• AVATAR: THE WAY OF WATER
• Starring: Sam Worthington, Zoe Saldana
• Directed by James Cameron
• Rating: PG-13
• Running time: 3 hrs 12 mins
• 20th Century Studios

• THE POPE’S EXORCIST
• Starring: Russell Crowe, Daniel Zovatto
• Directed by Julius Avery
• Rating: R
• Running time: 1 hr 13 mins
• Lionsgate

• 65
• Starring: Adam Driver, Ariana Greenblatt
• Directed by Scott Beck and Bryan Woods
• Rating: PG-13
• Running time: 1 hr 33 mins
• Sony Pictures

• SHE SAID
• Starring: Carey Mulligan, Zoe Kazan
• Directed by Maria Schrader
• Rating: R
• Running time: 2 hrs 9 mins
• Universal Pictures

• 5-25-77
• Starring:  John Francis Daley, Austin Pendleton and Colleen Camp
• Directed by:  Patrick Read Johnson
• Rated:  PG 13
• Running time:  2 hrs 12 mins
• Filmio

A young man, enthralled by the rmagic of the movies, begins to make his own films with his family and friends.  If this sounds like Steven Spielberg’s film, “The Fablemans,” you would be right.  However, “5-25-77” has been around, in various forms, since 2007.

Film fans will recognize May 25, 1977 as the day “Star Wars” opened in the United States.  Like “Jaws” before it, the effect the film had on Hollywood would change it forever.  Thanks to the success of “Star Wars,” films like “Star Trek the Motion Picture” and “The Black Hole” were greenlighted by studios, bringing science fiction, once a stalple of 1950s Hollywood, back to the cinema.

Pat Johnson (Daley) takes in a showing of “2001: A Spsce Odysey” and is mesmerized by what he has seen.  He begins to make home movies in the neighborhood and finally saves the money to travel to Hollywood with one mission: to meet Douglas Trumball, the man behind the special effects of “2001.”  His trip doesn’t go exactly as planned, but what does happen changes Pat’s life forever.

The film follows Pat on his journey west – he lives in Illinolis – where, while waiting to meet Trumball he runs ito a young Steven Spielberg, who is currently finishing up the special effects on “Close Encounters of the Third Kind,” a film Trumball also did the special effects for.  He also stumbles into a room containing models for another upcoming film called “Star Wars.”  Impressed by the young man’s interest, one of the crew invite him to a screening room where he is given a peek at a very rough cut of “Star Wars.”  Overwhelmed by what he’s seen, Pat returns home where he does his best to make his friends and family as “Star Wars” crazy as he is.

The first act of the film is well done.  Daley captures the same enthusiasm that my 16-year old pals and I had in wating for the film to open.  It’s clear to the viewer that “Star Wars” really had an effect on Pat’s life, much the same way that “Jaws” had on mine.  So excited is Pat that he invites his entire class to be his guest at the theatre on opening day.

It’s the second act of the film where things begin to fumble.  Even though the film runs a healthy 132 minutes (11 minutes longer then “Star Wars”), Mr. Johnson has tried to cram too much into the final 45-minutes of the film.  It’s almost as if, after 15 years of working on the film, Mr. Johnson decided to use everything he had.  As someone who focuses on the minute trivia of films, I was disappointed to find a Cubs game on television late at night.  I lived in the Chicago area until 1974 and I don’t recall Cub games being re-broadcast.  Also, if my ears are working correctly, there is a batter in the game that has 98 RBIs – in mid-May.  I have other issues with the film but to list them would require a SPOILER ALERT notice.

I first became aware of this film when Mr. Johnon was interviewed for the “Jaws” documentary “The Shark is Still Working,” a film in which I also appear.  I was intrigued by the 5-25-77 poster behind Mr. Johnson and have eagerly been waiting for this film since then.  While I did have some quibbles with the film, it is definitely one that should be seen, not only for movie lovers who will find a kindred soul in young Pat Johnson but as a validation of Patrick Read Johnson’s perseverance.

I give “5-25-77” 3.5 stars out of 5.  

