Kansas City Theater Review: “Anastasia”

 

  • ANASTASIA
  • Starlight Theater – Kansas City, Missouri
  • August 11, 2022

 

Ever since I was a teenager, I’ve been obsessed with the fall of the Romanov dynasty in Russia. Whenever I see works for fiction and literature ignoring the facts, I simply assume it’s a day and go back to the books I have on my shelf like Edvard Radzinsky’s The Last Tsar: The Life and Death of Nicholas II.

 

It’s doubtful that anyone who watched the Starlight Theater’s current production of Anastasia expected a history less. Thankfully, the touring play consistently delivers eye candy worthy of a Faberge egg.

 

The musical from writer Terrence McNsally, composer Stephen Flaherty and lyricist Lynn Ahrens (the trio behind Ragtime) draws its inspiration from 1997 cartoon, so the visual pizazz is to be expected. Thanks to a series of backdrops and projection, the play can change location and time as easily as movies can.

 

The history be damned tale starts in 1917 St. Petersburg, just before the Russian Revolution and quickly moves ahead a decade where the renamed city Leningrad is abuzz because the heir to the Russian throne , the Grand Duchess Anastasia might still be alive.

 

The play never answers how she survived when the rest of her family perished, but the ambitious Deputy Commissioner Gleb (Ben Edquist) sees her as a threat to the fragile order of the new Soviet Union. Meanwhile, two struggling con artists Dmitry (Sam McLellan) and Vlad (Bryan Seastrom) think they can convince the still-grieving Dowager Empress (Gerri Weagraff) that just about any woman living in the streets of Leningrad could pass as her missing granddaughter.

 

The search for the proper imposter proves more difficult than anticipated even though Vlad himself has spent decades posing as an aristocrat. Their most promising candidate is a street sweeper named Anya ((Kyla Stone), who takes to Vlad’s instruction with astonishing ease. Ironically, the ruse may be easier for her because she’s an amnesiac, so the invented history might actually be true.

 

Because she projects the right blend of innocence and latent sophistication, Stone effortlessly anchors this current touring production. Her clear, confident singing voice certainly doesn’t hurt.

 

The late McNally has retooled the storyline of the animated movie in a manner that is both more logical and entertaining. The less said about the cartoon’s version of Rasputin, the better. Gleb makes a lot more sense as an antagonist and Edquist has just enough charm to make viewers tolerate how slimy and single-mined he can be.

 

The romance between Anya and Dmitry feels as if it were copied and pasted from another musical. It’s more fun to watch the wily Vlad woo a countess (Madeline Raube) than it is to watch the leads discover each other.

 

The weather on Tuesday night was pleasant, but occasionally motorcycles reminded me why the outdoors and musicals may not be the best of combinations.

 

At the same time it was rewarding to see the play in the Swope Park surroundings where the scenery could compete with the images on stage.

 

 

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Film Review: “The Day the Music Died – the Story of Don McLean’s AMERICAN PIE”

 

 

  • THE DAY THE MUSIC DIED – THE STORY OF DON McLEAN’S “AMERICAN PIE”
  • Starring:  Don McLean, Garth Brooks and “Weird” Al Yankovic
  • Directed by:  Mark Moorman
  • Rated:  Not Rated
  • Running time:  1 hr 34 mins
  • Paramount +

 

It’s one of the most popular and recognized songs in the world.  An 8-minute epic about the end of rock of roll, chronicling February 3, 1959.  The day the music died.  That song?  Don McLean’s masterpiece, “American Pie.” 

 

I’ve been in bars all over the world, from the good old USA to Europe, and I’ve never heard this song played without everyone in the place singing along.  The chorus is infective and the verses memorable.  But what was the impetus for the song?  And why is it even more popular today then the day it was released over 50 years ago?

 

“The Day the Music Died” gives an amazing insight into the mind of a songwriter so gifted that he was the inspiration for Roberta Flack’s Grammy Award winning song “Killing Me Softly with His Song.”  As a sidenote, I should mention that the tale of how that song came to be is worthy of a documentary film of its own.  Like many singer/songwriters of the late 1960s, McLean would spend  hours putting pen to paper, trying to put his thoughts to music.  A chance remembering of his time as a paperboy kindled a spark that has yet to be extinguished.  As the verses poured out of his mind, it only took McLean an hour to write the heart of the song, going back – as many songwriters do – to fine tune the verses until they sounded perfect.

 

 

Not only does the film take an inside look at the composition of the song, but also gives a glance back, and a nod to, a simpler time in rock and roll.  The three young musicians whose death registered so strongly with McLean – J.P. Richardson (the Big Bopper), Ritchie Valens and McLean’s musical idol, the great Buddy Holly – get their due here, climaxed by McLean’s meeting with Valens’ sister, Connie, whose heartfelt thanks to McLean for helping to immortalize her brother is genuine and moving.

 

I was 11-years old when “American Pie” was released, and I can still remember the local Chicago radio station playing it over and over.  I also remember one Sunday edition of the Chicago “Tribune” that included an in-depth look at the song, line by line, in an attempt to decipher the meaning behind the words.  Who was the Jester?  Was he talking about Vladmir Lenin or John Lennon?  And what exactly was a dirge?  Who knew, but they were being sung in the dark.

 

As I mentioned above, the song was over 8-minutes long (8:42 to be exact) and it was originally released as a two-sided single.  Though radio stations initially played just one side of the 45 rpm disc, listener requests caused them to play the entire song.  If you don’t count streaming sales (sorry Taylor Swift – anyone can download a song from a computer – in my day you had to leave the house and buy the record), “American Pie” remains the longest running song to hit #1 on the Billboard charts.  

 

 

As an added bonus, McLean explains the song’s title.  In the past 50-years I’ve heard all kinds of stories, among them that the plane that crashed, killing Holly and the others, was called “American Pie.”  Incorrect.  To my knowledge, the plane had no name.  In early 1995, famed disc jockey Wolfman Jack was promoting an upcoming appearance in Baltimore and taking listener’s calls.  I got in and asked him if he knew where the song got its title.  He said he did and would reveal the truth at his appearance.  Sadly he passed away before he could – if I’d had my way – whisper it in my ear.  Now I know.  I’d tell you, but then you’d be missing out on one hell of a story!

