southern Alabama accents despite being from England and Australia, respectively.  The hurricane scenes are pretty darned realistic and frightening as the storm builds exponentially and the characters play cat and mouse with each other through the town, dodging flying cars and the storm surge.

This is just a good old fashioned shoot 'em up bang bang against a backdrop of one of the most convincing looking hurricanes I have seen since — well since our family lived through one.

Seguing to a personal note, I grew up in New Orleans. My Dad was a member of the C.A.P., (Civil Air Patrol), had a ham radio and couldn't wait for hurricane season to begin. Every year we would put masking tape on the windows at the alert of a coming storm. It was almost like seasonal decorations. Christmas season you bought presents and put up a tree. Easter season you would buy chocolate bunnies and put out baskets of candy. Hurricane season you stocked up on batteries and taped up your windows. The tape not only didn't ever do a lick of good at either scaring away hurricanes or protecting your windows, but it was a bear to get off after it had partially melted in the summer heat, usually requiring a straight razor, and a considerable amount of elbow grease.

In 1965 our family  stayed through Betsy. Because of my Dad's foresight and planning, we lived on the highest ridge in Metairie in a brick house as hurricane proof as our Dad could build it. Betsy huffed and puffed but didn't get anywhere. Our Dad was an electrical engineer and had our house and two neighbors hooked up to a generator.  I remember our Dad using his ham radio to contact the authorities as a laison for the community. I also remember eating mustard sandwiches because that's all that was left in the kitchen after the electricity went out and the grocery store was delayed in opening. I remembered it being quite fun and exciting – except for that short period in which our dog had to do her business outside and I was petrified she would be blown away.

In 2005 our family survived Rita. By this time the gravity of such a storm had sunk in and I was terrified. However, as there were five MILLION people on the few roads north, east and west ahead of the storm, from Houston to New Orleans, we wisely, as it turned out, decided it was safer to stay put. Lake Charles was familiar territory, my husband and I  both had many hurricane seasons of experience under our belts and determined it was better to hunker down there than risk our six children, dog, two cats and household valuables to the uncertainties of an unfamiliar highway full of panicked people on a stretch of geography with unreliable resources and possibly no where to stay at the end. While everything worked out fine I was left with far more respect for and fear of hurricanes than I had as a infinitely more naive six year old child.

I say all this to note that the scenes of voracious storm fury as it literally eats the town were extremely realistic and had me far more frightened of the hurricane than of the two dozen bad guys with machine guns and an impatient attitude. I discovered I had gotten so tense during the movie that I felt slightly ill for a couple of hours afterwards.

Hurricane Heist was an exciting and entertaining adventure and worth the price of admission…….But I'm really glad hurricane season is still a few months away.

Masking tape anyone??

A WRINKLE IN TIME – DISTURBING AND REPULSIVE ARE NOT TOO STRONG

SHORT TAKE:

Child's classic story brutally stripped of all vestiges of the originally intended Christian allegory, amateurishly directed with irritatingly constant close-ups, lackluster adult performances, and distractingly stupid costumes. This new A Wrinkle in Time is a glittering dead heap of New Age pseudo-philosophical jargon. But the kids were cute.

LONG TAKE:

To say this movie was a disappointment would be one of this year’s great understatements. To say it was a laughably bad movie would be falling short of a full expose. To say it was offensive to Christianity in general and the Christian faith of its author would not be amiss. There is so much wrong with the new movie titled A Wrinkle in Time (it would be an insult to the source material to call it a filmed version of the book) that I have to do it by category.

Unlike most awards shows or Johnny Carson’s "lists" I will start with the most important first.

The ORIGINAL BOOK premise is that a teenaged girl, her friend Calvin and genius little brother go on a quest to find the teenaged girl’s father. The father, Mr Murray, was captured four years before by a great ubiquitous evil (presumably original sin) while trying to travel through the universe by "wrinkling" space with his mind. The time "wrinkle" of the title is supposed to work the same way and allows them to get back five minutes after their adventure begins. The children are aided by off-world/other-wordly angel-like creatures who masquerade as Mrs. Who, Mrs. Whatzit, and Mrs. Which, quirky little old ladies here on Earth.

THEME

Book

The author Madeleine L’Engle was a devout Christian. She served as the librarian and writer in residence at New York City’s John the Divine Episcopalian church and her faith informed everything she wrote. Sarah Arthur, author of a biography on Madeleine L’Engle expressed it this way: "It was the wonder and humility of scientists, especially theoretical physicists like Max Planck and Albert Einstein, who eventually convinced [L’Engle] to become Christian. If the Creator of a vast and surprising cosmos could love this small planet enough to become one of us…that was a faith worth clinging to." L’Engle herself is quoted in a 1979 interview with Christianity Today: "I believe we can understand cosmic questions only through particulars. I can only understand God through one specific particular, the incarnation of Jesus of Nazareth." Then, again, in case there is any vestige of doubt as to her perception of Jesus: "To believe that this Creator took on human vesture, accepted death and mortality, was tempted, betrayed, broken, and all for love of us, defies reason. It is so wild that it terrifies some Christians [this]…wild wonder of God’s love, a love we don’t even have to earn."

Keep in mind I was never a fan of this author or this book. Nothing against either – I had just never read anything of L’Engle’s until I blitzed A.W.I.T. to get perspective on the movie. It quickly becomes obvious, to even the casual observer or non-believer, that L’Engle intended a CS Lewis-style Christian allegory.

For example, the angel-like winged creatures which inhabit the origin planet of the three other-worldy Mrs. W’s fly and dance singing constantly. What they sing is: "Sing unto the Lord a new song, and his praise from the ends of the earth, ye that go down to the sea…the isles…the inhabitants…the wilderness…the cities…the rock…let them shout from the top of the mountains. Let them give glory unto the Lord."

When the three Mrs. W’s explain to the children they will be fighting a terrible evil darkness, they ask who they can think of on Earth who has fought the darkness. Mrs. Who herself quotes John 1: 5, "And the light shineth in darkness; and the darkness comprehended it not." To which one of the children immediately shouts: "Jesus! … Why of course, Jesus!" Mrs. Who then asks the children who else might be those who fight against the darkness and the list is: Leonardo da Vinci, Michelangelo, Shakespeare, Bach, Pasteur, Curie, Einstein, Schweitzer, Gandhi, Buddha, Beethoven, Rembrandt, St. Francis, Euclid, and Copernicus. All of these are people who have fought and some who died to alleviate suffering, bring beauty into the world, and help comprehend the intricacies of the world’s Intelligently Created order.

Mrs. Who usually speaks in quotes of the famous: Shakespeare "We are such stuff as dreams are made of", Pascal, Dante, Seneca, Perez, Horace, Cervantes "Experience is the mother of knowledge", Delille "How small is the Earth to him who looks from Heaven", Euripides "Nothing is hopeless, we must hope for everything", the Bible, and Goethe – the Good Book plus European and British poets, philosophers and authors. She speaks in: English, Latin, Italian, Spanish, German, French, Portugese and Greek.

