Film Review: “A United Kingdom”

Starring: David Oyelowo, Rosamund Pike and Jack Davenport
Directed by: Amma Assante
Rated: PG-13
Running time: 1 hr 51 mins
Fox Searchlight

Our Score: 4 out of 5 Stars

London. 1947. Finishing up his college education is Seretse Khama (Oyelowo), who will soon return to his African country of Bechuanaland (now Botswana) and become King. But before he can board the boat home he meets Ruth (Pike) at a student mixer. The two fall in love but soon realize there may be a problem. You see Seretse is black. Ruth is white. And if “To Sir, With Love” taught me anything, it’s that this combination of people is not very popular in England. But any problems they face in Britain (Ruth’s father shuns her, idiots on the street call them names) are tame compared to when they travel to Africa.

Like last year’s film, “Loving,” which dealt with interracial marriage in the States, “A United Kingdom” rises above other films dealing with the same subject thanks to the performances of the film’s stars. Oyelowo and Pike are both excellent actors and the pair carry this film on their shoulders. Extra credit to Oyelowo who must be firm and tender, often at the same time. Ruth is shocked to learn that, even in a country ruled by a black man, that there are “white only” facilities, including the local hotel. Seretse explains that because he is King he has a special dispensation that allows him to use the front door.

Of course things do not go well in Africa, as Seretse’s uncle, currently in charge, does not agree with his choice of bride. Not so much because she is white, but because he has neglected to understand how important it is and would be for a local woman to ascend to Queen through marriage. Things are further complicated by the fact that Bechuanaland borders South Africa, where the ugly head of apartheid is beginning to rear itself, upsetting the good British government which relies on South Africa for things like gold.

As the film progresses it does begin to drag a little bit, but the cast, both main and supporting, manage to create a strong story flow as far as pacing. And I have to say, there is nothing like watching a film about Africa that eventually gives us a shot of the countryside from an air plane and you see one, single giraffe romping across the plains by itself. Like the giraffe, Oyelowo is both regal and strong and, as this is Oscar weekend, his is a performance likely to be recognized next year.

Behind the Screen – Please, Oscar Winners, Check Your Politics at the Door

The day is April 3, 1978. At the 50th Annual Academy Awards, held that evening, “Star Wars” will be given seven Oscars. Steven Spielberg will receive his first Oscar nomination. “The Turning Point” will set a record, later tied by Spielberg’s “The Color Purple,” by earning 11 nominations and winning nothing. And “Annie Hall” will be named the year’s Best Picture.

But the image that stands in my mind is of the great writer Paddy Chayefsky coming to the podium to present the Screenplay awards. Earlier in the evening actress Vanessa Redgrave had received the Oscar for Best Supporting Actress for her role in “Julia.” Outside the Dorothy Chandler Pavilion, where the award ceremony was being held, members of the Jewish Defense League had picketed the awards due to the fact that Redgrave had narrated the pro-Palestine documentary “The Palestinians.” When Redgrave gave her acceptance speech, she thank the usual people: family, co-stars, director. She then thanked her fellow Academy members for not being phased by “the Zionist hoodlums” they encountered outside. She finished her speech to boos from the audience.

Looking perturbed, Chayefsky stood at the microphone and said the following, “Before I get on to the writing awards, there’s a little matter I’d like to tidy up–at least if I expect to live with myself tomorrow morning. I would like to say, personal opinion, of course, that I’m sick and tired of people exploiting the occasion of the Academy Awards for the propagation of their own personal political propaganda.” As the audience applauded he paused, then continued. “I would like to suggest to Miss Redgrave that her winning an Academy Award is not a pivotal moment in history, does not require a proclamation, and a simple ‘thank you’ would have sufficed.”

And THAT, dear readers, is what I’m looking forward to coming this Sunday night. Award shows are a way to escape from the day to day grind the world holds for us. To sit with friends and try to win the Oscar pool. NOT to hear whose a lousy President or why global warming is coming to kill us. Do you know who I voted for in the presidential election? No you don’t. Do you know why? Because it’s none of your business. And why does it matter? If YOUR decision on who to vote for is based on MY decision – or George Clooney’s or Brad Pitt’s or Ted Nugent’s – then you shouldn’t be allowed to vote. If Jimmy Kimmel has some fun at the expense of the new President, or pokes fun at the current events happening around the world, that’s great. Everyone likes a good chuckle. So I beg you, presenters and winners both, give a little thanks to the man upstairs and head back to your seat. Thank you in advance!

Film Review: “Logan”

Starring: Hugh Jackman, Dafne Keen and Patrick Stewart
Directed by: James Mangold
Rated: R
Running time: 2 hrs 15 mins
20th Century Fox

Our Score: 4 out of 5 Stars

Thank you Deadpool. It was just a year ago when your film came out and you proved to Hollywood that a well-made “R” rated comic book movie CAN make money. Not sure if you planned on doing $135 million opening weekend but God bless you. After years of PG-13 films where there seemed to be no visual consequences from the damages done, filmmakers can now decide on whether to be as graphic as some of the source material they are using. The year’s first entry features everybody’s favorite X-man, the Wolverine, in “Logan.”

The year is 2029. When we first meet up with Logan (Jackman) he is a limo driver whose ride is about to be jacked by a gang of ruffians. Gray-haired and looking haggard, he implores the thieves to try their luck somewhere else, only to be answered with a shotgun blast to the chest. As the Waco kid said to Sheriff Bart in “Blazing Saddles” when talking about Mongo, “don’t shoot him…you’ll only make him mad!” And mad he becomes, springing his adamantium claws and making mincemeat of his attackers. Literally minced meat. Arms are severed, eyes gouged out, blood spurts. And this is only five minutes into the film! This isn’t your father’s Wolverine.