• THE BANSHEES OF INISHERIN
• Starring: Colin Farrell and Brendan Gleeson
• Directed by Martin McDonagh
• Rating: R
• Running time: 1 hr 54 mins
• Searchlight Pictures

Starring: Marin Ireland, Judy Reyes and Breeda Wool
Directed by: Laura Moss
Rated: NR
Running Time: 98 minutes
IFC Films

Our Score: 4 out of 5 Stars

You know you’re in for a good movie when a director is able to summarize their film without giving away too much. Before “Birth/Rebirth” began, Director Laura Moss discussed how the film was her own unique take on “Frankenstein” and how the idea has been simmering in her mind since she was a teenager. Even with that kind of spoiler in mind, one where I could expect the reanimation of a dead person, I couldn’t foresee what kind of horrors could be and would be mined in “Birth/Rebirth.”

Celie (Judy Reyes) is a natural as a prenatal nurse at the hospital she works at. She brings her motherly warmth to work to help patients and others, but that warmth will disappear in a flash. Celie’s daughter, Lila (A.J. Lister) abruptly dies, leaving Celie with so much to ponder. On the flip side, we meet a morgue tech by the name of Rose (Marin Ireland) who goes about her work with about as much warmth as the corpses she digs around in. Celie and Rose are strangers, but Lila’s death is going to bring them together in horrific ways.

The mantle of Dr. Frankenstein could be divided up between Celie and Rose, who work together after Rose reanimates Lila. Celie, despite being unable to communicate with the daughter she used to know, tries in earnest to recover what she had by focusing on nearly every aspect of Lila’s life. Rose on the other hand takes a more rudimentary, yet scientific approach to Lia as she makes notes, runs experiments and monitors the overall situation. Sometimes the roles flip as time goes on where one character assumes the role of scientist and the other as parental figure. Because the reanimated Lila remains mostly quiet throughout the duration of the film, it’s difficult to tell what’s actually going on in her head as opposed to the emotional projections by Rose and Celie.

I can’t think of a “Frankenstein” reimaging or story that heavily shifts the narrative to a female centric one. The original story could be viewed as man’s attempt to control what humanity cannot control, life and death. In some ways you could argue the original doctor was also driven by a need to create. The ability to create a human life is not possible for someone born as a man, so Dr. Frankenstein had to create human life in another form. “Birth/Rebirth” seems to explain the passion and need to control life and death as that of a woman/parent. We see how Celie and Rose work with Lila to ensure she survives, the sacrifices both of them make, but is it more about science or more about basic maternal instincts? Rose is the calculating, numbers driven and scientific to all her approaches, but the longer she spends with Celie and Lila, the more something else is taking shape beneath her expressionless face. On the flip side, Celie also realizes the lengths she’ll go to obtain what she used to have, but must also reckon with what it takes to reach that goal.

The film’s ending, which will certainly be annoying to some, leaves more questions than answers. The audience is supposed to reflect on the idea of motherhood and what parenthood in general does to us. The morals of the film are constantly being debated by the characters and by their inevitable actions. Just like the Mary Shelley classic, “Birth/Rebirth” asks us to examine creation, life and death, through our own selfishness, our own sacrifices and ultimately what we are willing to do to secure and fulfill what we see as our obligations to our creations. “Birth/Rebirth” is a monster that you’ll be thinking about long after the credits and lights go up.

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• THE WHALE
• Starring: Brendan Fraser and Hong Chau
• Directed by Darren Aronofsky
• Rating: R
• Running time: 1 hr 27 mins
• A24

Starring: Agnes Albright, Andrew Bailes and Jeremy Holm
Directed by: John Pata
Rated: NR
Running Time: 92 minutes

Our Score: 3.5 out of 5 stars

I’m asked anytime by people who find out that I do urban exploring (the art of exploring abandoned buildings, tunnels and everything in between) about whether or not I get scared. Of course. That’d be like asking a trapeze artist if they’re ever worried about plummeting. The thought will always be there. When it comes to my side hobby, I’ve almost been attacked by humans and animals, nearly broken bones, and, worst of all, almost been caught by authorities. So when I recommend “Black Mold,” a film about two urban exploring photographers taking on a deadly task, it’s not because it taps into that fear.

Brooke (Anges Albright) is going through the motions as her and her budding photographer, Tanner (Andrew Bailes) are adding more photos to their portfolio. The abandoned countryside homes they photograph aren’t enough for Brooke today though. She’s got her eyes on the duo’s white whale, a rundown government facility that is the center of several area rumors. Ignoring the fencing, warning signs, and obvious threats, the two are dropped off by their driver, whom they tell to come back in three hours. The two then  set foot inside a building they may never leave.