Movie

In 1959 Charlton Heston starred in Ben Hur – a movie about an unjustly imprisoned man and his family who, through direct encounters with Christ, are redeemed, learn forgiveness, and find healing in soul and body. At the end of the movie the main character’s sister and mother, diseased with leprosy, are cured by touching the blood which flowed from Christ on the Cross through the rivulets of water during the storm following Jesus’ death. There is no question, as John Wayne’s character said in The Greatest Story Ever Told: "Truly this man was the Son of God." That was back in the day when even establishment Hollywood knew how to make a religious movie, when practicing Jewish producers, directors and writers respected the faith of their Christian brethren and vica versa.

In 2006 Ben Hur was divested of all reference to the Divinity of Jesus and reduced the character to —- well, he was a very nice man. No cure for the sister and mother, no major revelations.

New Ben Hur was disappointing at best, offensive at worse, right? But 2006's Ben Hur was by far a more theologically rich movie than 2018's travesty of A Wrinkle in Time because in the 2006 Ben Hur at least Jesus makes a guest appearance!

This 2018 A.W.I.T. is a twisting of the classic children’s book which skins and strips the living Christianity out of every iota of the story until it is a glittering dead heap of new age pseudo-philosophical jargon.

In Mrs. Who’s quotes they replace Pascal (mathematician), Dante (theological poet) – two extremely devout Christians, and Euripides – a classic Greek playwright whose works have survived the test of 2,500 years of time, with Gilbran, a popular but vague and muddled cult writer whose theology is so muddled together in an ecclectic stew of ideas as to be indecipherable, Rumi – a Muslim poet, included, no doubt in a syncophantic bow to Hollywood’s god of diversity, and ……. Chris Tucker "Dang". Chris Tucker? "Dang" is a quote? REALLY? How "in the face" of Western European Classic culture with a middle finger can you get than including a "quote" by a flash in the pan American comedian? And Outkast – they quote Outkast "You need to git out, git up and git something" – a modern American HIP HOP group! And Miranda from the pathetic excuse for a historic musical, Hamilton "Tomorrow they'll (sic) be more of us". Even their Shakespeare is vapid "When shall we three meet again" and is spoken by the EVIL WITCHES FROM MACBETH!!! How dumb are these people? They're having the good guys quote Satanically evil bad guys. Or maybe they knew exactly what they were doing and subtley endorsing the very evil the heroes of this story are supposed to be fighting!

What is WRONG with them?!? At least quote Americans who have something to say – George Washington, Martin Luther King, Thomas Paine, Booker T. Washington, Emily Dickenson, St. Elizabeth Ann Seton, even Groucho Marx who was at least funny!!!!!

Most egregiously – in the list of those who fight the darkness, Jesus, whose name is mentioned first and with emphasis by Ms. L’Engle and referenced directly and indirectly several other times, is never named. Not — even — once. Not once in the entirety of this whole misbegotten travesty of a movie. The writers of this script do not so much as mention the name of the Son of God for whom this entire book was written.

Instead of sound theology we get new age woman-hood-ness-ish nonsense – everything revolves around Meg and her blossoming into a "warrior", boosting her self-esteem and encouraging her to think better of herself. Do you know who, demographically, are the single group with the highest self-esteem? Career criminals. This is what gets them into trouble. They have little empathy or use for others. They think they are the center of the universe and when the universe, society in general and the criminal justice system disagree they end up in jail. THIS is the model they wish to set up as the New Age Princess? And, I guess, Calvin and her little brother Charles Wallace are disposable because they are boys, as demonstrated by her lack of concern after the rock tornado, as described below. And her father is useless because he "abandoned" them.

SCRIPT

The only thing that moves faster than light is darkness……..um what the HECK does that mean? Darkness is the absence of light, not a thing unto itself. This dumb concept isn’t in the book.

Having taken out all references to Christianity, including the home planet society of angels and their praise and worship of the Living God, the writers had to fill in time with SOMEthing. So they decided on stupid things which did nothing to further the narrative – like a rock tornado which chases the children, during which time the protective Meg incomprehensibly forgets all about her little brother. After the crisis has ended Charles Wallace’s sudden reappearance is taken with a ho hum shrug instead of the hysterical relief it should have merited.

Calvin in the book is always respectful and solicitous of Meg but in the movie has at least one moment of unexplained downright stalk-y creepiness after the rock tornado.

The movie contains, in a (presumably accidental) scene of accuracy to the book a street full of children who all bounce their balls in unison. Mothers call their children to come in simultaneously. In this scene from the book as well as other scenes in the book which emphasize the concept, Ms. L’Engle exposes the calamity of socialistic and communistic loss of individuality and the evil of the tyrannical requirement of cliquish uniformity. Apparently this hit way too close to home for the writers as the follow ups which made this one street scene make sense were cut out. Gone is the newspaper boy who throws newspapers with exacting rhythmicness, then explains he will be "reprocessed" if he does not. Excised are scenes where people in the downtown area move about in drab and anxious uniformity. I guess it would have expressed the evil of the hive mind too well.

DIRECTION

Apparently Ms. DuVernay went to the TV soap opera school of direction because every emotion – be it awe, fear, grief, joy, or surprise, was given a CLOSE-UP!!!!!!!! I mean a CLOSE-UP!!! so far in that you not only lost most of the top of their head but any connection to whom that person was talking. You get no reaction shots unless you cut to another CLOSE-UP!!!!! This gets tiresome after the first three or four DOZEN times she does this. There were so many CLOSE-UPS!!!! I thought I was going to get a nose bleed.

ACTING

You might laugh at the idea of Oprah Winfrey acting but I’ve seen her do a smashingly good job. Not only did she do a truly noteworthy job as the abused and abusive wife in The Color Purple, but she didn’t mind looking really ugly, dumpy and every worn mile of her character’s hard life. I thought at the time that she could have a decent career in performance. Alas it was not to be and this cringy amateur-ish mechanical reading of her lines is the result.

The kids are actually pretty good. I liked them. Not much they could do with the washed out script but Storm Reid was emphathizable as Meg, the grieving daughter, Levi Miller was charming and natural as Calvin, the friend, and Deric McCabe was quite believable as the prodigiously intelligent little brother of Meg, Charles Wallace. Unfortunately, most of the kids’ moments are ruined with the ubiquitous and unrelenting CLOSE-UPS!!!!!!

Chris Pine, who does a terrific job as the new Captain Kirk in the rebooted Star Trek movies, is totally wasted as Mr. Murry, the lost father. All he gets an opportunity to do is weep and look desperately sad in CLOSE-UPS!!!!!

COSTUME

Book

The Mrs. W’s were unassuming, mousey-looking, grandma-like little old ladies, going about their magical business in stealth and modest inconspicuousness. Mrs Whatzsit even goes so far as to "borrow" a neighbor’s sheets to make humble ragamuffin clothes.

Movie

The three "leads" were doodied up like Glenda the Good Witch parading on the Red Carpet during the Oscars. They were dolled up to be young, beautiful, wealthy and ostentatious – the exact opposite of what Ms. L’Engle intended.

Mrs. Whatzits' sheets, instead of the homemade hodgepodge they were to be intended, look as though they were designed by Yves Saint Laurent. Ms. Who wore large flashy bell like get ups I marveled that she didn’t fall and roll in during one scene where she was required to run mincingly down a hill. And Mrs Which – well if you like to see three story high versions of Oprah Winfrey dressed in reject Liberace costumes last used when he was King of Bacchus………

CHARACTERS

Book

In the book, when they arrive at Uriel, the home planet of the Mrs. W’s, Mrs. Who transforms into a creature one might encounter as an angel in CS Lewis’ The Great Divorce. In The Great Divorce, denizens of Purgatory are given a bus tour of Heaven including seeing angels. The creatures of Uriel are much like those angels – powerful and regal, much like a centaur with wings of shimmering filigree that take your breath away.