Packed with wall to wall action, “Logan” is a fitting ending to Hugh Jackman’s association with Wolverine. Counting cameos in other films, this is Jackman’s 10th appearance in the role that made him a star and he uses that history to his advantage. He not only knows the character he IS the character. And here he has a little help. Mutants are literally non-existent in the future and he earns his money driving a limo so that he can take care of Professor Xavier (Stewart) who he is hiding in an old junk yard and assisted by Caliban (Stephen Merchant) an Albino whose aversion to the sun is more real than Count Dracula. Logan finds himself constantly being bothered by a young woman asking for his help. He finally comes into contact with Laura (Keen), a precocious pre-teen who also has the ability to spring claws. Unfortunately, unlike Logan, Laura really has no filter on her powers so she might kill you for a can of Pringles. Laura was part of a medical experiment where a Dr. Rice (Richard E. Grant) supervised the creation of children but with the mutant powers he wished them to have. Ironically, the kids have been raised on X-men comics, so they think there is a place for them out in the world.

In a wise choice, this film is directed by James Mangold, who has given us some great personal drams like “Copland” and “Walk the Line” and his presence behind the camera (and with script duties) helps keep the film grounded. In between the violent encounters, and fans with younger children I do urge you to use caution before you bring them to this, is an emotional payoff that will stick with you. But it Jackman’s film and Jackman’s character that you will leave the theatre remembering.

Vincent D’Onofrio talks about his new film “In Dubious Battle”

The Marine recruit slowly going mad. The Norse-God looking garage worker. Orson Welles. A farmer inhabited by an alien bug. A New York detective. These and dozens more are characters created by Vincent D’Onofrio. From “Full Metal Jacket” to “Adventures in Baby Sitting.” From “Ed Wood”, “Men In Black” and the long running television series “Law & Order: Criminal Intent.” From “Jurassic World” to the current “Daredevil” and “Emerald City” series, D’Onofrio is a true chameleon, adapting his talents for every new challenge. In his most recent work, he stars as London, a man with the ability to inspire and lead others, in the new film “In Dubious Battle,” based on a novel by John Steinbeck and directed by James Franco. Mr. D’Onofrio took some time out of his busy schedule to talk about the film, collaborating with Stanley Kubrick and what he’s working on next. Or as much as he can.

Mike Smith: What attracted you to the project?

Vincent D’Onofrio: Well, James is just an awesome dude. There’s that. And it’s something different. To do this kind of movie, out in the fields with a very low budget. No frills. Everybody there is there because of the author of the novel. The novel itself and what it means today. Just wanting to be there and participate. Knowing that it’s going to be a very unique variation of this novel in a style that lends itself to what the novel stands for in the first place. Unity.

MS: Had you read the novel before you were cast? And if not, did you read it to get a sense of Steinbeck’s take on your character, London?

VD: That’s a good question. I’m pretty sure I read it when I was younger because when I did read it a lot of it seemed familiar. Maybe because I’ve read so many other Steinbeck novels it seemed familiar. I can’t say for sure I read it as a youngster but I did read it.

MS: You have also directed in the past (Mr. D’Onofrio directed the 2010 horror film “Don’t Go in the Woods”). Is it easier – or more comfortable – for an actor to work for a director who has a true understanding of the acting process?

VD: No. All directors are different. You have to learn that. As a young actor I think you want a director who understands acting but you actually want to work with different kinds of directors. Some directors want nothing to do with your performance. Stanley Kubrick wanted nothing to do with your performance. He didn’t want to discuss the story other then how you were going to approach a particular scene. But that had to do with the writing of the scene and not the performance of it. Not what the result of it was going to be. He didn’t want to discuss it. Now we did re-write some scenes. Not just me but Matthew Modine and Lee Ermey with Stanley. We would come up with dialogue and Stanley would sit there with a typewriter and write it all. And once he wrote it would stick. There was no improvisation after that. It’s different each time and you actually welcome that as an actor. Different kinds of directors are exciting to work with. I loved that James was an actor and that he was in the film and directing at the same time. It’s really comforting to act with the director.

MS: The film has a great cast of actors. Is there anyone you haven’t worked with yet that you’d like to?

VD: Oh my God…there are so many. It would be ridiculous of me to even start the list. We could talk about that all day, Mike. All day. There are so many great actors that have since passed away. There are so many young actors today that I love. There are so many actors from my generation that I love that I haven’t worked with. From the generation right before me…it’s a thrilling business to be in and to be the peer of great actors is so interesting and so uplifting.

MS: What do you have coming up next?

VD: My gosh! I think the last thing I did that isn’t out yet – I think it’s still in editing – is the remake of “Death Wish.” Eli Roth directed it. Bruce Willis plays the lead in it and I play his brother. Not much more I CAN tell you. Everything is so hush-hush. I may do a play before the summer. But I Tweeted about it and got in trouble. You can’t talk about anything these days. It’s such a bummer. I’ll just say I have a lot of stuff coming out. A lot of stuff in the can.

Film Review: “My Name is Emily”

Starring: Evanna Lynch, Michael Smiley and George Webster
Directed by: Simon Fitzmaurice
Rated: Not Rated
Running time: 1 hr 40 mins
Monument Releasing

Our Score: 4 out of 5 Stars

“They name hurricanes after me.”

So we are told as we are introduced to Emily, who narrates the film bearing her name. We learn that her father spent a year after her birth reading multitudes of books, trying to understand the meaning of having a daughter. Finally he decided that the greatest teacher about his daughter IS his daughter and they form an unbreakable bond. When Emily (Lynch, who you may recognize from the Harry Potter films – she played Luna Lovegood) comes home upset from school – the kids call her “weirdo” for reading books – her father (Smiley) shows her in the dictionary that the term is not a bad one. Dad finds success as an author but, when he and his wife are involved in an automobile accident, killing her, he begins to withdraw into himself, finally being committed to a mental institution. This puts Emily into a foster home, where she is the new kid at school once again. But soon, like the hurricane, she is once again and on the move.

A sweetly written story about love and the bonds it forms, “My Name is Emily” succeeds in part thanks to a fine cast of young actors. While at school Emily catches the eye of classmate Arden (Webster) and, while their interaction is at first minimal, it’s easy to see that Arden is smitten. After a bad day at school, where Emily announces that it’s her birthday, Arden brings her a gift and tries to be a comforting shoulder. But Emily is too strong. Or so it seems. Soon she has convinced Arden to accompany her to the north of England to search for her father. Both Lynch, with her wide, blue eyes and Webster give strong performances in what could have easily been stereotypical teenage roles. Credit this to director Fitzmaurice, who also wrote the film, whose pacing keeps the film moving smoothly.