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4K/Blu-Ray Review: “Morbius”

 

 

Sharing the same Universe as the recent “Venom” films, “Morbius” (known to Marvel Comics fans as Morbius: The Living Vampire) didn’t exactly light the world on fire commercially when it was released in early 2022. Criticized for its screenplay, performances, visual effects, and everything in between, it managed to eke out a tiny profit, but was nowhere near as successful as properties produced entirely by Marvel Studios. The film is meant to possibly set up a possible Sinister Six films (as evidenced by the awkward mid-credit scenes), but also lead into the world of Blade, with the possible inclusion of Spider-Man at some point. Nevertheless, Sony seems to have gotten off to an unfortunate start, releasing a series of films (Venom and Venom: Let There Be Carnage included) that don’t exactly match the quality of their Disney-owned counterparts. Even so, it’s good to see a franchise expand into different factions, much like the original comics, which went into a myriad of directions with multiple characters from varying storylines and universes. But at this juncture, Morbius is the least-accepted among the Sony-produced Marvel films.

 

Michael Morbius (Jared Leto) is a brilliant doctor and scientist afflicted with a blood illness that leaves him weak and unable to walk without assistance. He grows up in a hospital environment under the care of Dr. Nicholas (Jared Harris) alongside his friend and surrogate brother Milo (Matt Smith), who is also afflicted with the same disorder. He spends his life searching for a cure, revolutionizing medicine with the invention of synthetic blood, but it’s not enough. He eventually begins conducting secret, illegal experiments with vampire bats, making himself a guinea pig for testing. His experiments are a success, but the results transform him into a living vampire, equipped with superhuman abilities and a thirst for blood. Martine (Adria Arjona), a fellow scientist and close friend, discovers what Michael is doing and attempts to help him, but not before someone else steps in and helps themselves to the cure, performing the same feats and killing people in their wake. Hot on the trail are a pair of FBI agents, Rodriguez (Al Madrigal) and Stroud (Tyrese Gibson), and Michael must now focus all of his energies on undoing the effects of the cure while stopping whomever is framing him for murder.

 

The question at hand: Is “Morbius” as bad as the internet would lead one to believe? Of course not. It’s not the worst thing ever, but it’s not a home run either. It’s mediocre to poor for most of its running time, though it has some interesting ideas. But was this a case of a studio tinkering with their product to the point of nearly killing it prior to its release? Maybe. Judging by the multiple rounds of reshoots before it hit theaters, something certainly seems to have been amiss. It’s also not clear how much Sony knew about the outcome of Spider-Man: No Way Home since Morbius was originally meant to take place in the same universe. As evidenced by the end result, it doesn’t. Spider-Man is only mentioned once and Adrian Toomes’ character apparently had more interaction with Michael Morbius in the film’s first trailer. So was Marvel Studios up front with their Sony partners about the direction that the Spider-Man series would take? You be the judge.

 

In any case, “Morbius”is a terrible film for many people, so much so that internet trolls have inadvertently given the film a new life as a possible cult item. But whether it will reach the same plateau as the recent Cats film—similarly released, re-released, and adjusted by the studio before being laughed off of movie screens—remains to be seen. I personally found sections of the film to be mildly entertaining and others not so much, but it’s definitely not up to par.

 

“Morbius” was captured digitally in a variety of formats by cinematographer Oliver Wood (Die Hard 2, Bill & Ted’s Bogus Journey, The Bourne Identity)  The film was finished as a native 4K Digital Intermediate at the 2.39:1 aspect ratio (which means it’s a digital film). The Blu Ray release isn’t quite as robust as its 4K Ultra HD counterpart, but it’s still strong. Because the film was shot in such high quality, the same excellent depth is on display. The CGI mostly blends with the live action elements, although a few sequences certainly stood out, including the opening moments of Michael standing outside of a cave filled with bats. Blu Ray detail is lessened in comparison to its 4K counterpart, but it’s still a great high definition presentation of the film.

 

The main audio option is English 5.1 DTS-HD Master Audio. The Dolby Atmos track included on the 4K Ultra HD release is a knockout and more powerful than this standard DTS-HD option, but it’s still a muscular track in its own right. Dialogue exchanges are clear and precise while the surrounding speakers are given plenty to work with, from quiet ambient moments to LFE-powered explosions and gun fire. Sound effects whiz by all around the sound stage while the score is offered an abundance of aural authority. In short, both soundtracks will give your system a great workout.

 

My conclusion, MORBIUS may be a good outing for die hard fans only, but for anyone else, it’s a sub-par film that truly has plenty of potential but fails to explore it. 

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Film Review: “Bullet Train”

 

  • BULLET TRAIN
  • Starring:  Brad Pitt, Brian Tyree Henry and Aaron-Taylor Johnson
  • Directed by:  David Leitch
  • Rated:  R
  • Running time:  2 hrs 6 mins
  • Columbia Pictures

 

A train rushing through Japan at speeds in excess of 200 mph.  A mysterious briefcase.  Characters with colorful names like “the Wolf,”

“Lemon” and “the Hornet.”  Put them all together and you get a rapid-fire, action packed adventure.

 

Moving at a pace almost faster than the title implies, “Bullet Train” is a mashup of genre’s that can best be described as Guy Ritchie meets “Kill Bill.”

 

The plot revolves around the much desired briefcase and the people who are sent to protect it versus the people who are sent to steal it.  Pitt is one of the thieves, a man with a lot of talent when it comes to killing, but also a lot of issues.  He is in close contact with his handler, Maria (no spoiler here, sorry), whose soothing voice and sound advice keeps him in a mellow mindset. 

 

The other main characters are Lemon (Brian Tyree Henry) and his “brother,” Tangerine (an un-recognizable Aaron-Taylor Johnson.  Yes, the guy who played Kick Ass and John Lennon).  They spend the majority of their trip dealing with all of the issues that come with trying to protect your boss’ son – and when your boss is known as “White Death” you need to be on your “A” game – and keeping a who’s who of baddies from taking your prized briefcase.