The Happy Medium is a ploy for Ms. L’Engle to let the children get a safe look at IT, the evil thing which inhabits all of Camazotz and hovers threateningly over Earth, causing strife and pain. The Happy Medium is a simple woman with a crystal ball who prefers to see happy things but willingly helps the Mrs. W’s and the children in a simple projection from her ball.

Movie

Instead of a majestic angel, Mrs Whatzit turns into a green stingray with the head of an artichoke and drops Calvin in mid-flight. This, of course, does not happen in the book but is another unnecessary waste of celluloid to fill the vacuum where Christianity once shone as the theme.

The Happy Medium is a man clown who requires silly ritualistic behaviors to project the needed images – they have to "center" and stand on one foot with their eyes closed on teetering rocks over an abyss – no really this is what he tells them they have to do. I kept expecting him to say he was kidding.

I could go on but I think you get the idea. This movie is a waste of time at best and a destructive piece of brainless propaganda at worst. It's certainly a waste of money.

Go read the book to your kids instead.

LAST CHANCE TO SEE SHREK THE MUSICAL AT ACTS THEATRE IN LAKE CHARLES LA THIS WEEKEND

I went to go see Shrek the Musical at ACTS Theatre here in Lake Charles last weekend for the second time. Curious as to how ours compared with the Broadway version I pulled up some Youtubes and discovered something interesting.

THERE ARE PORTIONS OF OUR PRODUCTION HERE IN LAKE CHARLES THAT ARE BETTER THAN THE BROADWAY PRODUCTION!!!

For example, there is a very moving song wherein Shrek sings, in response to a question by Donkey, about what he would like to be if he could have his wish. It is called "Who I'd Be". In the Broadway musical it is sung much like a Pagliacci sad clown – of someone who wants what he believes could never be. In the ACTS Production, the way Casey Doucet sang it raised the hairs on the back of my neck and, I think, was more in keeping with the brass but loveable and fundamentally heroic character of Shrek as originally created in the animated feature films. Doucet's rendition of "Who I'd Be" is inspiring and dramatic, providing credibility to the personality transformation from selfish angry ogre to admirable leader and gentle suitor that Shrek experiences. And Doucet's hopeful "When Words Fail" almost had me in tears.

Kristen Harrell's Fiona is simulataneously brass and coquettish, more than a match for Shrek and equals, if not surpasses the Broadway performance in style and vocal power. And I guarantee that the Broadway Fiona didn't double for choreographer as Ms. Harrell did, making Ms. Harrell's contribution to this show all the more amazing.

Julian Quebedeaux puts a stamp on Donkey that is his own – befitting the character and relationship Donkey has with Shrek but completely resisting what must have been an overpowering impulse to reproduce Eddie Murphy's vocal anthropomorphization. The result is a funny and refreshing take on the same character. Honestly, the Broadway characterization of Donkey is sweet but an obvious homage to Murphy's performance.

And Damien Thibodeaux out-Farquaads Farquaad in a way that rivals laugh for laugh even the Broadway half-pint megalomaniac.

So here in little ole' Lake Charles we can more than match up to the Big Apple. If you don't believe me – check out the Youtube excerpts of the Broadway Shrek the Musical then go SEE THE PRODUCTION AT ACTS!!! Our guys will make you PROUD!

For the full review check out my previous blog: Shrek the Musical at Lake Charles' ACTS Theatre – Bravo!

So rush out now, while the tickets are still available, for one or more of the last shows coming up this weekend: Shrek the Musical at ACTS Theatre.

OSCAR WINNER 2018 CEREMONY – AN ANALYSIS – WE GOT THEM ALL RIGHT!!!!

Now that the Oscars have come and gone I thought I'd made some observations. First off, if you listened to the Lake Charles' Best Sport Show culture segment on Sunday morning starting at 8:15 am CST, you would have heard Matt, Chad, Corey and my predictions, which were, if I say so myself – pretty good.

WE PICKED ALL THE RIGHT WINNERS! Unfortunately, the Academy didn't always agree with us.

Keeping in mind that we limited our picks to the nominees chosen by the Academy, we hereby present the REEL…I mean REAL…wait maybe I DO mean REEL…winners of the awards given annually by the Academy of Motion Picture Arts and Sciences, more familiarly known as Oscar since the 1930's when the Academy librarian mentioned she thought it looked like her Uncle Oscar.

In no particular order:

BEST ACTOR

Let's start with a nominee on which we all unanimously concurred. Gary Oldman's breathtaking performance as Churchill in Darkest Hour was a well nigh impossible hurdle for any other actor to overcome. In a role that obviously brought a lifetime of skill and experience to bear, Oldman WAS Winston Churchill for 2 hours and 5 minutes. For more details on this stunning performance in this great film click here – Darkest Hour

BEST SUPPORTING ACTOR

Next up, Sam Rockwell handily shone above all the other contenders INCLUDING his co-star Woody Harrelson who, had Rockwell not been so amazing, I think would have won. Rockwell's portrayal of the massively flawed but redeemable deputy Dixon in Three Billboards Outside Ebbing, Missouri earned this golden statue. Click on the name for my review. (As a side note I remember the first time I ever saw Rockwell. His performance in Galaxy Quest – the Star Trek homage/spoof/love letter was quite memorable. In what instantly became one of my all time favorite movies, he was arguably the most adorably goofy character in a tremendous ensemble of gifted actors including Sigourney Weaver, the late Alan Rickman, Tony Shaloub and Tim Allen.)

BEST ACTRESS

 In another example of where the Academy occasionally gets it right, the brilliantly talented Frances McDormand picked up her second best actress Oscar. The first was for the charming, very pregnant and easily underestimateable Sheriff Marge in the weirdly quirky crime comedy-drama Fargo at the 1997 ceremony. This one was for Three Billboards Outside Ebbing, Missouri. This round she is the desperately grieving mother of a murdered daughter who takes her frustration over the lack of progress out on the local constabulary, who are just as anxious to get results as she is. It is a case of two groups separated by a common goal who come to loggerheads because they can not find the real culprit. But interestingly, that is not what the movie is about. For more information on this complex and moving film see my review on Three Billboards subtitled: The Main Character is Not Who You Expect

BEST SUPPORTING ACTRESS

Here is where the Academy started to get it wrong. They picked Alison Janney for I, Tonya. A solid performance, certainly, in a dramedy/documentary about the life and scandal surrounding Tonya Harding and her complicity in the attack on Nancy Kerrigan just before the 1994 Olympics. While meaning no disrespect to Ms. Janney, as often actors are limited, obviously, by the roles they inhabit, Janney's character as Tonya Harding's mother was a monotone. Mrs. Harding was portrayed as a manipulative, abusive, emotionally calloused mother. She was not allowed, due to the nature of the script and person she was playing, to use much off the pallette of colors from those she was given. The result was almost a caricature of a person. Ms. Janney performed Mrs. Harding well, but it was by no means as challenging a part to play as the one tackled by Laurie Metcalf in Ladybird.