Technically the film is strongly helped by the beautiful Irish countryside that surrounds the two on their long road trip. The musical score by Stephen McKeon helps move the story along as well. “My Name is Emily” is playing in select theatres and is also available through Video on Demand.

Film Review: Fist Fight

Starring: Ice Cube, Charlie Day and Tracy Morgan
Directed by: Richie Keen
Rated: R
Running time: 1 hr 31 mins
New Line Cinema

Our Score: 2.5 out of 5 Stars

Ah, the last day of the school year. A time to clean out your locker, turn in your books and get ready for the summer. Unless you’re a student at the high school featured in the new film “Fist Fight.” Then it’s a time to rebel.

Andy (Day) is an English teacher whose last day of school starts with a student parked in his parking spot. Andy is an expectant father and is worried that school budget cuts may affect his job. Andy is pretty easy going and it’s easy to root for him. Then there is Strickland (Cube – wait, is that right? Is “Ice Cube” all inclusive? Is “Ice” his first name and “Cube” his last?” How about if I call him O’Shea Jackson?). Strickland is a no-nonsense teacher who’s not afraid to challenge his students. Physically. When a classroom altercation gets reported to the principal, Andy inadvertently gets Strickland fired. Angered, the man challenges Andy to a fight after school. Place your bets.

I don’t know what it is about Hollywood and films set in high school. From “3 O’clock High” to “Big Bully,” it seems like kids (and teachers) can’t get along. And who would want to in this school. It’s one thing to pull a few pranks but what the students are doing here would normally result in criminal records. Especially in a world were bullying is prevalent. Have the principal followed around all day by a Mariachi band? Funny. Destroy his car? Jail.

The story is the result of a script by two first-time feature writers and it shows. Jokes, or what are supposed to be jokes, flow quickly and some hit their mark. But many more miss it. When Charlie Day can’t make you laugh you have a serious problem with your material. Day tries hard, as does Mr. Cube (how’s that?) but they needed better dialogue. The fact that Cube is named Strickland makes me wonder if he’s named after the bald teacher that terrorized Marty McFly in “Back to the Future.” Though I wonder if the writers were that clever.

On the plus side, Charlie Day does well in a comedy he’s there to carry and it’s nice to see Tracy Morgan back on the big screen.

Film Review: “In Dubious Battle”

Starring: James Franco, Vincent D’Onofrio and Robert Duvall
Directed by: James Franco
Rated: R
Running time: 1 hr 50 mins
Momentum Pictures

Our Score: 5 out of 5 Stars

Among the many great novels by John Steinbeck are a couple detailing with life during the depression. Most people are aware of “The Grapes of Wrath,” which won a Pulitzer Prize and was made into a film starring Henry Fonda. The lesser known novel, written in between “Tortilla Flat” and “Of Mice and Men” (Jesus, this guy had some talent) was titled “In Dubious Battle.”

The year is 1934. We find ourselves in the Bolton Apple Orchards of California. Many people have picked up back east and headed west with the promise of available work and great wages. However, the influx of laborers has driven wages down, much to the chagrin of the apple pickers. A burly man named London (D’Onofrio) confronts old man Bolton (Duvall). Having been promised three dollars a day for their work, the workers have only received one dollar a day and are, justifiably, unhappy. They want to fight for what they have owed them. They only need a little nudge.

Some of you reading this may be saying to yourself, “I didn’t know James Franco directed.” I am a fan of his film “SAL,” but I was shocked to learn that, if the Internet Movie Data Base is to be believed, he has no less than SEVEN films coming out this year that he directed. He really is a renaissance man! Franco also stars here as Mac, an organizer for a group that is trying to unionize the apple pickers. He had taken under his wing a young man named Jim (Nat Wolff). His eyes not truly open, Jim is drawn to the movement by the fiery rhetoric of Mac. Together they apply for work at Bolton’s orchards and try to blend in. They begin to make small talk with the other workers, trying to feel out who can be a leader and discover London. They discover that most of the workers have had their spirits crushed. When Jim makes an optimistic comment he is met with a frown. “That sounds like hope,” he’s told. But hope may be all these people need.

Perfectly paced and skillfully cast, “In Dubious Battle” is one of those small films that occasionally see the light of day. With a perfect period background and an accompanying musical score by Volker Bertelmann, whose score for this year’s “Lion” has been nominated for an Academy Award, the film takes you back in time to a period when life seemed easier but surely wasn’t. And Franco seems to be the new Woody Allen in that everyone wants to work with him. He has filled his cast with some of the best (and in my case, favorite) character actors, including Ed Harris, Bryan Cranston and John Savage. As London, D’Onofrio adds another great character to his resume. Wolff begins the film clad in innocence, growing more defiant as the story progresses. Franco’s Mac is almost a step-brother to “The Grapes of Wrath”s Tom Joad, pushing forward and giving the occasional inspirational speech.

I’ll admit here that I am a member of a labor union. My current home-state, Missouri, recently voted to be a “Right to Work” state. I found this film inspirational, both in content and in the commemoration of those that came before us.

A Conversation with “Life Interrupted” creator Steven Wishnoff

If you are a fan of 70s television, and the stars that made it so memorable, get ready for a new program, available on YouTube, called “Life Interrupted.” Created by Nick at Nite/TV Land veteran Steven Wishnoff, the show tells the story of former child actor Mason Bell, (Mason Reese) whose career peaked at the age of 10. Mason is turning 50 and nothing has turned out quite the way he expected. He lives in New York’s East Village in a rundown studio apartment over the equally run down bar he co-owns with his ex-wife, Ally (Alison Arngrim). Ally left Mason years ago to marry gallery owner Nina Woodworth (Erin Murphy). Adding to the fun is Mason’s former mother-in-law, and landlady, Annie Hughes (Dawn Wells), Nina’s mother Marnie (Michael Learned), Mason’s best friend Oliver the globe trotting rocker (Robbie Rist), a wise-cracking bar maid (Lindsay Heston), a studly dishwasher (Luis Lopez), Mason and Ally’s son, Junior (Robbie Allen) and a bar full of colorful friends. The show debuts February 14th, on YouTube.