 

The action is pretty much non-stop, with occasional moments of laugh-out-loud humor.  Whether it’s a brutal fight to the death in a designated “QUIET” car – loud noises quickly draw a “shush” from

an elderly passenger – or having to shoot your way around and oversized Anime’ character, the situations are preposterously absurd but amazing to watch unfold.

 

The cast seems to be having fun with their characters, only going over the top when the situation calls for it.  Otherwise things are handled with a deadly seriousness that should be afforded anyone dealing with someone known as “White Death.”

 

The film is beautifully photographed and the musical score helps set whatever mood is needed at any particular time.  This is definitely the“Train” to catch this weekend.    

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Film Review: “Prey”

Starring: Amber Midthunder, Dakota Beavers and Dan DiLiegro
Directed by: Dan Trachtenberg
Rated: R
Running Time: 99 minutes
Hulu

Just like the “Alien” franchise, I’m always a little surprised when another “Predator” movie comes out. It’s not that I don’t like the “Predator” franchise, (I’m actually a little bit too forgiving on its weaker elements) but I’ve always struggled to find other people who’ve watched the films or even enjoyed the films. It’s not hard to find people who’ve watched and treasured the 1987 Arnold Schwarzenegger film, but now I feel a new generation is about to watch and treasure 2022’s “Prey.”

For “Predator” fans, the first question is going to be: “So is “Prey” a sequel, prequel or what?” The answer is uncertainty. The film takes place in 1717 in the northern Great Plains (Montana? Canada?), about 250 years before Scharzenegger and his crew of macho men gets torn apart by an unseen creature in the jungle. Naru (Midthunder) is an aspiring Comanche hunter, despite the eye rolling done by her fellow tribesmen, hunters and even her Comanche hunter sibling. All that’s about to change with the arrival of an invisible extraterrestrial who’s made Earth its hunting ground.

Just like the first “Predator,” “Prey” spends the first third of the movie building up our hero’s backstory and arc while showing us flashes of the invisible to the naked eye space monster slashing and shooting his way through wildlife. As previous “Predator” films have established, this isn’t just a bloodthirsty creature, it’s a being that enjoys the hunt; much like Naru. So, throughout the film, there is this anticipation and build-up towards these two fighting to the death. Until then, we have some interesting character development…and a lot of blood and gore to get through.

If there’s been one complaint about each film in the franchise, it’s the humans; never the trophy hunting creature. Thankfully the humans aren’t obnoxiously flawed sacks of meat or overstay their welcome, or in the case of 2018’s “The Predator,” has a subplot where autism is a superpower. Naru not only moves and flows with her tribe, but she encounters French fur trappers who are about as likable as a wasp in summer time. So, their deaths are ultimately enjoyable and welcome. In that regard, “Predator” and “Prey” are similar in that the humans we like remain alive while the disposable flesh and blood is given to the least likable of the bunch.

That being said, this is the first time the protagonist has been a woman, but you’d never know it from the way the movie ebbs and flows. Instead of calling attention to itself or virtue signaling, the film uses Predator mythos to explain why Naru is the perfect match for this galaxy traveling warrior. It also helps that she plays into the film trope of, “We can’t believe what the woman/child says or sees, right?” It also helps that she immediately recognizes the danger while each man in the film puffs his chest and charges ahead before being ripped apart, stabbed, shot or any other myriad of horrific ways to die. It reminds me a lot of Linda Hamilton’s work in the “Terminator” films. Not only do Naru and Sarah Connor radiate confidence, but they both prove their intellect and action-movie badassness each time they encounter their foe.

The one thing that’s kind of always fascinated me about the franchise, even in its highs and lows, is how much the directors and writers stay true to the creature itself, rarely rolling the dice on a bizarre character development, but instead attempting new things within the realm of logic for this fictionalized species. Director Dan Trachtenberg proves that he can provide an equal balance of substance and style, hopefully breathing life into a franchise that was nearly left for dead by director/writer Shane Black four years ago. Not only does Trachtenberg give us a neat origin story about the first Predator hunting expedition on Earth, but gives us hope that maybe, for once in this franchise, we’ll start to have a string of decent Predator films.

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Filed Under: Film Reviews, Movies Tagged With: amber midthunder, arnold schwarzenegger, dan trachtenberg, film, hulu, jeremy werner, ...

Film Review: “DC League of Super-Pets”

 

  • DC LEAGUE OF SUPER-PETS
  • Starring the voices of:  Dwayne Johnson, Kevin Hart and Keanu Reeves
  • Directed by:  Jared Stern and Sam Levine
  • Rated:  PG
  • Running time:  1 hr 46 mins
  • Warner Bros.

 

It’s a story we all know.  As the Planet Krypton reaches it’s last moment, Jor-El puts his infant son in a ship, hoping to send the boy to safety.  As the ship prepares to take off, a puppy hops into the ship and joins the boy on his amazing journey.  OK, the puppy part you may not have known.  Until now.

 

It’s another day in Metropolis.  Krypto (Johnson) wants to go for a walk.  However, when your master is Superman (John Krasinski), it’s not as easy as it sounds.  Further complicating things for the Super-Dog is Supes on-going relationship with Lois Lane (Olivia Wilde).  Still, compared to what’s going on at the local animal shelter, things aren’t too bad.

 

Well-acted, with a very clever script, “Super-Pets” is a fun adventure with an important message, but one that doesn’t hit you over the head.  In the aforementioned animal shelter, we are introduced to a group of pets longing to be loved.  They are led by Ace (Hart) a hound who keeps his fellow animals feeling positive by promising them that, should any of Ace’s escape plans work, he will take them all to “the farm,” a place where all animals are loved.  Among his pals are PB the Pig (Vanessa Bryer), Chip, an unusually odd squirrel (Diego Luna) and Merton (Natasha Lyonne), an older, and very nearsighted, turtle.   Their lives change when Krypto is brought to their shelter.

 

 

I loved the vocal performances of the cast.  In the past two decades, animated movies are no longer looked at as “just a gig” by actors.  The actors here give strong, layered performances, which lend themselves to the story being told. 