Laurie Metcalf's Marion is the mother of a rebellious, hormonal teenager struggling with her transition from child to woman. Marion actually has some traits in common with the notorious Mrs. Harding. Marion is distant and harsh at times, but despite her personal difficulties and conflicts with her daughter, manages to convey motherly purpose, love and conviction into a character that would have been unpleasant and unsympathetic in other hands. Metcalf's role was a very tricky hand to play. Too much and she would have been off putting, less and she would have seemed incapable as a mother. As it was Metcalf walked that fine ine between a flawed unpleasant character and a character with whom you feel empathy.

I have HAD the conversations Marion had with her daughter, Lady Bird – both as a daughter AND as the mother of a daughter, and I can tell you her portrayal was spot on.

For more on Ladybird see my review at: Lady Bird: To Anyone Who Knows a Teenaged Girl

BEST ADAPTED SCREENPLAY

There is no other way to describe the Academy's pick for best adapted screenplay as anything other than offensive and morally repugnant. Call me by Your Name was nothing but an attempt to lionize and romanticize pedophilia. Frankly, the author and everyone involved in the making of this movie should not have been awarded anything but jail sentences.

To be fair to the other nominees, I have to say I did not see any of them – mostly because I missed opportunities to do so and plan to catch up later. So, in this case, I deferred to my son who had at least seen Logan. He reported that Logan was an extremely good adaptation of the comic book series, exploring multi-dimensional character exposition while following the complex storyline set down by the original authors. If it later turns out one of the remaining three viable candidates did a better job, at least we can say that Logan deserved its place in the list of nominees.

BEST ORIGINAL SCREENPLAY

I saw all five of the nominees and I can safely say that not only is Get Out the best original screenplay – in that it was not based upon any pre-existing source material – but that it was – literally – one of the most original screenplays I have ever seen and certainly the most original of the nominees which included Lady Bird, Three Billboards Outside Ebbing, Missouri and The Big Sick, all of which were excellent. While in good company, Get Out still outshone them all in its innovative and creative story ideas, theme, plot and execution.

BEST ANIMATED FEATURE FILM

The Academy chose, Coco, what I thought was second best. They certainly chose the best CHILD'S animated feature film, but that is not what the category is. The category is for best animated feature film. I do not understand how they could compare Coco, which is what can only be described as a cute Halloween-like movie about a child searching for his grandfather among the dead, to the genuinely unique, classically and masterfully conjured  tour de force that is Loving Vincent.

Loving Vincent follows Armand, an ersatz and initially reluctant detective, who pursues the stories surrounding the death of Vincent Van Gogh. The entire film is animated using paintings made by hundreds of talented artists in the style of Vincent Van Gogh himself. The entire film is animated the way Vincent might have seen the proceedings. As satisfactory as Coco was, choosing it over Loving Vincent would be a bit like picking a cel from a Bugs Bunny cartoon over Starry Night. For more details on this daringly imaginative labor of love and brilliant masterpiece of animation, including links to where to obtain a copy, please see my review at – Loving Vincent – an Animated Biography.

BEST ANIMATED SHORT

At least the Academy got this right. Dear Basketball is a lovely inspirational animated film based on the poem Kobe Bryant wrote about his love of the sport, commemorating his retirement and presented at the ceremony honoring him for his lifetime achievements.

BEST PICTURE

The only positive thing I can say about the Academy's ill-considered choice of The Shape of Water as best picture is that at least they didn't pick the movie about the pedophile. Please read my review of this misbegotten movie at: Shape of Water – Offensive on so Many Levels.

There were many excellent choices to be had but hands down my pick would have been Darkest Hour. Darkest Hour features one of the best performances anywhere by anyone. Darkest Hour also is a detailed and fascinating account of a moment in time shaped by courageous men, great and small, who changed the course of history almost solely by their foresight, heroism, stalwart determination to stand up to the face of evil and refusal to buckle under the massive pressure of others' cowardice. Simultaneously, the movie openly presents the foibles, and occasionally almost whimsical personality of one of the most powerful men in history – Winston Churchill, humanizing him in ways that make it easy to believe we can all aspire to greatness in our own way, if we are but willing to self-sacrifice for honor and the protection of others.

I just do not see how they could reject such a magnificent film as Darkest Hour in favor of a movie which examines a woman's selfish and disturbing descent into bestiality.

CINEMATOGRAPHY

  I deferred on this category to my husband who is a gifted amateur photographer. After examining the work done in all of the nominated films he thought Dunkirk should have squeaked past Blade Runner 2049, though he admitted that Blade Runner 2049 demonstrated exceptionally good craftsmanship in that art. So I am pretty content with the Academy's choice of Roger Deakins for Blade Runner 2049 here.

COSTUME DESIGN

I know just about nothing concerning fashion and whether or not a particular costume was brilliantly recreated, difficult to construct or pulled off of a rack at Walmart. Therefore, I figure it is safe to assume that Mark Bridges' acquisition of that award for his work in Phantom Thread ABOUT a fashion designer is a pretty good bet. besides, the dresses are really pretty. LOL

BEST DIRECTOR

My objections to The Shape of Water are the same as those given above for Best Picture only more so as the director of a film is the captain of the ship and therefore the court of last resort and where the buck stops for the disaster or masterpiece which is created.

To my thinking, even had The Shape of Water not contained such offensive elements, Jordan Peele deserved the best director Oscar far more for Get Out. Jordan Peele both wrote and directed this fable exposing the truth behind the smug and smarmy smiles of wealthy elitist white liberals towards minorities whose lives they carelessly use like so much marketplace clutter.

Mr. Peele's use of sound and cinematography, fantasy elements and music, editing choices and plot twists all managed to deftly balance across a tightrope between horror and humor, creating a movie the likes of which I have not ever seen. Although there were many creative people involved and he did not singlehandedly make this film Mr Peele was the one who chose amongst an infinite choice of elements available to him to scupt this mesmerizing tale. Again, as the captain of this shiop he deserves the kudos, just as del Toro deserves the disapprobation. Hitchcock, I would be so bold as to guess, would have enjoyed Get Out, so suspenseful and woven throughout with intrigue, misdirection and cleverly laid clues it is. I can not help but wonder if the shoe Mr. Peele constructed of liberal hypocricies fit just a bit too tight for them to be comfortable in conferring the award Mr. Peele so clearly deserved.

FILM EDITING

Another choice where the Academy got it right. Dunkirk was chosen. The filmmakers had the interesting challenge of how to present one story wherein a certain aspect took place over a period of weeks, another essential element took days and a third was only a matter of hours. And I think the editor, Lee Smith, cracked this nut quite effectively and cleverly.

MAKEUP AND HAIR STYLING

One of the few others that the Academy chose wisely. Although Wonder was brilliant the makeup for Darkest Hour was transformative. Not only Gary Oldman's face but his entire body structure was altered to reproduce the distinctive Churchill physique.

ORIGINAL SCORE

All of the music in all five of the nominees was beautiful and I will not begrudge the fact that The Shape of Water won for what is rightfully a lovely score by Alexandre Desplat, but you think they would have at least thrown a bone to Star Wars: The Last Jedi. I mean it IS John Williams!!