Mike Smith: Give our readers a brief introduction to “Life Interrupted.”

Steven Wishnoff: Hmmm. ‘Life Interrupted” was created as a half hour comedy pilot that was shot in late 2015. We began with a Kickstarter campaign and shot it on a small budget. As frequently happens when you’re working with a limited budget, and (when you have) lots of friends doing lots of favors, it took us about a year to finish the show – and actually show it to the cast/crew privately. Soon after that, the decision was made to re-cut the show into a web series. The way the show was written and shot, that was a fairly easy (though time consuming) adjustment to make. And so, about two and a half years after I began writing it, the show that launches on Valentines Day 2017 came to be.

MS: What inspired you to create the show?

SW: I grew up an actor (in NY) doing musical theatre and, like most actors, I had a number of “survival jobs.’ So, while I was working on HBO’s first scripted drama’, “OZ,” I was also working for Nick at Nite and TV Land, writing and producing content in the early days of TV Networks embracing the internet. You see, as much as I loved musical theatre, I also loved television and was a bit of a walking encyclopedia of TV trivia. That kind of memory was really useful at Nick at Nite/TVLand. You have to remember, this was before Google. (laughs) Yes, I’m that old. Anyway, I was one of the online producers for the TV Land Awards. At that show we had former child-commercial actors Rodney Allen Rippey (Jack in the Box) and Mason Reese (Underwood Deviled Ham) making appearances. So I created a bit where we interviewed them together where they supposedly had an East-Coast/West Coast rivalry a la Biggie and Tupac. We had a lot of fun with it and as a result Mason and I became friends and stayed in touch over the years. It’s worth noting here that the TV Land Awards also featured Erin Murphy who played Tabitha Stephens on “Bewitched.” She and I had actually met a few years earlier in the 90’s along with her TV brother, David Mandel, who played Adam along with his twin Greg. Fast forward more than a decade … Mason and I were talking on the phone and he told me that he really wanted to “get back in front of the cameras”. He asked me, “what kind of show would I even do?” and my reply was, “I don’t know I haven’t written it yet.” At that point, a friend and I had recently finished a pilot called “The Legend & Me” which was intended for Marilu Henner and Charlene Tilton. So I got to work on a show with Mason in mind.

The goals for the show were:
-It needed to be something within Mason’s comfort zone. After all, it had been many years since he’d done anything scripted. In real life, Mason had either owned or invested in several bars over the years – and in fact he still was a partner in an East Village, NY bar when I started writing. So I made an East Village Bar a primary location. But then where to go? Well, Mason had been famous as a child actor. So his character was going to have been a formerly famous actor too. And then… Well
-It needed to be a story/plot that would ring true in the real world. Something contemporary, but still familiar enough to be comfortable for an audience. I didn’t want it be a series of one liners or just set-up/joke, set-up/joke. I wanted the humor and interest to come from who the characters are in the world they live in. And so I came up with something relatable – “What if you woke up at 50 and your life wasn’t anything like what you thought it would it be? How would you feel about it?”

And so I wrote the story of a man who had been a famous child actor, but whose life now leaves a little to be desired.

MS: I pretty much grew up with your cast. Just reading that Mason Reese, Robbie Rist, Erin Murphy, Dawn Wells and so many other people that I remember from my youth are involved in this project makes it pretty much, to paraphrase a common expression, “must watch TV” for me. How easy was it for you to get these actors to participate?

SW: Putting this cast together was actually easy… all I had to do was ask. You see, most of us know each other and are friends. Mason and I are friends. Alison Arngrim (who plays Mason’s ex-wife) and I are friends, Erin Murphy, who plays Alison’s wife, and I have known each other since the 90’s, and she, Alison, and others grew up in LA and have been acting their whole lives – and know each other/are friends. Mason and Robbie Rist are good friends and both are very into music (Robbie Rist and I wrote our theme song). I’d known Dawn Wells for a long time and actually produced her interview for The Archive of American Television. Her role (while loosely based and named for a real-life friend of mine) was written for Dawn – from the very beginning – and it is SO NOT Mary Ann! Michael Learned came to us through her publicist, B. Harlan Boll (who also represents Dawn, Alison and Erin – and is a dear friend of mine). I wrote Michael a letter asking her to read the script – and she called me within 48 hours to tell me she was in. Robbie Allen, who plays Mason and Alison’s son and I were in a short film together (as actors). He is a brilliant talent to watch – and if you look, he bears a striking resemblance to Alison. So for Mason (who is vertically challenged) to have a son who is 6’4″ is very funny. Brandon Cruz and Mason have been friends for years, and Brandon and I had worked together on TV Land Awards one year. The actors who play Julio (Luis Lopez) and Merri (Lindsay Heston) were people I knew and brought in. In fact if you look closely at the party scene, one of Alison and Erin’s friends in the bar is none other than Jeannie Russell (who was played Margaret in the original Dennis the Menace). And behind the scenes were even more friends.

MS: You’re a year older than I am so I’m pretty sure we watched a lot of the same television growing up. Do you have a particular favorite show from your youth?

SW: I had many favorite shows growing up. “Bewitched,” “The Donna Reed Show” (the inspiration for the opening sequence of “Life Interrupted”), “The Patty Duke Show,” “I Love Lucy,” and then later the entire block of “The Mary Tyler Moore Show,” “The Bob Newhart Show,” “The Carol Burnett Show (in fact, all muscial variety shows). I am fortunate to have grown up watching all of Garry Marshalls shows, and then the Norman Lear Shows (I LOVED “Mary Hartman, Mary Hartman” and then “Fernwood 2Nite”). I love good TV.

MS: How long is “Life Interrupted” scheduled to run?

SW: We are rolling out with seven “webisodes” that make up the full pilot of the show.

Q: Are you working on anything else?