 

The script is full of DC in-jokes, many of them involving Batman (an excellent Reeves),  Whether he is justifying label of “superhero” – he actually has no super powers – or worrying if a toy in his image is actually licensed, the Dark Knight is a hoot.  Other Justice League members show up as well, and you almost hope that the next Justice Leage movie is animated with the same vocal talents.

 

In the end, it’s a story about believing In yourself, and your friends.  Or, in this case, your Super-Friends. 

 

 

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4K/Blu-Ray Review: “Ambulance”

 

 

 Michael Bay is a name you either love or hate. And many times, whether you love him or hate him depends on what movie of his you’re watching at the time. I personally love Bay. Back in the 90s and early 2000s he was the KING of “stupid”action movies. The Rock, Armageddon, Bad Boys, Bad Boys II: the list goes on and on and on. Heck, even the Transformers movies of his were mega blockbusters and good dumb fun until they got so repetitive that even this reviewer started to get weary of them. Well, after Transformers: The Last Knight in 2017 Michael Bay pretty much went radio silent as a director (outside of doing that Netflix exclusive 6 Underground back in 2020) and I thought he had pretty much run his course. Then I started hearing rumors this year of Bay coming back to what he does best, dumb comedy, and I was intrigued. At this point I was just a BIT worn out from his last several Transformers movies, but then I started hearing reports of how Ambulance was actually a fun movie, a huge hit, AND a return to form the master of explosions himself.

 

Now, I’m not exactly one to shy away from dumb action. I love Jake Gyllenhaal, I love explosions, and the trailer looked like a lot of fun, so when the disc came to review from my friend, I strapped in and just let the joyride begin. Our story starts out with a hardened EMT named Cam Thompson. She’s become jaded after having spent years saving people’s lives and letting them off at the hospital, but today she’s about to learn just why she does what she does. Segue over to our other main hero, Will Sharp (Yahya Abdul-Mateen II), an ex-Marine who is up to his eyeballs in debt and no way to save his wife from dying of cancer without a big influx of cash. Luckily (or not so luckily maybe) for him, his adopted brother Danny (Jake Gyllenhaal) is a prolific bank robber who Will has been staying away from for quite some time. Well, Danny boy has a job for Will and it’s enough to net them MILLIONS. It’s a simple bank robbery where they go in, get out, and get filthy stinking rich. Danny just needs a driver for his crew, and this is Will’s lucky day. Yeah, we already know that things don’t exactly go as planned. A teach of special SIS agents from the L.A.P.D. SWAT department have been keeping tabs of Danny’s crew for weeks, and upon exiting the building Danny’s men are mowed down in a hail of gunfire. However, Danny and Will make their escape by hopping on Cam Thompson’s Ambulance and using it to make a daring escape with $16 million worth of cash, lots of guns, and a wounded cop on board. The best way to describe Ambulance is that it’s part Bad Boys, part heist movie, and 3 parts Speed. 90% of the movie takes place withing the Ambulance as Will and Danny outrun cops, blow things sky high, and figure out a way to get the heck out of dodge and away with their money.

 

On the surface the movie is ridiculously dump and simple. It’s Speed with an Ambulance. Except there’s no Dennis Hopper maniacally keeping everyone on track, and Jake Gyllenhaal is absolutely hamming it up to level 11 as the loveable/hateable/psychotic/brilliant Danny Sharp. But Michael Bay is a skilled surgeon when it comes to doing pure action, and he’s right at home in his element here. Things blow up with such reckless abandon that I was laughing myself silly with this huge grin over my face the entire time. And Jake Gyllenhaal is such an insane villain/hero that you want him to die, but you want him to actually get away at the same time.

 

The charm is just delicious, with Michael Bay winking and nodding at his own films (they actually make jokes about The Rock and Bad Boys throughout the runtime) and while Danny is main attractant, Garret Dillahunnt almost matches Jake blow for blow with his over the top commando routine.

 

I’m gonna come out and say it. This is Michael Bay doing what Michael Bay does best. When they asked him “what kind of movie do you want Michael? Do you want to do Bad Boys? Do you want to do Speed? And how many explosions do you want”, his response had to have been “yes, all of it”. The movie is stupid, the movie is shallow, but it’s kept alive with sheer adrenaline and the charisma of everyone involved. I’m not wild about Yahya Abdul-Mateen the II, but he does well as Will, but it’s really Jake and Garret who just eat the scenery up like only Peter Stormaire can do in a Michael Bay film. Yeah, it’s not perfect, it gets a little hokey near the end, but Bay keeps the adrenaline pumping so hard and so fast that you don’t have time to slow down and analyze things to death. This is Bayhem with Baysplosions everywhere, and if you’ve seen his previous big name works, you know what the man is capable of. So buckle in and prepare for unlimited ammo, unlimited wise cracks, and a LOT of explosions.

 

Video:

Using a variety of RED cameras and finished in a native 4K master, Ambulance ROCKS onto 2160p with a stellar encode that blows the already great 1080p Blu-ray straight out of the water. The disc is just about perfect, with razor sharp details, incredible background shots, and nonstop kinetic movement that never gets blurry or artifacts. Quite literally this is one of the best looking encodes that I’ve seen in a long time, with only minor elements of softness when in Papi’s lair, or some of the CGI looking a little bit wonky in 4K. I didn’t notice banding or other major elements at play with the encode. HDR is silky deep, as the color tones tend to be cool blue or slightly amber, and bright red blood just splashes everywhere. The green of the spray paint over the vehicle stands out sharply and with deep saturation, and as I said, except for some mild haziness inside Papi’s lair, this is just about PERFECT.

 

Sound:

Did I mention this was a Michael Bay movie? It goes without saying that this is a reference level Atmos mix that just tears the walls down with abject fury. The score pulsates with deep bass energy from the first few moments of the movie, and the sound stage is just awash with chaos, Bayhem and carnage from every angle. Bullets bounce off the car at the rear, ricochet to the front of the sound stage, all the while tires screech, the score throbs, and cars blow up upon impact at just about every facet of the run time. Yeah, this is pure Bay awesome sauce, and if you like them big, like them loud, and like the bass to just punish you brutally, then this is the mix for you.