“Black Mold” never does what you’d expect, which is a treat because it uses a lot of horror tropes. While the story is familiar, the path isn’t. Brooke, we learn, has never come to grips with a traumatic part of her childhood, the death of her father and the ensuing blame being directed at her. While the movie solely focuses on her, Tanner is also dealing with his own personal demons even though they’re never discussed or shown. We just see him react to what he thinks he’s seeing or actually seeing, just like Brooke begins to wonder if a homeless person they encounter in the building is her father.

That is one of the more befuddling parts of this film, what’s real and what isn’t. It’s intentional, but also confusing. For about half of the film, we’re left wondering what experiences are real and which ones aren’t. Eventually day turns to night and we even have to question if time is changing along with perception. I’m not sure why Tanner is in the film, but over time, I wondered if the film could have been better without Tanner because we have no emotional attachment to him. That, and I imagine the isolation would be more impactful for Brooke and the audience.

“Black Mold” is kind of a play on the idea that mold in a dilapidated building could impact your mind. I also believe it’s how the trauma that Brooke experienced not only effects her creatively and in her hobby, but also emotionally because it’s obvious she’s never dealt with her father’s death in any meaningful way or talked with anyone about it. Psychologically and visually speaking, “Black Mold” is a fascinating watch, but the horror itself isn’t as scary as it could be, and the ending feels like a little bit of a letdown.  Overall, the film is an enjoyable journey into the psyche of regret, loss and broken relationships.

Directed by: Steve J. Adams and Sean Horlor
Rated: NR
Running Time: 88 minutes

Our Score: 4 out of 5 stars

Children are the greatest non-violent weapon humans have ever had. In 2020-21, my social media was being spammed with #savethechildren. Sounds noble. Besides, who hates children and wishes them ill will? Unfortunately, the #savethechildren people on social media were ignorant to the reasoning behind the hashtag. All these #savethechildren people were suckers for Q’Anon, a conspiracy theory about how the world’s elites are eating, raping, beating, sodomizing, and killing children. Not only children, but newborn infants. While it sounds too crazy to believe, “Satan Wants You,” is a reminder that we’re constantly doomed to repeat an inherent part of our history, believe stupid crap.

If you haven’t heard about the Satanic Panic of the 80s and early 90s, it’s kind of like Pizzagate for the pre-Internet age. They even had their own hashtag before hashtags, having people say “Believe the Children.” The insanity kicked off in 1980 with the book, “Michelle Remembers,” where Canadian Michelle Smith, with the help of her then-psychiatrist at the time, remembered buried memories. Those memories were of being kidnapped, caged, beaten, sexually assaulted, raped repeatedly and forced to eat babies along with other Satanists in a ritual meant to summon the Lord of Darkness himself. Makes for an interesting fiction novel, but “Michelle Remembers” was touted as a real life encapsulation of a secret cabal right under society’s nose.

“Satan Wants You” doesn’t dig around in every nook and cranny, but it’s an incredibly entertaining and serviceable documentary on the Satanic Panic, for those who know nothing about and those like me who could stand to learn a little bit more, including the interesting tidbit later in the documentary about how insurance companies may have saved the day. The documentary’s focus is on how such a perverse lie was able to spread around the U.S. like a new strain of COVID-19, while examining the possibilities of why Michelle would remember…a lie.

Michelle’s psychiatrist, Lawrence Pazder, eventually became her lover and husband. It doesn’t take an HR consultant for most people to recognize a doctor and patient hooking up is the biggest ethical red flag you could potentially spot. The documentary seems to imply more wrong with Pazder than it does Michelle, as it talks with his family members about how he abandoned them for one of his patients. It details how Pazder had a fascination with the perceived weirdness of other cultures and traditions, and how that kind of got channeled through his sessions with Michelle. In my personal belief, I think he was a sexual deviant and Michelle’s recollections were simply part of his fetish.

But what about Michelle? It’s easy to pin the blame on the person spinning these lies, but the documentary treats everyone fairly, including Michelle. If anything, she is a victim to Pazder’s delusions of grandeur, because he envisioned himself becoming famous with her recounting of the alleged demonic occurrences. She also was seeking psychiatric help because she had endured a miscarriage. So in a vulnerable position, she was most likely persuaded by Pazder. A lot of this is my own musings based on the film because “Satan Wants You” is so balanced and thoughtful in its approach. The film doesn’t look to demonize or point the finger of blame at anyone particularly. Unfortunately we can only blame ourselves, especially since history shows that anytime there’s a crisis of faith or a newfound religion, one side attempts to demonize and disparage that group with lascivious lies involving children. For a harmful conspiracy theory to flourish, it takes a village of idiots.