BEST ORIGINAL SONG

While "Remember Me" from Coco , the song chosen by the Academy, was kind of cute in a harmless, innocuous, forgettably Disney-ish sort of way, I can't remember how it goes off the top of my head. But "This is Me" by Benj Pasek and Justin Paul from The Greatest Showman should have won.

"This is Me" is the kind of song that will stick with you – not only because it is very catchy and fun to hear and sing, but it is inspirational and uplifting and is something you will want to recall in moments of frustration or challenge or even despair. "This is Me" is an anthem for those who are determined to pick themselves up and start over, who desire nothing more than to be left alone to strive for greatness without the burden of artificial obstacles placed in their way by interfering hypocritical cliquish elitists who think they are better than others because of the privilege to which they were born – oh wait, now I see why the liberal elite in the voting Hollywood establishment didn't want to pick it. Silly me.

PRODUCTION DESIGN

OK I'll give The Shape of Water this one as one it might actually have legitimately won. Although all the nominees created amazing worlds, there is an argument for the dream and water worlds created in Shape of Water. It is just a shame they didn't put these beautiful sets to better purpose than this egregiously misanthropic excuse for extreme selfishness and sexual depravity.

SOUND EDITING and SOUND MIXING

To me these awards were a toss up between Baby Driver and Dunkirk, and Dunkirk won. The challenge of combining dialogue, sound effects and music into a cohesive whole must have posed an especially creative challenge given the surroundings ran the gamut from inside a metal ship run aground to the open sea to being able to reasonably hear over World War II aircraft during a dog fight, sounds one might hear underwater, explosions and the clacking of boots on empty streets. I can applaud and respect this choice.

VISUAL EFFECTS

Lastly, Blade Runner 2049 earned its award for visual effects handily in the world of red lighted dust, dark rain swept vistas and holograph enhanced interactive environments. It's beautiful but stark and intimidating world deserved its win.

DOCUMENTARY FEATURE

DOCUMENTARY SHORT

FOREIGN LANGUAGE FILM

LIVE ACTION SHORT

Sadly I saw none of the nominees for these last four categories.

Let me know in the comments what your favorites were in any or all of the categories. If you like, present a convincing argument and I might post it as all or part of a guest rebuttal.

Thanks for reading!

 

 

 

THE SHAPE OF WATER – OFFENSIVE ON SOOOO MANY LEVELS

 

SHORT TAKE:

An attempt to "update" The Little Mermaid which is buried in an agenda filled script.

WHO SHOULD GO:

Don't bother.

LONG TAKE:

Rhett Butler, in Gone With the Wind, while talking to Scarlett O’Hara after the death lists are handed out says: “I'm angry. Waste always makes me angry. And that's what all this is, sheer waste.”

And that about sums up my opinion on The Shape of Water. This movie is offensive on so many levels. There was a great idea in there but the film makers were so bent on foisting an agenda upon the audence that they lost track of it.

The premise is clever. It’s the story of Hans Christian Andersen’s Little Mermaid turned on its head. When a “Creature from the Black Lagoon” and a mute cleaning lady named Elisa,  (Sally Hawkins from Paddington Bear), fall in love, she and her friends endeavor to set him free from the facility in which he is being held.

Sounds a bit like Splash but with the genders reversed. But that’s where the similarities end. This is a humorless, angry diatribe against the human race in general and men in particular.

To start with, the only males in the movie who have any redeeming features are Elisa’s homosexual neighbor Giles, (Richard Jenkins – Jack Reacher and White House Down) and Dimitri, (Michael Stuhlbarg – A Simple Man and Dr. Strange), a Russian spy who decides to defy his own country to help Elisa – two men who are outcasts of the society in which they live.

All the other men are evil characters. Elisa’s only other friend is her co-worker, Zelda, (Octavia Spencer). Zelda’s husband, Brewster, (Martin Roach) is a lazy, unappreciative burden, does not protect his wife and betrays her at a crucial moment. Richard Strickland (Michael Shannon – 12 Strong), the scientist who captured the creature from South America is sadistic, domestically abusive, carelessly bigoted and a sexual harrasser who rots – literally – before our very eyes. Even the counterboy, not so much as given a name except for the “Pie Guy,” at the local shop is portrayed as gratuitously evil. A scene in which he gives a startled but gentle rebuff to Giles’ sudden, unexpected and unencouraged sexual advances is immediately linked to an overtly bigoted action towards a black couple who enter his diner – as though to imply if you are heterosexual you must be a bigot. Well, frankly, to my way of thinking this shows the screenwriters, Guillermo del Toro and Vanessa Taylor are both bigoted and racist – to men in general, to heterosexuals in particular and especially, but not exclusicvely, to those who are not minorities.

Minorities are not treated respectfully eiher. Zelda is a caricature of an uneducated black woman who indulges and allows herself to be taken for granted by a husband who will not even defend her when she is threatened.

Giles is also a caricature – an ineffectual, alcoholic unemployable elderly gay artist who yearns for young men and youth, pitiful and cowardly unless led by a strong woman’s presence.

The military is portrayed as heartlessly and unnecessarily cruel, disposing of people like used socks and planning to vivisect a one of a kind creature with abilities and physical attributes that can only be exploited if it is alive. This latter is especially stupid and demonstrates the knee-jerk distain and prejudiced hatred del Toro and Taylor must have for an organization which helps protect our country. I could have understood a plot which wanted to use the creature, to perhaps even put it at risk in order to duplicate its abilities – but to simply and randomly kill it to see what is inside is a juvenile finger in the face to any kind of authority figure and exposes del Toro's —isms which prevent him from writing a good script.

But of course the women are courageous movers and shakers. Zelda, for all her weakness with her husband, is a stalwart companion to Elisa. And Elisa marshalls help from her friends in a daring rescue of the sentient creature who she then hides and has an affair with in her bathtub at home. If this sounds ridiculous and somewhat grotesque – it is.

And if you take any kind of objective look it is hard to determine who is the more evil – Strickland or Elisa. Elisa is a woman who feels isolated – mute from birth, no family, abandoned by a river with gill-shaped scars on her throat, who has a — thing — for her bath water.

After making contact with the creature Elisa goes to Giles to DEMAND – not ask or entreat – his help. She explains that she wants the creature because SHE is lonely, because SHE needs him, and because the creature is alone LIKE her. She does not say she wants to rescue him because he is a sentient creature about to be needlessly killed; not because he is perhaps the last of his kind – both of which would have been far nobler arguments. And, BTW, the only one who does consider these two more valid points is Dimitri the Russian spy.

Her friends must put themselves at risk because SHE wants the creature – leaving aside the answer to the question of what she would do if she fell out of infatuation with him – bring him back to the lab or leave him on the side of the road like an unwanted puppy?

So she coerces Giles into helping him, either not considering or not caring that he could get shot (which he almost does) or put in federal penitentiary for what they are about to do. She then, during the course of this ill-conceived adventure, forces Zelda to help her too. And had Dimitri not popped up and risked his own life to help them the misadventure WOULD have ended up with them all dead or in jail. Never mind the feds would, realistically, have had enough evidence to be on their tail within days – finger prints, the random witness. Instead these same agency members are now portrayed as not only evil but bumbling and come to the conclusion the creature was snatched by 10 specially trained Russian forces instead of two cleaning ladies and a sympathetic scientist. Meanwhile, the security guard who got a good look at Giles and was injected by Dimitri is an ignored casualty. The guard's murder is shrugged off by our "heroes" and Elisa gives it no thought even though it was her fault.

