Silent Sky at HCT

Last night I went to see HCT's beautiful production of Silent Sky and I loved this incredibly moving play so much! It tells the true story of Henrietta Leavitt (Becca Ingram) who begins working at Harvard University in 1900 as a human computer in the astronomy department along with a "harem" of women, including Annie Cannon (Tamari Dunbar) and Williamina Fleming (Samantha Beyer). She is very eager to use the university's refracting telescope to find answers to all of her questions about the universe but she is not allowed to because she is a woman. She may only use the images on photographic plates taken from the telescope to map the stars and she must keep her analysis to herself. Despite these obstacles she is able to make an important discovery that allows future astronomers to calculate the distance between galaxies but her dedication to her work puts her at odds with her sister Margaret (Madeline McBeth) over family obligations and with her supervisor Peter Shaw (Dallin Bradshaw) over their romantic relationship. One of the things I really loved about this play is the juxtaposition between the two sisters because Margaret believes in home, family, and religion while Henrietta believes in hard work, exploration, and science but they both find the light they seek. The story is simple but incredibly compelling and that is due in large part to the lovely performance by Ingram. She portrays many different emotions very convincingly such as exasperation at her lack of opportunity in the department, singleminded determination to succeed, giddiness at the possibility of love, and wonder at the infinite nature of the universe. Her final monologue about her legacy is delivered so powerfully I had a tear in my eye. The rest of the cast is equally strong and I particularly enjoyed Beyer's sassy Scottish brogue and Bradshaw's awkwardness as he tries to get Henrietta's attention. As usual, the set for this production is amazing. The stage features a map of the constellations upon which sits a large wooden box (it reminded me of a large old-fashioned card catalog) with cupboards and drawers that open to reveal desks, chairs, and other items found in an academic office. The box rotates several times for Margaret's home in Wisconsin or Henrietta's apartment in Cambridge during different scenes. Many characters stand on top of the box, accessed by drawers which are converted into stairs, when communicating with Henrietta through letters. Above the box is the outline of a large lens of a telescope and during a poignant moment in the show it is lowered to display projections from space and this gave me goosebumps. There are also projections of stars throughout the theater and I found myself looking up with wonder multiple times! I honestly had no idea what to expect when I walked into the theater last night but I ended up loving this beautiful play and I highly recommend getting a ticket (go here).  It runs on the Sorenson Legacy Jewel Box Stage through August 27.

Note:  Don't miss out on seeing the delightful production of Singin' in the Rain on the Young Living Main Stage through August 13 (go here for tickets).

Mary Poppins at the Terrace Plaza Playhouse

I really love the musical Mary Poppins so I've been looking forward to seeing it at the Terrace Plaza Playhouse for quite some time. I had the opportunity last night and, other than some wonderful performances from the main cast, I though it was a very amateur production that was often disorganized and messy. Mary Poppins (Annie Ferrin) comes to 17 Cherry Tree Lane to look after Jane and Michael Banks (Daphne Dixon and Owen Talbot, respectively) but, after a few adventures with Bert the chimney sweep (Josh Curtis) to teach them a lesson, she ends up saving their father, George Banks (Jon Talbot), as well. I really enjoyed Ferrin's performance as Mary because she has a beautiful voice, especially in "Practically Perfect," "A Spoonful of Sugar,"and "Feed the Birds," and she has wonderful chemistry with Dixon and Talbot, who are adorable as the Banks children, especially when she is being stern with them.  Curtis is extremely charismatic as Bert and I really liked all of his facial expressions. Talbot is quite sympathetic as Mr. Banks, even when he is being disagreeable, and Karlie Ady portrays Mrs. Banks's character arc from a woman who does not know her role to one who provides strength for her family very well. While the main cast is outstanding, there are some additions to the cast that seemed very odd to me. There are a trio of characters in colored costumes with hair to match (they reminded me of the fairies in Sleeping Beauty) who seem to serve no purpose other than standing around (or sitting) on stage. Even more perplexing are the toys (a Raggedy Andy, teddy bear, ballerina, and toy soldier) that come to life when Mary has the children clean the nursery and appear throughout the entire show with their stuffed counterparts rather than briefly during "Playing the Game" as they usually do (I could never figure out what they were doing). The ensemble is incredibly large and even seems to include the very young children of ensemble members (who do nothing but stand there and look cute). It is almost as if anyone who auditioned was allowed to be a part of the show. The choreography for the big song and dance numbers "Jolly Holiday" and "Supercalifragilisticexpialidocious" is really good but the staging, with so many cast members on such a small stage, is chaotic. I was sitting in one of the side sections and I could hardly see Mary, Burt, or the Banks children (who are meant to be the principals in these numbers) because there are so many people blocking them. I was most disappointed by "Step in Time" because it is usually a show-stopper involving Burt, Mary, the Banks children, and the chimney sweeps tap dancing on the roofs of London. In this production the entire cast is used, including the statues from the park, the fairies, the toys (a break dancing teddy bear definitely took me out of the moment), as well as Mr. and Mrs. Banks (which makes no sense because they are supposed to be angry when Mary and the others return through the fireplace) and it is so messy. Once again, I couldn't see Mary or Burt at all which was frustrating. The set consists of the nursery and the bank on either side of the stage above the seats (I am always impressed with how every part of the theater is used) but the sitting room and kitchen are located down stage so the large fireplace and chair block everything that happens up stage.  Furthermore, the chair, inexplicably, faces away from the audience so Mr. Banks is frequently hidden from view. The costumes are great, especially Mary's iconic dress in "Jolly Holiday" and all of the Edwardian dresses worn by the female ensemble, but I do not understand the reasoning behind having Mrs. Banks wear large hoop skirts (a more Victorian silhouette).  Finally, I certainly do not expect a community theater to have the same special effects as the production I saw recently at Tuacahn but this is a show that requires some magic. I do not think it is unreasonable to expect Mary to fly because it is one of her defining characteristics (I've seen high school productions, including Hunter High, with characters flying) but at the very least the kites should fly in "Let's Go Fly a Kite." I know that it sounds like I am being overly harsh but after seeing outstanding productions of Seven Brides for Seven Brothers and The Scarlet Pimpernel at this theater I was definitely expecting more from this show.