For those who are interested in the Satanic Panic, “Satan Wants You” is a must-watch, even for those who may not know anything about it. At times it feels like it doesn’t say enough while at the same time giving us enough information to completely understand and digest the whole damn mess. You may find yourself wondering aloud during the film, “How the hell do people believe this?” Well, just wait until 2060 when we release a film about all the morons who thought a billionaire narcissist was going to save all the babies from demonic Jews in positions of power eating babies or how Lil Nas X is the Anti-Christ or how social media campaigns never helped children.

Starring: James Marsters, Christopher McDonald and Hana Mae Lee
Directed by: Evan Marlowe
Rated: NR
Running Time: 94 minutes

Our Score: 2.5 out of 5 Stars

Anytime I see human puppets, I immediately think of “Team America: World Police” or “Being John Malkovich.” I’m not sure if that’s because I discredit the art form of puppets altogether and can only tolerate self-mocking portrayals or if that’s because the films are top tier puppet films. While it’s still too early to say, I think I might start adding “Abruptio” to that mental list anytime I see someone with a marionette.

When we meet Les Hackel (James Marsters), he’s working a dead-end job, living at home with his parents still, and getting dumped by his valley girl sounding girlfriend. Then, without any warning, he notices an incision at the base of his neck. One of his buddies has one too, and his buddy knows what it is; a bomb. Then Les begins receiving mysterious messages on his phone stating that everything will be fine as long as Les does what they say. If not, boom goes the neck bomb.

“Abruptio” is a unique take on human puppets because they’re a mix of actual puppets and life-sized puppets; I think. I’m not sure about the actual puppets, but it is very clear from the get-go that actors on screen are wearing puppet looking masks, attire, hands, etc. The mix of real world and puppets is, at most times, visually unsettling. The puppets stick out like a sore thumb, but because of that very intent, it makes us question the reality that the life-size puppets are in. The preposterous plot and visuals only amplify the unease as Les has to do more and more sinister things from the mystery entity or entities.

Adding to the bizarre plot devices are the vocals. We have the late Sid Haig, THE Freddy Kreuger (Robert England), and Christopher McDonald giving us that Shooter McGavin tone. For a film that took seven years, I’m impressed at the range of people who inevitably signed on to such a unique, puzzling, puppet film. Outside of the technical aspects and voice acting talent, “Abruptio” sometimes feels and looks hollow.

Les is more of a villain than a hero, so following him throughout the film can be a moral drag. While this film sits neatly into the horror genre, there’s still some basic ethics in horror. For instance, the puppet nudity never felt necessary or earned. I know, you probably had to do a double take at the puppet nudity. While it didn’t bug me at first, it was utilized at certain points to an unpleasant degree. Some moments felt hateful while others were more masturbatory in their presentation. It also doesn’t help that Les’ character looks like a 55-year-old loser on the verge of shooting up a gas station and he’s having several woman issues throughout the movie.

I can’t completely disregard something like “Abruptio,” because the ending reveal may make everything prior seem like a big misunderstanding. For the horror community, “Abruptio” is a fine addition to the “so weird it’s oddly good” category, but for everyone else, the film will be too dark and miserable to enjoy.

For Preston Truman Boyd, music runs in the family.  His grandfather was an opera singer so when the young man showed some talent in church, people noticed.  Eventually he made his way to New York City, appearing in “Sunset Boulevard” with Glenn Close as well as featured roles in the National tours of “Young Frankenstein” and “Jersey Boys.”

He is currently appearing in the National tour of “Les Misérables,” where he plays the “misunderstood” police inspector Javert.  I spoke with Mr. Boyd while he was in Washington D.C., performing at the Kennedy Center. 

MIKE SMITH:  “Les Miserables” is an iconic show, and Javert is a truly iconic role.  How do you prepare to tackle a role that so many people are familiar with and may have preconceived ideas on how it should be played?