 

Conclusion:

Ambulance is silly, but it’s silly fun. I love it! High octane energy with Jake Gyllenhaal absolutely LOVING every second of his hammy role. It’s dumb fun, and dumb fun in a way that I haven’t seen for YEARS in cinema. Action movies have become so stale recently, that I really feel like this and Top Gun:Maverick pretty much saved cinemas. The 4K UHD disc is also nothing short of superb, with good extras, a killer video encode and a Michael Bay approved audio mix that will tear the walls down. Recommended as good sloppy Michael Bay fun. The Blu-ray is no slouch either, which tends to shine brighter than 4K but obviously less defined. Sound is great on Blu-ray but you only get the Atmos track on the 4K disc. ⭐️⭐️⭐️⭐️

 

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Film Review: NOPE

 

  • NOPE
  • Starring:  Daniel Kaluuya, Keke Palmer and Keith David
  • Directed by:  Jordan Peele
  • Rated:  R
  • Running time:  2 hrs 11 mins
  • Universal    

 

There was a time when, if I thought about Jordan Peele, I always thought of Raffi Benitez, the overzealous baseball player who, whenever the opportunity would arise, would smack his teammates on their posteriors while exclaiming “Slap Ass!”  Then he made “Get Out,” an amazing film that earned Peele an Academy Award for his script.  His sophomore film, “Us,” was nothing short of, as I described it, “a new horror masterpiece.”  Needless to say, I was more than excited to see his latest film, “NOPE.”

 

A rancher (David) and his son, OJ – short for Otis Junior (Kaluuya) – are chatting outside a coral when they begin being pelted by objects falling from the sky.  The rancher is knocked off his horse.  What are these mysterious objects?  What’s the story with that weird cloud that’s hovering overhead?  And where did they come from?

 

A white-knuckled adventure into what may really be “out there,” NOPE is a film that has so many things going on you may want to see it multiple times.  As I left my screening, I overheard several people commenting on what they had just watched, or at least thought they had just watched, but not in an “I’m confused” way.  There are so many pieces to the puzzle that is NOPE that a second viewing may be needed to fully get the scope of the plot.

 

Besides OJ and his father, we meet his sister, Emerald (Palmer), a one-time child star – with a tragic past – who now fronts a Wild West show (Steven Yeun), and a couple of filmmakers looking to film the ultimate experience.  Oh, and horses.  Lots of horses.  As Robert Shaw often said in “The Sting”…”ya follow?”

As in his previous films, Peele has assembled an amazing cast, led by his “Get Out” leading man, and Oscar winner, Kaluuya.  He is supported strongly by Palmer and Yeun, whose own stories intertwine with OJ’s.  Peele’s script is full of twists and turns, and the cast maneuver their way through them smoothly.

 

With everything going on the film could appear to drag but, thanks to Peele’s steady direction, the story flows, meshing the past and present day smoothly.  The story is enhanced by a musical score that at times reminds you of “The Magnificent Seven” at one point only to meld into a true suspense score moments later. 

 

Jordan Peele is no longer Raffi Benitez to me.  Now when I hear his name I think about the cinema’s new master of suspense.  If I met him, I’d shake his hand…and “Slap Ass!” 

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4K/Steelbook Review: “Heavy Metal”

 

Cult classic animated movie Heavy Metal makes its 4K debut with a new retrospective bonus feature, along with the film on Blu-ray that’s a port of the original high-def disc, complete with the extras it had at the time. The sequel, Heavy Metal 2000, is also included on a Blu-ray with a few bonus features, and you’ll find codes for digital copies of both movies.
Revisiting Heavy Metal for the first time in many years for this review, I’ll admit I cringed a bit when watching its portrayals of women. The film is very much a product of its era, when fantasy and science-fiction movies and comic books were full of scantily-clad women who resort to sex to get what they want. Sure, there were exceptions to that rule, but the Heavy Metal magazine that was the basis for the animated film was squarely in a male-dominated camp.
Taking its cue from characters and stories created by such luminaries as Richard Corben, Angus McKie, Dan O’Bannon, and Bernie Wrightson, Heavy Metal is an anthology film whose stories are connected by the presence of an evil green floating orb known as Loc-Nar. The framing story involves a girl whose astronaut father brings Loc-Nar home, only to have it kill him and terrorize her. The conceit is that the orb is showing the girl its travels through other planets before doing what it wants to her, unless she can end its evil reign.
The animation in the film is admittedly rough, even on this new 4K disc released by Sony, and some of it seems to have been heavily influenced by the artist Moebius, whose work was also a staple of the Heavy Metal magazine. The animation team used rotoscoping for many shots, a low-budget technique that consists of filming live-action actors and then tracing the images by hand – the animator Ralph Bakshi (Lord of the Rings) used it for many of his films of that era too.
However, one of the big attractions of Heavy Metal at the time was its soundtrack, which features songs by Blue Oyster Cult, Black Sabbath, Journey, Cheap Trick, Devo, and others who were in their heyday back then. That, combined with the fact that there weren’t a lot of adult-oriented animated films in the 70s and 80s, led to the film becoming a cult classic over the years, despite its lukewarm reception by critics of the time. Personally, I can enjoy the music and the animation while putting a big asterisk on the experience given its crude and juvenile approach to the subject matter. But like I said earlier, this is a product of it’s time.
Its status as a cult classic eventually led to a sequel, Heavy Metal 2000, that Sony also included with this release, albeit only on a Blu-ray platter. In addition, you’ll find a copy of Heavy Metal on Blu-ray with bonus features as well as codes for digital copies of both movies. Heavy Metal 2000 is more of the same in terms of the gratuitous sex and violence, although the animation is cleaner and there’s one storyline, rather than the anthology approach. Overall, though, it doesn’t live up to the expectations set by the original. But personally I found myself liking 2000 more probably because of the better animation.
The bulk of the bonus features in this SteelBook edition pertain to Heavy Metal, including a new nine-minute look-back with interviews from Ivan Reitman (who produced the movie and who died recently, unfortunately), filmmaker Kevin Smith, actor Norman Reedus, and others. It’s found only on the 4K platter, while the rest of the bonus features are on the Blu-ray, which I assume Sony did so they could simply reissue the original Blu-ray.
Conclusion
Heavy Metal may not be for everyone but for fans of animation and Rock, this is the best these films have been presented yet. The sound on both films are better than expected, with 2000 obviously being a bit better. These films also took me back to the great partial animated film PINK FLOYD THE WALL, perfectly blending imagery and rock music, which is directed by one of my favorite filmmakers Alan Parker. I am eagerly awaiting for that film to get the luxurious 4K edition release! 
Original ⭐️ ⭐️⭐️ 2000 ⭐️⭐️⭐️