SW: I’m always working on several things at once. While I’m still acting, and singing (as often as I’m able) – I have another pilot finished, a one hour series that I’m in rewrites with and am almost done with a feature (a romantic comedy) that I’m particularly proud of. I’ve created a series of “Funny or Die” sketch style shorts for Jeremy Miller (another friend). And there is a stage play that I was originally writing for Patty Duke. Her passing hit pretty hard. I will come back to it at some point, just not right away.

For more information:

Stage Review: “The Phantom of the Opera” – Kansas City

“The Phantom of the Opera”
The Music Hall, Kansas City, Missouri
February 10, 2017

Our score: 4.5 out of 5 stars

“The Phantom of the Opera” opened on Broadway on January 26, 1988. Almost 12,100 performances later, it is still running at the Winter Garden Theater, establishing itself as the longest running show in the history of Broadway. I’ve seen the show five times on Broadway, including two weeks after it opened and was very lucky to have seen the great Michael Crawford, who originated the title role and won nearly every award for his performance twice. A “new” version of the show is now touring the country and this week it began a limited run in Kansas City.

The story is a simple one: there’s a “ghost” in the Paris opera house who has taken an interest in the latest young singer on the bill. He gives his heart and soul towards making her the best only to be thwarted by others. But not until he’s wreaked a little havoc.

Knowing that the production had been tweaked a little I went into the show with an open mind. Obviously it wouldn’t be fair to hold a touring show to the Broadway experience. Though I needn’t have worried. The production I saw was brilliantly produced and, though I had a few quibbles with some of the changes, I was thoroughly entertained.

The cast was amazing. As the title character, Derrick Davis embodied the role. Playing an iconic role can sometimes make an actor “cheat” – and borrow from other performances. I can’t tell you how much of the character Moss I stole from Ed Harris when I did “Glengarry Glen Ross.” Here Mr. Davis makes the Phantom both frightening and sympathetic, a hard combination to pull off. And musically, he is in great voice. Joining him are the other main characters. As the Phantom’s love interest, Christine, Katie Travis was perfectly cast. Torn between her feelings for her benefactor and those for the man she loves (a strong Jordan Craig as Raoul), it is easy to see her emotional quandary. Both she and Mr. Craig have a strong chemistry on stage. As the Opera’s resident diva, Carlotta, Trista Moldovan hit all the right notes, both comedic and musical. You can read my interview with Ms. Moldovan here. The supporting cast is equally strong.

If you’ve seen the show on Broadway, or in other touring shows, here are a few things that I noticed in this “new” edition of the show. Firstly, the revealing of the Phantom’s face happens twice for some reason. The show does journey to the roof of the Opera house here and the changes did nothing to effect my enjoyment of the show. What did bother me was the opening of the 2nd act with the musical number “Masquerade.” In previous shows the cast came down a huge, sprawling staircase and, even though half of the “guests” were smartly disguised mannequins, the effect was breath-taking. Here it is a ballroom lined with mirrors that, I’m guessing were supposed to multiply in the viewers eyes the number of people. I was in the center of the theatre and it just looked like 24 people dancing. Also, the Phantom used to crash the party in a striking costume reminiscent of the Masque of the Red Death. Here he looks like a cross between Iron Man and Captain Marvel. Not as menacing as a giant red skeleton. Again, if you’ve never seen the show you won’t be disappointed by the changes but if you have you might.

“The Phantom of the Opera” runs in Kansas City through February 19. Other upcoming tour dates:

Feb. 22-March 5, Atlanta, GA
March 8-19, Little Rock, AR
March 23-April 1, West Palm Beach, FL
April 5-16, Birmingham, AL

 

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Film Review: “The Lego Batman Movie”

Starring the voices of: Will Arnett, Rosario Dawson and Michael Cera
Directed by: Chris McKay
Rated: PG-13
Running time: 1 hr 44 mins
Warner Bros

Our Score: 3.5 out of 5 Stars

Was anyone surprised when “The LEGO Movie” premiered in 2014 that Batman was one of the best loved characters? Apparently Warner Bros. wasn’t because they have put their blocks together to feature the Dark Knight in his own LEGO adventure.

After a hilarious opening that features white lights, dramatic narration and the claim that it was Batman, and not Michael Jackson, who wrote “Man in the Mirror,” we learn that the Joker (Zach Galifianakis) is again scheming to take over Gotham City. Batman (Arnett) is not impressed but soon finds he is dealing with much more than the Clown Prince of Crime. Besides the regular rogue’s gallery of villains, including the Riddler, the Penguin, Poison Ivy and Bane we are also introduced to lesser ones like Scarecrow, Clayface, Mr. Freeze, Polka Dot Man, Kite Man and King Tut. The Joker has even lined up some baddies from other popular culture vehicles, including King Kong, Sauron, Voldemort, Gremlins and pretty much every other character Warner Bros. owns the right to. I was genuinely surprised when the Phantom of the Opera didn’t show up. Heck, he even recruits a group of “British robots,” because apparently they couldn’t use the word Daleks. For those uninformed, Batman requests you “ask your nerd friends.” What’s a Batman to do?

Very funny but a little bit all over the place, “The LEGO Batman Movie” is fun for all ages. Kids are going to love the on-screen imagery while mom and pop are going to laugh out loud out with each wisecrack. An example: when Batgirl asks Batman why the Batmobile only has one seat, he replies “because last I checked I only had one butt!” Batman is also joined by an all-star assemblage of DC heroes like the Flash and the Green Lantern. Even the under-appreciated Superman shows up. Individually these are funny characters but, allowed to gather en masse, they fight for screen time and for punch lines.

That being said, it’s still worth your time to join the Caped Crusader and friends in this bright and colorful adventure.

Talking “The Phantom of the Opera” with Trista Moldovan

Most actors dream about the day they will finally appear on Broadway. Even if you don’t have any lines, just to be able to stand in the background for a brief moment gives you bragging rights with your friends that you appeared ON BROADWAY. Apparently nobody told Trista Moldovan that you were supposed to take it slow. The first time she hit the boards of the Great White Way she did it as Christine, the love interest of the title character in the longest running musical in Broadway history, “The Phantom of the Opera,” which just concluded it’s 12,080th consecutive performance.