Once in her apartment she puts Giles at further risk by asking him to babysit the creature, who proceeds to eat one of his cats and gash his arm. Even Elisa doesn’t object when Giles forgives the creature on the grounds it is a “wild thing” and doesn’t understand what it did. So they KNOW it is an animal – a sentient one perhaps on the intelligence level of  dolphin, but an animal. Nonetheless, Elisa continues to care for it and eventually uses it as a — tub toy, filling her entire bathroom up to the ceiling with water. This foolish action puts the movie theater above which she lives at serious threat of collapsing. Water drips into the owner’s struggling movie house and shoos away the patrons, and floods the upstairs portion of the building, likely doing serious damage to the business of the owner, a man who has been nothing but kind to her.

At the end when she and the creature escape she leaves her friends behind to explain to police and federal authorities about three dead men – the guard, Strickland, and Dimitri, as well as a conspiratorial break-in and theft of a highly valuable animal. Zelda and Giles will probably go to jail. Thanks Elisa.

Additionally there is gratuitous sexuality and nudity, plus demonstrations of sadistic violence and cruelty especially towards the captive creature. They even take a random stab at blasphemy by declaring the creature a “god” because of his healing powers.

In a horrifying lapse of judgement, for even the jaded and agenda-driven Oscar voters, this is one of the best picture nominees.

To paraphrase a joke about the assassination at Ford’s Theatre – "So, aside from the bigotry, bestiality, blasphemy, brutality, buck nakedness and… misanthrope (an almost completely alliterative list) Mrs. Lincoln, how was the movie?"

To which she could quote Rhett: "sheer waste".

RED SPARROW – A GOOD MOVIE MOST PEOPLE SHOULD NOT SEE

SHORT TAKE:

Well written, well acted espionage movie which is unwatchable for most audience members because of the extreme nudity and violence.

WHO COULD WATCH IT:

Were this movie edited to remove some of the most graphic moments I might have a cautionary recommendation for young adults and up. As it is, I would advise only mature married couples who have a strong stomach and fairly tough sensibilities.

LONG TAKE:

Back in the day when movies would come on TV after a thorough scrubbing of content inappropriate for family viewing I might have been able to recommend you wait to see Red Sparrow when it comes on your local viewing station. Now that that is no longer a viable option I am hard pressed to advise what demographic this movie might be suitable for. It’s a shame too because it is well done. A fast paced, cohesive spy thriller with a flaw-free plot, worthy of a Mission Impossible scenario with excellent acting, good believable character and relationship developments and a pacing and editing that keep you guessing to the very end.

The problem is they show too much. I don’t mean that pedantically they talk down to the audience. I mean they SHOW — TOO — MUCH!!

The premise is that a young Russian woman, Dominika, (Jennifer Lawrence – Hunger Games and Passengers), just at the end of the Cold War is extorted, by her highly placed uncle, (Matthias Schoenaerts) into selling herself to a wealthy Russian businessman in exchange for medical assistance for her desperately ill mother (Joely Richardson – Return to Me and Liam Neeson's sister-in-law). But the job is far more than she was led to believe and at its conclusion is told she can either be considered a loose thread to cut or "volunteer" to be a "Sparrow" – a spy who learns how to elicit, through seduction, any target – as Dominika, herself, later describes it "whore school". This is where the movie begins its elevator-like descent into scenes which made me glad my husband and I went to this movie without friends or family.

Upon her "graduation" she is sent on assignment by her superiors (Jeremy Irons – Scar from Lion King, the new Batman Alfred, and Ciarán Hinds – Aberforth Dumbledore from Harry Potter and Claudius in Benedict Cumberbatch' Hamlet) to become "acquainted" with an American agent (Joel Edgerton – Bright, The Great Gatsby and The Thing). Given the nature of espionage movies one can guess that the motives of each of the many characters involved is not always what you expect and the plot will take some precipitous twists and turns – which this movie artfully does.

Red Sparrow is Kingsman without the humor or any comicbook filter, Black Widow's origin story without the PG rating, Mission Impossible with the violence ratcheted up several notches, James Bond without the gentility or leaving anything to the imagination.

There are scenes of complete frontal nudity of men and women. There is sexual, emotional, psychological and physical torture, shocking and bloody graphic violence. Not that any of it is, really, gratuitous. This, I suspect, is the nature of espionage at its basest level, especially the brutality, dehumanization and and the stripping away of individuality that defines Communist Russia. It is even likely that what the filmmakers here have shown IS filtered compared to what really goes on in the liberals' dangerously ill-informed idea of Utopia. But we, the audience, don't really need to see every — single — detail. The viewing audience does have an imagination, which, arguably could have been put to better use.

Sharks eat people. We know that. But Spielberg didn't even SHOW Bruce the shark in Jaws until way late in the movie knowing that what you do not see is often far worse than what you do. (That and the fact the mechanical shark didn't work but hey – chicken feathers into chicken salad…) The audience in Jaws did not need to see ever single bite, chew, and serrated incision the shark made on every one of its victims – though the scene with Robert Shaw was pretty grotesque and possibly the least effective because of it.

The story itself is intriguing but the episodes of violence, nudity and sexuality are enough to disturb the suspension of disbelief — and I've seen A Clockwork Orange and am a Monty Python fan!!! Screenit.com the review website which provides a detailed analysis of movies allowing parents to determine whether this movie is appropriate for their children REDLINED on every category that counts.

It doesn't happen often but this is a good movie which I just can not recommend.

SHREK THE MUSICAL AT LAKE CHARLES’ ACTS THEATRE – BRAVO!!!!

SHORT TAKE: Stage musical version of the classic animated Shrek movie @ ACTS Theatre in Lake Charles, LA through March 11, 2018

WHO SHOULD GO: EVERYBODY!!!

LONG TAKE: For the benefit of those of  you who have been on a long trip out of the solar system and do not know, the premise of Shrek is about an ogre who is compelled to rescue the Princess Fiona for the short and devious Prince Farquaad in order to retrieve sole proprietorship of his beloved and isolated swamp. Along the way he meets and, reluctantly, befriends the talking Donkey who helps Shrek become the hero Fiona really needs. The story crosses all genre of mythological creatures – from Disney’s Pinocchio to Grimm’s Wicked Witch  to Mother Goose’s Humpty Dumpty to Beatrix Potter’s Peter Rabbit, they are all on stage at one time or another.

This production was no easy task. There are dozens of cast members who range in age from 5 to 65 and having done plenty of live theatre I know that it must be quite hectic back stage. But you’d never know it from the audience as the production went off like a well oiled machine. Whether it was the arrival of 17 tap dancing mice, the choreographed pirouettes of men in stocks, or the entrance of a singing dragon into an enchanted tower, the cast and crew pulled off a bit of magic themselves with an extremely smooth and professional looking show.