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Filed Under: DVD/Blu-Ray Reviews Tagged With: 4ksteelbook, heavy, metal, review

Film Review: “THOR: Love and Thunder”

 

  • THOR:  LOVE AND THUNDER
  • Starring:  Chris Hemsworth, Natalie Portman and Christian Bale
  • Directed by:  Taika Waititi
  • Rated:  PG 13
  • Running time:  1 hr 59 mins
  • Walt Disney Pictures

 

I love me some Taika Waititi!  The Oscar-winning filmmaker has a perfect touch when balancing drama and humor.  And that touch is on full display in “THOR: Love and Thunder.”

 

A man (an unrecognizable Bale) wanders in the desert, trying his best to protect his young daughter from the elements.  He comes across a beautiful, lush paradise only to realize that the god he has worshipped has no use for him.  Realizing he has been forsaken, he declares, “All gods must die!”

 

“THOR: Love and Thunder” reintroduces the audience to the “THOR” saga via the fine performers in the local theater in New Asgard.  We learn of his adventures as well as his heartaches, most notably Doctor Jane Foster (Portman), the one true love of Thor’s life.  As word of the “god butcher” spreads, Thor enlists King Valkyrie (Tessa Thompson) to help end the slaughter.  And, thanks to Thor’s hammer, Mjölnir – I finally know who to pronounce it – Jane joins them.  My comic book loving friends are going to hate me but, for lack of a better name, the hammer turns Jane into Lady Thor/She Thor (tho I believe she is just Thor in the comics).  The return of Mjölnir makes Thor (original Thor) happy., but it also causes some friction between Thor and his axe, Stormbreaker, one of the great comic touches in a very dramatic film.

 

As with all of the films in the MCU, the cast here is pitch-perfect.  Hemsworth and Portman have great chemistry, making their romance quite believable.  Christian Bale is tragic as a man whose faith – and life – has been shattered by the gods.  Supporting performances by Thompson, director Waititi and Russell Crowe are just as solid.  The visual effects are, of course, top notch, and the soundtrack cranks up the rock and roll!

 

A powerful and emotional rollercoaster, “THOR: Love and Thunder” is a must see this summer!

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Filed Under: Film Reviews Tagged With: film, love, review, thor, thunder

Film Review: “Minions: the Rise of Gru”

 

  • MINIONS: THE RISE OF GRU
  • Staring the voices of:  Steve Carell, Alan Arkin and Julie Andrews
  • Directed by:  Kyle Balda, Brad, Ableson and Jonathan del Val
  • Rated:  PG
  • Running time:  1 hr 27 mns
  • Universal

 

Ah, the Minions.  Since their debut in “Despicable Me,” they have brought joy to moviegoers all over the world.  They have also multiplied in my inflatable Christmas yard display each year.  But where did they come from?  And how did Gru become such a bad guy – albeit one with a big heart?

 

If you’ve wanted to be an evil genius since you were a boy, who do you admire?  In the case of Gru (Carell), it’s a highly publicized group of villains so popular they have their own toy line.  Of course you have to be evil…correction…EVIL, to even get an invitation to join and Gru, accompanied by Minions Bob, Stuart, Kevin and Otto, will stop at nothing to be recognized.   The prank I personally enjoyed most was setting off a stink bomb during a sold out showing of “Jaws,” causing the theatre to empty and leaving our quintet their choice of seats and refreshments.  When a vacancy opens up on the Villain Squad, Gru feels he’s a shoe-in to fill the seat.  But not all evil is judged the same.

A fun treat for the whole family, “Minions: the Rise of Gru” is another in a string of successful and well made animated films starring these Twinkie-looking oddities and their hook-nosed leader.  It’s great to hear Carell back as Gru, and the film lets us in on how he met some of his closest associates, including Dr. Nefario (Russell Brand).The main Minions are a joy to watch…like a yellow version of the Three Stooges.  If the film has one drawback, it may be that it’s too busy, an unusual feeling from a film that’s under 90 minutes long.

 

Still, the animation is top notch and reason enough to see this film.

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Filed Under: Film Reviews Tagged With: film, gru, minions, review, rise

Concert Review: Brian Wilson with Chicago – Kansas City

 

  • BRIAN WILSON with CHICAGO
  • Starlight Theater – Kansas City, Missouri
  • June 20, 2022
Brian Wilson’s 80th Birthday Party or How Chicago Set the Starlight on Fire

 

June 20 would have been s a big day for music even if Brian Wilson and his accomplished band had stayed in California and enjoyed the surf. The composer, arranger and producer of countless hits for the Beach Boys and others turned 80, and the Internet was full of tributes. In one video fellow musicians Elton John, Joe Walsh and even actor Jeff Bridges wished him well. Naturally, the clip played just before he and the band took the stage.

 

Wilson can no longer hit those acrobatic high notes and now gently croons Beach Boy Mike Love’s vocal parts and spends much of his own shows watching on as Darian Sahanaja and a gifted ensemble perform the songs and a few covers in a way that sounds better than Wilson’s compositions might have sounded when he was touring with the Beach Boys in the early 1960s. Thanks to Beach Boys cofounder Al Jardine, his son Matt and decades of improvement in amplification, Wilson’s dense harmonies and complicated arrangements now work live.