The Phantom of the Open

Apparently I like true stories about quirky British underdogs because I really enjoyed Dream Horse and The Duke and, after watching it yesterday, I can now add The Phantom of the Open to that list.  Maurice Flitcroft (Mark Rylance) has many dreams and ambitions but he gives them up and works as a crane operator at a shipyard like his father and grandfather, marries Jean (Sally Hawkins), adopts her son Michael (Jake Davies), and raises his twin sons Gene (Christian Lees) and James (Jonah Lees) instead.  When he hears a rumor that there might be layoffs at the shipyard after decades of working there he decides that the time is right to find a new dream.  He inexplicably picks golf despite never having played the game before and buys the cheapest golf clubs available, finds a second-hand argyle sweater, practices a bit on his own, and receives permission to play at the British Open due to a little white lie on his application.  He plays the worst round of golf in the history of the Open which gets him banned from competitive play for life and embarrasses his son Michael but he also becomes a folk hero to the masses who think of golf as an elitist sport and encourages his sons Gene and James to follow their dreams.  This is a stand up and cheer story with the unusual message that it is just as important to take part as it is to win and I found that to be incredibly refreshing.  Rylance plays the character straight with an affable naivete and this is absolutely brilliant because you never doubt for a moment that Flitcroft believes in what he is doing and that he has a chance to win!  Hawkins shines as a loving wife willing to do anything to support her husband and Rhys Ifans is hilarious as the snobbish official who runs the golf course for the British Open.  I liked all of the needle drops, especially "Build Me Up Buttercup" by the Foundations during the ubiquitous training montage and "Ride Like The Wind" by Christopher Cross as Flitcroft steals a golf cart to elude capture.  The sequences involving magical realism are fun and really effective in establishing Flitcroft's belief that anything is possible.  This charming movie is perfect for a Sunday afternoon and I recommend it to those who like true stories about quirky British underdogs as much as I do!