PRESTON TRUMAN BOYD:  I try to bring as much gravita as I can to the role.  It IS an iconic role in an iconic show and I know there are fans who have their own ideas in how the want to see it done.  It’s the added pressure of people having their favorite Javert.  You definitely want to be the pivotal Ying to the Yang of Jean Valjean, which is not only important to the story but important in supporting the theme of the show.  The survival of the human spirit.  Javert is often referred to as “the bad guy” but I like to think he’s “the misunderstood guy.”  At the end of the day, he’s just a guy doing his job.  If you’ve fled your parole, I’ve got to come get you.  That’s just how it is. (laughs)

MS:  Javert the Bounty Hunter!

PTB:  Exactly, yes.

MS:  You mentioned that some people have a pre-conception of the role.  Do you try to model portions of your performance on how others have played the role?

PTB:  A lot of us in this business grew up listening to this show.  We’d seek it out whenever it came to town.  I was always a Philip Quast fan.  I’d like to think I sound a little more like him then other Javerts. (NOTE:  Philip Quast originated the role of Javert in the original Australian production of “Les Miz,” later playing the role on the West End in London.  He also appeared in the hugely popular  “Les Miserables: the Dream Cast in Concert).  His voice stuck with me.  That’s the beauty of our show.  So many people have seen the show in so many incarnations and in different companies.  The directors have looked at it from another angle.  It’s the same story but you can really push certain themes a bit more.  Even in the design.  Some of Victor Hugo’s paintings are now projected on stage. (NOTE:  Hugo wrote the novel “Les Misérables”).  

MS:  What got you into musical theater?

PTB:  I grew up in the church singing and once I heard from people that weren’t my parents that I might have a gift I began to seek out other opportunities in the community.  I grew up in Fargo/Moorehead (North Dakota).  I got involved in school programs and did a lot of speech and debate.  A couple predecessors from my hometown ended up moving to the City and had some success so it didn’t seem like an absolute pipe dream.  I sought out scholarship programs and what schools to attend.  I did a program called The National Foundation for the Advancement of the Arts.  They bring in (10) kids from each discipline every year and I went down to Miami for opera.  We spent a week studying voice with Placido Domingo, which was absolutely incredible.  After that I had a few people seek me out for different programs like voice and theater and I ended up at the Cincinnati Conservatory of Music, where I did four years and a lot of great roles.  The show moves you out to New York where you put on  Senior Showcase for all of the casting directors and agents, who come each year to scout new talent.  I signed with an agent there and the rest is history!

MS:  Roger Maris left Fargo and went to New York.  He did well.

PTB: (laughs)  Exactly.

MS:  Was there a show you saw that kind of triggered the bug?

PTB:  Yeah.  I think the very first show I saw was a production of “A Midsummer Night’s Dream” at the Guthrie Theater in Minneapolis.  I had never seen production value like that.  Ever.  I was just in awe at how good the show looked.  And once I was over that, I realized how much fun it looked like the people were having.  One of my teachers added, “and their getting paid.”  I realized I could live in New York , which sounded fun.  I think it was just me realizing that I could have a good time in a show.  That my job would be a really good time.  I’ll get to tell stories and, hopefully, at the end of the day change some lives. 

MS:  What was your first professional gig

PTB:  It was at the Muni in St. Louis.  When I was in college I got my Equity card and I sang “Beautiful Girl” in “Singing in the Rain.”  I did “Peter Pan” there.  I did “Oklahoma there.  I think I’ve done thirteen different shows at the Muni, mostly when I was in college, but I’ve been back a couple times since then.  That’s where I got my start.  When I moved to the City I went out on the National Tour of “Young Frankenstein.”  A week after that contract was up I signed up for the National Tour of “Jersey Boys.”  When that contract ended I went back to New York and did seven shows on Broadway.  I haven’t been back on the road in quite some time so it’s been fun to get my tour legs again. 

MS:  Is there a role you’d like to play?  Too bad “Phantom” just closed.

PTB:  (laughing) Maybe in four years when it comes back.  I’d love to play Sweeney Todd actually.  It’s back and it’s on Broadway.  Josh Grobin is doing it.  Maybe when he’s out of there I can get seen for it.  That would be great.  I’d also love to play George Seurat in “Sunday in the Park with George.”  I guess ultimately, I just want to do a Sondheim show!  I’ve never done a Sondheim show and I’m really itching to do one. 

“Les Miserables” opens in Kansas City on Tuesday, May 2.  For tickets and information about this and futurte shows, please click HERE.