Born in Cleveland, Ms. Moldovan has tackled many of the most popular roles in musical history, including Betty Haynes in “White Christmas,” Sarah Brown in “Guys and Dolls,” Sally Bowles in “Cabaret” and Carla in “Nine.” She has also flexed her dramatic and comedic charms by starring as Maggie in “Cat on a Hot Tin Roof” and Billie Dawn in “Born Yesterday.” In November 2012 she concluded a year-long run as Christine at the Winter Garden Theater in “Phantom of the Opera.” She’s now returned to the touring company of the show as Carlotta, the prima donna of the Opera company. Recently Ms. Moldovan took some time out to talk about this next phase in her career.

Mike Smith: You literally JUST finished understudying the role of Francesca in the touring production of “The Bridges of Madison County.” Two weeks later you’re in “Phantom.” How hard is it to have to basically be able to perform two different shows at any given time?

Trista Moldovan: To go from being an understudy, where you have to be able to perform at a moments notice to this (“Phantom”), where you’re doing eight shows a week, requires using two different sets of muscles. As an understudy you have to have a peripheral process as you’re learning the role because you’re also doing an ensemble track. For “Phantom” I’m very grateful to call the role my own and to be able to really make it my own as well.

MS: You played Christine on Broadway for a year and now you’re playing Carlotta. To me that seems like it would require an almost different type of singing, to go from what people would call “Broadway” singing – really belting it out – to a more operatic style. Was that transition difficult?

TM: Oh, yes. It’s definitely a different “sing” than Christine. Christine has more of a musical theater flavor whereas Carlotta is 100% operatic. She has a much more heavier sound…a much more legit sound, of course. And I had not sung like that for years, so that was very fun and very challenging to work up my chops and to work on the material. It was an amazing challenge and it’s so much fun to be able to sing like this every night because I don’t do opera. I can’t think of another role where I’d be able to sing like this. And I love it. It’s great. It’s so much fun.

MS: You have played so many iconic roles in musical theater. Is there a role you haven’t played yet that you would love to take on?

TM: (laughs) As I’m moving into a different part of my career it’s opened up a world of character roles. More comedic roles. So now my sights are set on roles like Madame Morrible in “Wicked” and, maybe in a few years, Madame Thenardier in “Les Miz.” More of the supporting, secondary roles. A couple of years ago I never thought they would be in the realm of possibility but now I’m sort of at the beginning of that part of my career.

MS: How long will you be with “Phantom?”

TM: As of right now I’m staying until the fall then after that…I don’t know, it seems like it’s an eternity away. After that we’ll re-evaluate when the time comes. But as of right now I’ll be here until October 2017.

We talked for a few more minutes and I learned that she had met her husband, actor Stephen Tewksbury, while both were doing “Phantom.” (She was Christine, he was the Phantom’s understudy). She laughed when I told her how cool that was, because finally the Phantom got the girl! “The Phantom of the Opera” plays through February 19th at the Music Hall in Kansas City. For more information or to purchase tickets, you can go here.

 

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Film Review: “The Space Between Us”

Starring: Asa Butterfield, Britt Robertson and Gary Oldman
Directed by: Peter Chelsom
Rated: PG-13
Running time: 2 hrs
STX Entertainment

Our Score: 1 out of 5 Stars

Have you ever seen a movie and afterward thought, “well, that’s two hours I’ll never get back?” Well, the makers of “The Space Between Us” owe me four hours. Because that’s how long it felt like it took this sci-fi-rom-com to tell me the story of the first person born on Mars and his quest to visit Earth.

Present day. A manned mission is being sent to Mars. Everyone is checked out medically and they’re off. Unfortunately it appears that the programs physician was a doctor, like Bill Cosby used to refer to himself as a doctor. It seems one of the lady astronauts is pregnant. As if she was married to “Bonanza’s” Ben Cartwright, she dies in childbirth, leaving the other astronauts, including the maternal Kendra (Carla Gugino) to raise him. Jump ahead 16 years and the young boy, named Gardner (Butterfield) is a thin, lanky, big-eyed boy longing to know what life on Earth is like. His existence has been kept secret by the mission’s benefactor, Nathaniel Sheppard (Oldman), who comes off here as less Richard Dyson and more Richard Nixon, not wanting the story of the astro-mom’s death to get out, fearing his funding will dry up. Gardner spends his days working around the space station, occasionally breaking the rules by going outside to drive like Dale Earnhardt, Jr. across the surface of the Red Planet. To appease Garner, they decide to operate on him, strengthening his bones with carbon rods and installing an item nears his heart because, in the weightless gravity of Mars, his body will not develop properly. His heart will become too big and the journey to Earth may kill him. Sadly, it doesn’t.

What a horrible film! While I applaud the premise the execution is horribly hit and miss. It’s as if the filmmakers already know that the audience has checked out of this film at the 10-minute mark. While on Mars, Gardner makes an Internet (Inter-world) chat partner who goes by the name Tulsa (Robertson). Tulsa is a foster child who lives with an alcoholic crop duster pilot, who apparently only lets her live with him for the monthly check. Gardner has told Tulsa that he lives in a Penthouse apartment in NYC and can’t go outside because of a medical condition. Tulsa just assumes Gardner is afraid to meet up. When he returns to Earth, Gardner easily escapes (apparently there are NO security guards at NASA, where people come and go, interrupting space missions and press conferences with ease) and meets up with Tulsa. They duo begin a journey to find Gardner’s father, a man he’s never met, going only on a photo of his mom and the man outside a beach house. Of course, like E.T., in the Earth’s gravity and atmosphere Gardner begins to get sick. Will he survive to meet his pop? After what you’ve just read, do you still care?