Director Walter Kiser has brought out the best in all of the production team. Everyone from the youngest fairy to the oldest knight launched into their roles with infectious enthusiasm. All the singing was good but special note should be made of the romantic leads. Kristen Harrell (Fiona) who also doubles up as choreographer, and Casey Doucet (Shrek) belt out their duets and solos with professional quality and timing. Julian Quebedeaux is additionally very funny as Donkey, bringing his own individual style to a character originated by Eddie Murphy. Damien Thibodeaux chews the knees off the scenery and often steals the show as the half-pint evil prince Farquaad.

Shrek the Musical has everything you have come to expect from the movie Shrek only with more songs and the immediacy of a live theatre performance. There are knights and talking animals and familiar fairytale creatures for the kids and quips and jokes which, like Bugs Bunny or Who Framed Roger Rabbit, leave the adults laughing and fly over the younger kids’ heads but are harmless enough to do no harm if they don’t.

Take your grandkids, take your grandparents, go there for a first date – it will be a delight to all. But go soon as the tickets are selling fast and the last show is on March 11, 2018. Friday and Saturday performances start at 7:30 pm and the Sunday matinees are at 3pm. ACTS Theatre: 1 Reid St, Lake Charles, LA 70601

Map of where ACTS Theatre in Lake Charles, LA is located here.


Tickets via Vendini for Shrek available here

GAME NIGHT – VERY FUNNY ADULT ROMP

SHORT TAKE: Game Night is a raucous adult comedy which should have been far more family friendly had it not been for a lot of gratuitous profanity and a several adult themed discussions.

WHO SHOULD GO: Because of the considerable amount of bad language and some of the topics discussed by the characters I would recommend Game Night only for older teens and up. There are no overt sexual activities and the violence, while significant in places, is cartoonish and played mostly for laughs.

CHECK OUT DETAILED AND SPECIFIC CONTENT STATISTICS AT SCREENIT.COM.

LONG TAKE: I have gotten quite fond of Rachel McAdams. Her career has been prominently punctuated by playing characters attached to men who either have very unusual powers or end up in weird circumstances…or both. She has been: married to a time traveler (The Time Traveler’s Wife), married to a man who has the ability to go back in time to change events (About Time), the romantic interest, Irene Adler, of none other than Sherlock Holmes (the Robert Downey, Jr franchise version), and engaged to a superhero (Dr Strange). Contributing to this list is her stint as Annie in Game Night. She is married to Max (Jason Bateman) and they are definitely soul mates. Both live for the thrill of game competition – be it as mundane as table top football or open as a bar room Trivial Pursuit or routine as their weekly game night with two other couples, the drive to win defines who they are and their relationship to the world.

So when they can not conceive a child they wonder if it is linked to Max’ feelings of inadequacy towards his older brother, Brooks (Kyle Chandler). To rub salt into this wound Brooks arrives suddenly to announce that he is going to take their game night “up a notch”. He has arranged for one of their group to be kidnapped and it will be up to the three remaining groups to find and rescue the victim.

When Brooks himself is unceremoniously taken in a surprisingly violent altercation with two intruders, the group takes it in stride as part of the game. But soon both audience and characters are left wondering whether something has gone horribly wrong.

In another scenario this could have been a horror movie, or an Alfred Hitchcock mystery or a tragedy. But Game Night is a slapstick comedy and all violence is cartoonish, and the considerable and mounting dangers are played for laughs.

There is a lot of heart in the script with some pleasantly unanticipated mature themes including: longstanding sibling rivalry, forgiveness of your spouse’s past mistakes, choosing partners for more than fleeting narcissistic beauty, whether to compassionately welcome their socially awkward neighbor Gary (Jesse Plemons), and putting aside one’s selfish impulses to accept the responsibilities of parenthood. In other words, during the course of this special event evening while playing a game, the adult characters have to – grow up.

The script is clever and intricate enough to distract the audience from noticing the thinner spots in the plot. Aside from the unnecessary bad language, if I had one complaint it would be that – while the story has plenty of twists – the writers set up several hairpin turns that they never follow through with. For example, without giving anything essential away, there were times when it appeared that Annie might have had a separate but related agenda to help Max overcome his insecurities, but didn’t. Her part is played straight up as a partner to Max knowing no more or less than he does. I thought it was a shame, as it might have been fun for her to have pursued a parallel set of tricks.

Putting that aside, Game Night is a funny romp. And if the story sounds familiar – brother sets up a scenario wherein the sibling doesn’t know what to believe and what is real and what is part of the game – it is. 1997's The Game with Michael Douglas and Sean Penn fleshed out a similar storyline, only against a far darker gameboard. Game Night is, essentially, a variation of The Game but played out as a slapstick comedy.

Notably the leads, Bateman and McAdams, are usually supporting actors but are leads in Game Night and they do a good job investing energy and believable chemistry into their marital couple. All the friends in the ensemble are likeable and each couple has its own set of issues to work out during the course of the evening. Lamorne Morris and Kylie Bunbury play Kevin and Michelle – a couple working out some past history which has suddenly emerged. Sharon Horgan and Billy Magnussen play Sarah and Ryan – a couple mismatched in both age and intellect who nonetheless manage to surprise each other with their mutual attraction.

The cinematography was especially clever. Using a technique called tilt-shift, the establishing shots (overhead scenes showing you where the characters are) were filmed tilting the plane of camera focus and moving the lens parallel to the image. This creates the peculiar effect of making everything appear to be in miniature – like the landscape to a train set – until the zoom in and closeup resolve themselves back into “reality”.  This gives the effect of making it appear that our intrepid cast is moving entirely on a very large game board.

Aside from the limits I described in language and topic subjects, I enjoyed Game Night but, because of those same limits, I do not recommend it for younger teens.

Overall this is a funny and worthwhile, but adult, outing.

BLACK PANTHER – GOOD BUT FLAWED

 

SHORT TAKE

A solid entry to the Avengers universe and enhanced by the sterling performance of Chad Boseman as Black Panther, though handicapped by mistakes made by other sci-fi franchises.

WHO SHOULD GO: Family friendly with cartoon violence, no sexual activity, a few minor profanities, but has very loud music and special effects sounds.

CHECK OUT DETAILED AND SPECIFIC CONTENT STATISTICS AT SCREENIT.COM.

LONG TAKE

It is unfortunate that there has been SO much hype leading up to the release of Black Panther. For one thing there is no way any movie could possibly live up to everyone's world wide expectations. For another it leaves no room for analysis. Before anyone gets their panties in a wad, let me go on record as saying I liked Black Panther. I have been a big fan and advocate of Chad Boseman since I saw him in Marshall and I think the Black Panther character will be an excellent addition to the Avengers franchise.

That being said let me tell you a story. Once upon a time there was a British  actress comedian named Jennifer Saunders. She and Dawn French were staple comedians in the 1980's and by 1992 Saunders and the replacement co-star for French, Joanna Lumley, were able to parley a 14 minute1990 skit into a 6 year BBC show called Absolutely Fabulous. However, as my son has pointed out about the Roman Empire, in her victory was her downfall. By the early 2000's she had become so popular no one wanted to criticize her and her comedy had become so strident, bitter and redundant she lost  the audience she had worked so hard to gain. But during this fall she had so much clout no one had the nerve to tell her she was making mistakes. So the Emperor – or the Empress in this case – continued to wear "invisible" clothes and no one dared say she was naked.