 

Sahanaja, who worked with Wilson on resurrecting his lost album SMiLE also knows how to make tunes like “Good Vibrations” and “Heroes and Villains” reach their full depth on stage. The former was recorded in four different studios, and the 12 people on stage ably made it work on a hot clear night.

 

Maybe you don’t need to work the crowd if your songs and your band’s performance are this good.

 

Midway through the set South African Blondie Chaplin who played with the Beach Boys in the 70s and who has teamed up with the Rolling Stones and others roared though “Sail On, Sailor,” “Wild Honey” and “Long Promised Road,” a song by Brian’s younger brother Carl, which provides the tile to a terrific documentary on Wilson that is currently playing on the PBS streaming app. Chaplin’s wailing voice and stinging guitar licks seem like a bolt of lightning has hit the Starlight despite the clear, sunny evening. The energy rose and kept nearly 60-year-old tunes from seeming as if they were preserved in amber.

 

The Jardines both have fine voices, and Matt’s falsettos were the highlight of “Don’t Worry Baby.” Jardine can still plead for Rhonda’s help and sound like he means it.

 

In the documentary, Wilson appears to be happiest and most animated when he’s in the studio coaxing out arrangements. For his birthday show, there were hints when he altered the playlist slightly. As the he led the crowd in the Ronette’s “Be My Baby,” his fondness more than made up for the fact that he doesn’t have the late Ronnie Spector’s superhuman vocal chops.

 

Wilson always gets a standing ovation for “God Only Knows,” but he also seemed to hit his stride later in the set when he broke into a rousing version of “Surfin’ U.S.A.” Wilson had to use a walker to get on and off the stage, but that song almost made you think that he was getting ready to join his late brother Dennis to catch some tasty waves. Dennis was the only Beach Boy who ever got on a board, but Brian still understood that even people from Kansas or Missouri could love the sport through music.

 

Another pleasant surprise can when Chicago’s horn section joined Wilson’s band for “Darlin’.” Trombonist James Pankow, trumpeter Lee Loughnane and sax player Ray Herrman seamlessly fit in the tune, which boded well for the rest of the set.

 

Chicago is celebrating a 55th anniversary of its own, and cofounders Pankow, Loughnane and singer-keyboardist Robert Lamm all seemed elated to be back on stage after covid had sidelined the band for a few years. All are in their mid-70s and perform with a gusto that would make younger men jealous. Pankow, in particular struts around with his trombone as if it were a small harmonica.

 

As a grade schooler, I tried taking up in the instrument and would like to apologize to my teacher and the classmates for the drubbing their ears took from me. It’s a heavy, challenging instrument, and Pankow energetically answered everything guitarist Tony Obrohta threw his way.

 

While the band has had most of its hits with ballads, their live takes on the songs have just enough snap to them to keep the melodies from becoming sleep inducing. One almost wishes that songs like “If You Leave Me Now,” hadn’t downplayed the horns, which are a highlight of the live gigs.

 

Singer-bassist Peter Cetera left the group in the mid-1980s, but Canadian Neil Donnell sings Cetera’s tenor parts with enthusiasm. He used to play in a Chicago tribute band called Brass Transit and adds just enough spontaneity to prevent Cetera’s absence from overwhelming the tunes.

 

Chicago may have sold lots of copies of “Hard to Say I’m Sorry,” but the band really tore into the upbeat coda “Coda.” The same could be said of their takes on “I’m a Man” and “25 or 6 to 4.” The 1969 hit, which was about Lamm’s attempt to finish a song in the middle of the night despite missing two strings on his 12-string guitar, was the second song in the encore and easily proved that some of the band’s best tunes are the rockers.

 

Chicago debuted a new ballad “If This Is Goodbye,” but the highlights were the extended jams. In the middle of the set, drummer Walfredo Reyes Jr. and percussionist Ramon “Ray” Yslas got into a sort of duel as flames played on large screens behind them. The images weren’t an exaggeration.

 

Wilson may have been the birthday boy, but he and Chicago certainly gave back a lot to the crowd that night.

 

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Filed Under: Concert Reviews Tagged With: brian, chicago, city, concert, kansas, review, ...

Film Review: “Jerry and Marge Go Large”

 

  • JERRY AND MARGE GO LARGE
  • Starring:  Bryan Cranston and Annette Bening
  • Directed by:  David Frankel
  • Rated:  PG 13
  • Running time:  1 hr 36 mins
  • Paramount +

 

We have a lottery pool at work but, except for the occasional $4 win or free ticket, we’re pretty much throwing our money away on a chance of winning the big prize.  It’s actually a 1 in 292,331,208 chance but come one, nothing is a sure thing.  Unless you live in a small town in Michigan and your neighbors are Jerry and Marge Selbee.

Based on a true story, “Jerry and Marge Go Large” is a sweet, well-acted tale of two people that figured out – Larry is a math wiz – that the more you played a certain lottery game the better your chances of winning.  But the Selbees aren’t in it for their own gains.  They are trying to raise money for their small community and actually get their neighbors involved in the game.  Things get tough when the game is cancelled in Michigan and the closest place to play is Massachusetts.  While their plan seems foolproof, it is not without sacrifice.  Mostly time.  From their initial purchase of a few thousand dollars worth of tickets, through week’s when they are spending hundreds of thousands of dollars, each ticket must be printed individually.  This means long days (and nights) standing at the local liquor store and just buying ticket after ticket after ticket after ticket…..you get the picture.

 

This is such a fun film to watch, from the premise to the cast.  Cranston and Bening will go down as two of the best actors of their generation, and it’s a treat to see them play off each other so well.  And it’s always a treat to see Rainn Wilson and Michael McKean on screen.  The script is sharp and the direction well-paced.  This film is an early summer treat for viewers not into dinosaurs and super heroes.

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Filed Under: Film Reviews, Streaming Tagged With: film, jerry, large, marge, review

Theater Review: “aint too proud” – Kansas City

 

  • ain’t too proud; THE LIFE AND TIMES OF THE TEMPTATIONS
  • Music Hall, Kansas City, Missouri
  • June 21, 2022

 

My new definition of irony:  while going to see “ain’t too proud” I was telling my wife about the members of the group.  I rattled off Melvin Franklin, David Ruffin, Eddie Kendricks and Dennis Edwards.  I told her there was one more but I couldn’t for the life of me remember his name.  Now I’ll never forget it.