The film is full of horribly bad clichés and unbelievable plot points. A trip to the local warehouse store, where they purchase items using stolen cash and credit cards, reveals that Tulsa is a budding, and terrible, songwriter. Even though they are being hunted down she takes the time to sit at the electric piano display at COSTCO and serenade anyone within earshot. They then head to Vegas, where Tulsa takes advantage of the Strip to show Gardner “the world,” including Paris, Shanghai and Venice. Keeping one step ahead of the law, they decide to steal an unassuming car. Apparently the highways are full of bright red early 1970s Lincoln Continental convertibles, because not once do they attract the attention of law enforcement. When they reach the beach, Gardner comments that in the past few days he’s done things he always dreamed of, like touch water. What in the hell do they shower with on Mars (or any space station). And why did all of the establishing shots of the Mars compound show Gardner constantly walking over a footbridge, under which is a pool of water. Was the kid too damn lazy to just walk over to the edge and put his hand in? Believe me, the only thing this movie is missing is Chloe Grace Moretz, who has starred in my choices as the “Year’s Worse Film” twice in the past three years (“If I Stay” and “The 5th Wave”). Thankfully I think I’ve found my winner for 2017 so the next 11 months of movie-going should be enjoyable for me. Director Chelsom also gave us “Hannah Montana: The Movie,” which means I’m pretty sure what’s going to be playing on the double-bill at the drive-in in Hell.

I’ve always said that I’ll give any film at least one star because it’s in focus. This movie was in focus. Do yourself a favor and put as much space as possible between yourself and “The Space Between Us.”

Behind the Screen – How Hollywood Hypocrite’s Screwed Nate Parker and “The Birth of a Nation”

It’s been quite awhile since I took the time to write something profound and for that I apologize. But when the Academy Award nominations were released, one word was repeatedly bandied about concerning one nomination. The nomination was for Best Achievement in Directing and the nominee was Mel Gibson, who helmed Best Picture nominee “Hacksaw Ridge.” The word in question: FORGIVEN.

Whether on the local news, “Entertainment Tonight” or even in the local paper, talking heads couldn’t help but point out that “Hollywood has finally forgiven Mel Gibson” and given him an Oscar nomination. Every time I heard this I scratched my head, wondering what the meaning of that statement was. We are all familiar in one way or another with some unpleasant reminders of Mel Gibson’s past. Yes, he allegedly is anti-Semitic. And yes, he may have some anger issues and leave some not-very-nice voice mails. In the 20 years since he took home Oscars for directing and co-producing “Braveheart” had he possibly lost out on more Oscar gold as a form of punishment?

Hollywood’s history was built on scandal. From Fatty Arbuckle to Charlie Sheen, the public has eaten up every tasty bit of dirt that Tinseltown can kick up. Charlie Chaplin LOVED blow jobs – especially from younger women. Errol Flynn had such a way with young ladies that they coined an expression – “In Like Flynn” – in his honor. Marilyn Monroe and JFK. Marilyn Monroe and RFK. Rob Lowe’s sex tape with a 16-year-old girl. Woody Allen and Soon-Yi. And these are just off the top of my head.

What they all have in common, besides their sordid back stories, is that none of them were “punished.” Sure, they all had to endure some bad press, but their careers went on quite nicely, thank you. Chaplin is regarded as one of the true genius’ of Hollywood. And rightly so. Flynn was a star until the day he died at the young age of 50. So was Monroe, who died even younger at 36. Rob Lowe continues to work and even endured a comedy roast where his under-age hijinx were frequently commented on. And Woody Allen has received 9 Academy Award nominations since it was learned that he was dating (and later married) the 21-year old adopted daughter of his then girlfriend, Mia Farrow. Where was their punishment? Why weren’t they shunned from the community and cast aside like so many Steven Seagal DVDs?

All of the above has led me to the main point of this diatribe. A few weeks ago, when our various film critics here at the web site listed their choices for the Best Film of 2016 my pick for #1 was “The Birth of a Nation.” I loved the film and when I left the theatre I was certain that the film and it’s break-out star/director/co-writer were destined for a date with Oscar. That seemed to be the consensus of other critics as well. At least until mid-August. It was then that the public learned that in 1999, while a student at Penn State, Parker and his roommate (and co-writer of “The Birth of a Nation”) Jean Celestin were accused of sexually assaulting a fellow student. Parker was tried and acquitted. Jump ahead to 2016. Parker is now married and the father of five daughters and his career is heading upward like a rocket. Until August. Since then, almost every article written that attempted to predict the possible Best Picture candidates dismissed “The Birth of a Nation.” Not because it was an inferior film but because of events 17 years ago. Later news – the woman who accused the two men had taken her life in 2012 – made things even worse. It was like Hollywood was saying, “Thanks for putting your life’s blood into your work, Nate, but like Paul Sorvino in “Goodfellas,” now we gotta turn our back on you. Hypocrites!

NEWS FLASH: As I was finishing up this piece, I see on-line an article from “USA Today” noting that Casey Affleck has aroused the ire of some in Hollywood with his recent Best Actor nomination. It seems that in 2010 two female crew members of a film he was directing filed a lawsuit against him for sexual harassment. Affleck threatened to counter-sue but the case was later settled out of court. Angry Tweets followed the news of Affleck’s nomination. To me he’s the front runner. I would hope that the members of the Academy do what they’re supposed to do, and cast their votes based on the performances of the actors or the merits of the filmmakers. To do otherwise would be a disgrace.

Remembering Mary Tyler Moore

I can’t remember a time in my life when Mary Tyler Moore wasn’t a part of it.

The Emmy, Golden Globe and Tony award winning actress and producer died January 25, 2017, of complications from pneumonia. She was 80, having celebrated her birthday less than a month ago.

Born in New York and raised in California, Mary Tyler Moore decided as a teenager that she wanted to be a dancer. Her first professional job was as “Happy Hotpoint,” a tiny elf who danced on Hotpoint appliances during commercial breaks on the popular 1950s television series “Ozzie and Harriet.” Her first regular TV role was as the sexy, unseen secretary of “Richard Diamond: Private Eye.” On the show, the audience could hear Moore’s voice, but all they saw were her legs.

In 1961, after a series of small film and television roles, show creator Carl Reiner cast her as Laura, the wife of comedy writer Robert Petrie, on “The Dick Van Dyke Show.” Her work on the show earned her two Emmy awards and a Golden Globe.

When the show ended in 1966, she returned to films, co-starring with Julie Andrews in “Thoroughly Modern Millie” and Elvis Presley in “Change of Habit,” in which she played a nun sent undercover to live in the ghetto. The film is a personal favorite in the Smith household and was Elvis Presley’s last scripted film.