Raise your hand if anyone reading this has even heard of Jennifer Saunders. Point made. Saunders became so successful that everyone thought it prudent to keep what should have been helpful and constructive criticism to themselves.

And so, I fear, it could go with Black Panther if reviewers are not honest and thoughtful. There has been so much wildly anticipated excitement about the “first” black super hero – everyone seeming to forget collectively the awesome Idris Elba’s Heimdall from the Thor franchise – that no one wants to take an objective look at it.

Don’t get me wrong – it is a welcome addition into the superhero universe, but it isn’t perfect. While there is much to commend it, it suffers from weaknesses other similar movies have had.

SPOILER WARNING

I want to lead this review by saying that the plot was very good. When contemplating the premise – that Wakanda is a secret kingdom flourishing in impoverished Africa – one might reasonably wonder why the beneficent leaders did not work to improve the plight of their desperately poor and suffering countrymen over the last several hundred years. The compelling theme of Black Panther examines why clandestine African Wakanda withholds aid from other Africans while the rest of the world donates billions in food and medical supplies? FYI the pictures of suffering Africa are not from the movie but real photos.

Does one keep such high tech secrets from the rest of the world or risk exposure and possible plunder in an effort to bring aid to others? And if one DOES decide to reveal the Wakandan advancements to the outside world should it be under the flag of conquest or compassion? Do the Wakandans emerge into the rest of the universe as prideful aggressors or humble aid workers?

This is the struggle which is personified  between T’Challa (Chadwick Boseman) the rightful king successor to his father, murdered during Captain America: Civil War, who longs for peace, and his opponent/cousin Eric Killmonger (Michael Jordan) who hungers, like the Biblical Ishmael, to use these wonders to make war against the entire world.

And it would make an interesting sequel to explore the fall out from the Wakandan neighbors when it is discovered that much of the death, disease and starvation of their fellow Africans could have been ameliorated by a watching but silent Wakanda.

I think Chad Boseman is great. He is a joy to watch and can effortlessly generate chemistry with any actor he works with whether he is King of a futuristic African nation or a cortexaphan subject with powers to control energy in Fringe or Thurgood Marshall. Not bad for a fellow southerner. (Boseman is from South Carolina.) Like Michael Caine, Meryl Streep or Bruce Willis he brings a natural ease to his characters which makes him likeable and three dimensional. And yes, I know – Willis is not in the same league as Caine or Streep. Willis is a one note actor who plays the same person in every movie he is in with variations. But it’s easy to enjoy that one character and Willis does it extremely well. In addition, Willis creates that wonderfully comfortable ebb and flow with his fellow performers which Caine and Streep also manage that make it fun to watch them in whatever they are in. You don’t have to be a brilliant actor to be one who can create good chemistry with their fellow actors. And by the other side of the same coin, even some brilliant actors can not manage it – like Lawrence Olivier who was gifted but stiff…….but I digress.

 I want Black Panther with Boseman to be a successful franchise. And when the dust has settled down from the novelty of this movie there needs to be some close examination of its flaws if it is to do better than the first stabs at Spiderman or Hulk.

First  – if you have to do five minutes of blunt exposition just to bring your audience up to speed before the first scene of the movie, then you’re not being very clever with your story telling. This is the same weakness in Thor: The Dark World. Lengthy exposition marred the beginning of Dark World and helped relegate it to the weakest of the Thor outings and Black Panther makes the same mistake.

Second –  it is about 45 minutes too long. Some of that is due to the excessive emphasis on showcasing Wakanda and the tribal costumes, dances, accessories and artifacts. One is reminded of the first Star Trek movie where there were nerdgasms over the extensively long and loving fly over of the Enterprise  as well as extremely long sequences of the planet-sized V’ger. In an effort to overwhelm the audience with the splendor of both the flagshp and the opposing mechanical nemesis, the result, in 1979's Star Trek,  was ultimately the opposite and did not age well, weighing that first Star Trek movie down to one of the lesser ranked installments. There is only so much build up and pay off of the same material you can sit through until, like surfing a wave which eventually crests, after a while you wonder when the ride will be over.

Similarly, there is too much dependence on the “wow” effect of Wakanda and repeated recurrences of the character-citizens commenting about how beautiful it is, how much they longed for another view of it, how much they missed it – all followed up by multiple extended views of it.

    The presentation of the African color and lore and costumes, tatoos and plates in distended lips, ancient impractical traditional garb and spirit walks get to be so much that after a while it becomes at risk of being a parody of itself. It is understandable that the film makers wanted to take full effect of their first opportunity to demonstrate and showcase this new universe, but, as Donald O’Conner once said – you should always leave the audience wanting more. Instead the writers of Black Panther went at the movie like an excited child who tries to tell of an adventure in one breath as though afraid people will stop paying attention before he gets to the end.

Another problem with the length is the same flaw found in the Man of Steel – too much fighting. There are two lengthy hand to hand combat scenes, one very exciting car chase, as well as battles royale (literally) between the two princes, along with various and sundry skirmishes, an aerial combat and the final confrontation between the two opponents on a magnetic monorail. There are high tech spaceships shooting tasers and cables, power staffs, Bullet/ French Connection quality car chases, Spiderman quality leaping and jumping during the car chases, photon firing artificial arms, and – I kid you not – vibranium armoured rhinoceroses. While all super cool it was just…too…much for one movie. 

The writer and director should have had the confidence in their story to not bury it under so much of what Bishop Barron refers to as “whiz bang”.

Third – there were unnecessary incongruities in the Wakandan kingdom. While their labs, travel modes and medical facilities would rival those at Star Bases, their exchange of goods took place routinely in outdoor marketplaces wound through with dusty dirty streets. This didn’t make sense.

And the uniforms of the Amazonian guardswomen were too culturally reflective of Africa to be practical. All this high tech and the best they could do was sticks with a sonic boom effect? Now to be fair the island from which Wonder Woman emerged was similar in its cultural armament impracticalities and Asgard of the Thor franchise also had an odd juxtaposition of high tech and ancient (in that case medieval) trappings. But both Wonder Woman and Asgard were alien cultures, and both based in familiar Earth mythologies, so can be given a wider range in suspension of belief and peculiar behaviors and traditions. But Africa in general and Wakanda in particular are right here on Earth so can’t get that much leeway.

Fourth – Thor, Wonder Woman and Aquaman, for example are based respectively on established: Norse myth, the Greek Amazons and the Roman god of the sea Poseidon, all of which date back thousands of years and are part of the shared cultural background noise. So when origin stories are concocted using them as foundations it is an easy bridge into that world. There is no corresponding panther myth that I could find in Africa outside of the Black Panther comics which came upon the scene only about 50 years ago in 1966. The only established mythology I could find in Africa revolved around reptiles. So unless you are a serious comic book afficiando you wouldn't have known what they were talking about in Black Panther without exposition. But the writer, instead of weaving the background into the warp and woof of the story inelegantly chose to dump the entire story on the audience's head like — well — Thor's Hammer.

All that being said Black Panther is a fun though flawed adventure. I look forward to future installments and hope the film makers will gain confidence from the warm open armed reception they have received from the wider movie going audience and do a better job with the next one. Otherwise Black Panther will not age well or inspire longevity for the franchise – and that would be a shame.