 

The show opens outside the historic Fox Theatre in Detroit and we meet Otis Williams (played brilliantly by Marcus Paul James).  Otis talks about his young life and his dream to put together a singing group.  Through trials and tribulations he puts together a group of amazing singers.  A chance meeting with Berry Gordy (Michael Andreaus), the founder of Motown Records, and a group name change, and the dream comes through.  But unfortunately, not all dreams are good ones.

Bursting with over 30 classic songs, and featuring Tony-award winning choreography, “Ain’t Too Proud” is that rare look at success, that also includes the pitfalls that come with it.  Whether it’s something petty, like trying to solve an issue democratically, or serious, like deciding to kick a member out of the group, the road to success is seldom smooth.

 

As the story moves forward we not only meet the Temps, but also get acquainted with other musical legends like Smokey Robinson, the Supremes and Tammi Terrell.  The performances are amazing, with the vocals being backed by a first-rate orchestra.  It’s not the Funk Brothers, but they do their memory proud. Special shout out to the bass player who, on songs like “Ball of Confusion” and “Papa Was a Rolling Stone” laid down the groove.

 

The Temptations remain  among the greatest and most popular musical groups of all time.  The story of how they achieved that acclaim, and the obstacles they did their best to overcome, is one that needs to be experienced.

 

“ain’t too proud” continues at the Music Hall in Kansas City through June 26, then continues on through August 2023.  For information on when it’s coming your way, click HERE

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Filed Under: Theatre Reviews Tagged With: city, kansas, proud, review, theater

Film Review: ELVIS

 

  • ELVIS
  • Starring: Austin Butler and Tom Hanks
  • Directed b:  Baz Luhrmann
  • Rated:  PG 13
  • Running time:  2 hrs 29 mins
  • Warner Bros

 

When I was 16 one of my first jobs was valet parking cars at the Hawaiian Village Resort in Tampa, Florida.  As it was close to the old Tampa Stadium, and the Buccaneers had just come to Tampa, I worked every Sunday game day.  One day a large man in an even larger car pulled up.  As he handed me his keys he told me to “put it where you can see it, son.”  I moved an older Volkswagen from the front row directly in front of the Valet stand to the side of the Ramada and put his Cadillac in the vacated spot.   After the game – I don’t have to tell you it was a Buccaneer’s loss since the team lost their first (24) games – he returned to the Valet stand and handed me his ticket.  He seemed please that I really only had to walk across the driveway to retrieve his car.  When he got in he handed me a $5 bill – that was HUGE money in 1976 and got into his car.  Almost as an aside he asked me, “Do you like Elvis, son?”  When I replied that I did, he pulled an envelope out of his glove compartment, reached in and pulled out what appeared to be tickets.  He handed them to me without a word, rolled up his window and drove off.  They were tickets.  Tickets to see Elvis Presley at St. Petersburg’s Bay Front Center on February 14, 1977.   Wow!  Oh, did I mention that my very first concert was the King?

 

In his garish hotel room in Las Vegas, the man known as the Colonel falls to the ground, a victim of his bad heart.  As he hovers between life and death, he begins to tell his tale.  A tale about a young man from Memphis, Tennessee whose love of gospel music led him on a path of success that really has never been duplicated.  That young man?  Elvis Aron Presley.

 

Much has been written about Elvis Presley, from his over-doting mother to his young bride to his weight, but nothing you can find on the page can compare to Baz Luhrmann’s visual achievement ELVIS.  We discover that Elvis’s love for gospel music came at a young age, when he would attend revivals and “let the spirit” take over.  It is also at these revivals where he studied, and mastered, movements that would soon earn him the nickname “the Pelvis.”  It is by chance that Colonel Tom Parker (Hanks), a former carnival barker, happens on Presley during a performance on the radio show “Louisiana Hayride.”  If the Colonel knows anything, he knows what the public wants and his eyes tell him that soon every young woman in America will want Elvis Presley.

 

As played by Butler, Elvis is shy and polite, almost unaware of the impact he is having on the youth of America.  However, when his gyrations threaten to lose him work, and the Colonel implores him to become the new, “nice” Elvis, he rebels, realizing that it’s his entire body, not just his voice, that conveys a song.

As his success grows, the Colonel spreads his client thin:  public appearances, motion pictures and the then un-heard of business of merchandise.  T-shirts, toys, buttons…nothing is too tacky to stick Elvis’ name on.  When he questions the Colonel selling buttons that read “I HATE ELVIS,” he is told not to worry, as he’s getting a piece of that sale as well.  And a piece is really all he got.  It is well documented that the Colonel often took 50% of Elvis’ earnings, feeling that he’d earned them.

 

The film covers most of the major events in Elvis’ life – the rise to fame, his induction into the Army – when I was stationed in Germany I had an occasion or two to eat in the Elvis Presley Mess Hall in Friedberg, – his marriage to Priscilla, the 1968 Comeback Special and his sad, last years.  No matter the moment, Butler does an amazing job of conveying the Presley of the time.  This isn’t the impersonator who entertained at your last holiday party, this is a performance I’d liken to Jamie Foxx in “Ray” or Rami Malek in “Bohemian Rhapsody.”  Hanks is equally good, allowing the audience to see behind his dead eyes into the soul of a man with literally no past.

 

You would expect nothing less than the musical numbers to be perfectly staged by the director of “Moulin Rouge” and you would be right here.  Whether it’s the local fairgrounds or the studios of NBC, they jump off the screen with the same energy the room must have felt under Presley’s spell.

 

February 14, 1977.  Among a multitude of screams from the audience, Elvis looks out into the crowd and reminds us that the show isn’t over yet.  “So,” he says, “until we meet again…”  He then performed “Can’t Help Falling in Love” and then the show was over.  Elvis had left the building.  But not really.  Thanks to ELVIS, the King will NEVER leave the building!

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Filed Under: Film Reviews Tagged With: elvis, film, review
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