In 1970, she returned to television in the groundbreaking, self-titled “Mary Tyler Moore Show.” As Mary Richards, a single woman starting life over at age 30, she gets a job as a producer of the local news and for the next seven years became a Saturday night staple. The show earned an amazing 67 Emmy nominations, winning 29, including four more for Moore.

https://www.youtube.com/watch?v=Ldf12KsqT7M

After the show ended in 1977, Moore tried a couple of variety shows, with little fanfare. In 1980, she stunned fans and Hollywood with her performance as the cold mother Beth Jarrett in Robert Redford’s “Ordinary People.” Long time fans were stunned, having never seen an unlikable Moore on screen. For her performance she received an Academy Award nomination for Best Actress.

It was actually 30 years ago this month that I had the great opportunity to see Ms. Moore and Lynn Redgrave on Broadway in the play “Sweet Sue.” After the show I joined many other fans waiting patiently at the stage door for the actresses to come out. Both were very giving of their time, posing for photos and signing autographs. I had her sign my “Ordinary People” poster and when she handed it back I told her, “I’ve hated you ever since I saw this movie.” Thankfully she knew that I meant her character as she smiled and said, “why thank you.”

Mary Tyler Moore continues to be a part of my life. Whenever we have a free Friday or Saturday night, my wife Juanita and I put together a “70s Night,” watching DVD’s of television series from that decade. You can rest assured that at least one episode of “The Mary Tyler Moore” is on the agenda every night.

“La La Land” Dances Way to Record 14 Academy Award Nominations

“La La Land,” writer/director Damien Chazelle’s love letter to the classic Hollywood musical, tied “All About Eve” and “Titanic” in receiving an amazing 14 nominations for the 89th Annual Academy Awards.

The film has a chance to join “It Happened One Night,” “One Flew Over the Cuckoo’s Nest” and “Silence of the Lambs,” which took home the prizes for Best Picture, Director, Actor, Actress and Screenplay. “La La Land’ earned nominations in all of those categories and added nods for Original Score, Cinematography, Costume Design, Film Editing, Production Design, Sound Editing and Sound Mixing. The film also earned two nominations in the Best Original Song Category.

Joining “La La Land” in the Best Picture category are: “Arrival,” “Fences,” “Hacksaw Ridge,” “Hell or High Water,” “Hidden Figures,” “Lion,” “Manchester by the Sea” and “Moonlight.”

Best Actor nominees include Casey Affleck (Manchester by the Sea), Andrew Garfield (Hacksaw Ridge), Ryan Gosling (La La Land), Viggo Mortensen (Captain Fantastic) and Denzel Washington (Fences)

For Best Actress, the nominees are Isabelle Huppert (Elle), Ruth Negga (Loving), Natalie Portman (Jackie), Emma Stone (La La Land) and, in her 20th acting nomination, Meryl Streep (Florence Foster Jenkins)

The Academy Awards will be awarded on Sunday night, February 26th.

Here is a complete list of the nominees:

Actor in a Supporting Role
Mahershala Ali, “Moonlight”
Jeff Bridges, “Hell or High Water”
Lucas Hedges, “Manchester by the Sea”
Dev Patel, “Lion”
Michael Shannon, “Nocturnal Animals”

Actress in a Supporting Role
Viola Davis, “Fences”
Naomie Harris, “Moonlight”
Nicole Kidman, “Lion”
Octavia Spencer, “Hidden Figures”
Michelle Williams, “Manchester by the Sea”

Animated Feature Film
“Kubo and the Two Strings”
“Moana”
“My Life as a Zucchini”
“The Red Turtle”
“Zootopia”

Cinematography
“Arrival”
“La La Land”
“Lion”
“Moonlight”
“Silence”

Costumed Design
“Allied”
“Fantastic Beasts and Where to Find Them”
“Florence Foster Jenkins”
“Jackie”
“La La Land”

Directing
“Arrival”
“Hacksaw Ridge”
“La La Land”
“Manchester by the Sea”
“Moonlight”

Feature Documentary
“Fire at Sea”
“I Am Not Your Negro”
“Life, Animated”
“O.J.: Made in America”
“13th”

Short Subject Documentary
“Extremis”
“4.1 Miles”
“Joe’s Violin”
“Watani: My Homeland”
“The White Helmets”

Film Editing
“Arrival”
“Hacksaw Ridge”
“Hell or High Water”
“La La Land”
“Moonlight”

Foreign Language Film
“Land of Mine”
“A Man Called Ove”
“The Salesman”
“Tanna”
“Toni Erdmann”

Make Up and Hairstyling
“A Man Called Ove”
“Star Trek Beyond”
“Suicide Squad”

Original Score
“Jackie”
“La La Land”
“Lion”
“Moonlight”
“Passengers”

Original Song
Audition (The Fools Who Dream), “La La Land”
Can’t Stop The Feeling, “Trolls”
City Of Stars, “La La Land”
The Empty Chair, “Jim: The James Foley Story”
How Far I’ll Go, “Moana”

Production Design
“Arrival”
“Fantastic Beasts and Where to Find Them”
“Hail, Caesar!”
“La La Land”
“Passengers”

Animated Short Film
“Blind Vaysha”
“Borrowed Time”
“Pear Cider and Cigarettes”
“Pearl”
“Piper”

Live Action Short Film
“Ennemis Intérieurs”
“La Femme et le TGV”
“Silent Nights”
“Sing”
“Timecode”

Sound Editing
“Arrival”
“Deepwater Horizon”
“Hacksaw Ridge”
“La La Land”
“Sully”

Sound Mixing
“Arrival”
“Hacksaw Ridge”
“La La Land”
“Rogue One: A Star Wars Story”
“13 Hours: The Secret Soldiers of Benghazi”

Visual Effects
“Deepwater Horizon”
“Doctor Strange”
“The Jungle Book”
“Kubo and the Two Strings”
“Rogue One: A Star Wars Story”

Adapted Screenplay
“Arrival”
“Fences”
“Hidden Figures”
“Lion”
“Moonlight”

Original Screenplay
“Hell or High Water”
“La La Land”
“The Lobster”
“Manchester by the Sea”
“20th Century Women”