In the Heights at West Valley Arts

Before Hamilton, Lin-Manuel Miranda wrote and starred in another Tony Award winning musical called In the Heights. I have seen it several times (two different productions at PTC as well as the Broadway touring production in San Diego) and I really love it (maybe not quite as much as Hamilton) because it is a very powerful story about community and the family you make with the people around you. Last night I had a chance to see it at the West Valley Performing Arts Center and I think it is their best production yet! The story revolves around a woman named Claudia (Sonia Maritza Inoa-Rosado Maughan) who acts as an abuela (grandmother) to everyone in a small neighborhood in Washington Heights. Usnavi (Pedro Flores) owns a bodega beset with problems, such as a broken refrigerator, while trying to keep his wayward nephew Sonny (Scotty Fletcher) in line. He dreams of returning to the cool breezes of the Dominican Republic. Vanessa (Micki Martinez) is hoping to escape the barrio, and her abusive mother, to move downtown but a credit check for her new apartment stands in her way. Nina (Beatriz Melo) is the pride of her parents (Monte Garcia and Sophia Davis) and the whole neighborhood because she received a scholarship to Stanford but college is a lot harder than she thought it would be, especially since she has to work two jobs to make ends meet, and she is thinking of quitting. Abuela Claudia has looked after them all of their lives and she just might find a way to help them make all of their dreams come true. The entire cast, which is entirely made up of POC, is incredibly strong and I really enjoyed every performance.  However, my favorites were Luseane Pasa as Daniela because she is so sassy in "No Me Diga" and she just about blows the roof off of the theater in "Carnaval Del Barrio" and Melo because you can really feel her pain for disappointing everyone in the neighborhood in "Respira (Breathe)" and her rendition of "Sunrise" (with Kiirt Banks as Benny) is lovely. I was also struck by how much Flores sounds like Lin-Manuel Miranda but I also appreciated that he made the character his own.  Besides the cast, I was also quite impressed with the choreography by Izzy Arrieta and I loved the big ensemble numbers "In the Heights," "96,000" (which was a big crowd-pleaser), "Blackout," and "Carnaval Del Barrio." I also loved the staging of "Alabanza" (my favorite song in the show) because the candlelight processional is incredibly beautiful. The cast executes the choreography very well and it was really fun to watch them dance with so much energy and exuberance! Finally, I think the set by Jason Baldwin is fantastic and does much to enhance the story. The main stage is a courtyard with brick walls covered in graffiti and the dispatch, salon, and bodega are located in the corners (with additional set pieces rolled on as needed).  The aisles function as streets and are used by the cast for entrances and exits. The areas above the wings are configured as fire escapes (I loved the laundry hanging across the windows). This is definitely one of my favorite productions this year (and I have seen quite a few) so I highly recommend this wonderful show (go here for tickets).

Note:  I was so happy to see such a large crowd last night!

Elvis

I am a huge fan of Baz Luhrmann!  I didn't especially care for Australia, but Strictly Ballroom, Moulin Rouge, and The Great Gatsby are some of my favorite movies.  I have lost count how many times I have watched them but I am sure that it is an embarrassingly high number!  I have been looking forward to Luhrmann's latest project, Elvis, for so long and my excitement only grew after it was screened at Cannes to positive reviews.  I finally had the chance to see it last night and it is everything I expected from a Baz Luhrmann movie (and that is a good thing)!  The story of Elvis Presley (Austin Butler) is told through the filter of his troubled relationship with his manipulative manager Colonel Tom Parker (Tom Hanks).  Parker narrates from his deathbed to set the record straight about his perceived responsibility for Elvis's death.  He meets the young Elvis while managing Hank Snow (David Wenham) and Jimmie Rodgers (Kodi Smit-McPhee) on the carnival circuit and, after seeing a performance in which Elvis captivates the audience, he convinces his naive parents Gladys (Helen Thomson) and Vernon (Richard Roxburgh) to let him take over his management and business affairs.  He forces Elvis to tone down his provocative act to be more family friendly, to be drafted into the military rather than be arrested for indecency, to appear in a series of third rate movies, to appear in a Christmas special, and to perform exclusively at the International Hotel in Las Vegas rather than tour.  He also alienates Elvis from the two woman who love him:  his mother Gladys and his wife Priscilla (Olivia DeJonge).  Elvis defies him as often as he can to be true to himself and his roots and, in so doing, he becomes the King of Rock and Roll.  However, he eventually ends up bloated, addicted, and alone after a final capitulation.  Luhrmann is known for his dazzling over the top style and the visuals are absolutely gorgeous even if some of his signature montages are a bit frenetic.  The narrative, which may or may not be completely accurate, is incredibly compelling and I was particularly interested to learn that Parker manipulates Elvis into the Las Vegas residency to cover his own debts.  I loved how all of Elvis's performances are staged, especially his first performance of "Baby Let's Play House" as the girls in the audience lose their minds over him, his 1968 comeback special performance of "Jailhouse Rock" (the black leather outfit!), and the Las Vegas performance of "Suspicious Minds."  Butler gives a performance that is nothing short of amazing, especially when he is on stage (he even sings as the younger Elvis), and I am sure that he will be in the running for every Best Actor award.  Hanks gives one of the most bizarre performances I've ever seen with weird prosthetics and an inconsistent accent (which is unfortunate because he is the narrator) but I appreciate the fact that I never once saw the actor in the character.  Every other character, including Priscilla, is relegated to the background but it almost doesn't matter because you simply cannot take your eyes off of Elvis!  It is an entertaining spectacle and I absolutely loved it!

The Black Phone

Horror movies are a hard sell for me but I was really intrigued by the trailer for The Black Phone so I decided to see it last night.  Despite a few decent jump scares and an unhinged performance from Ethan Hawke, this is not really a horror movie (as the marketing campaign implies) but more of a psychological thriller and I really enjoyed that aspect.  A serial killer known as The Grabber (Hawke) is responsible for the disappearance of five teenage boys in a suburb of Denver.  His next victim is Finney (Mason Thames), a shy thirteen year old who is often bullied at school and terrorized by his alcoholic father (Jeremy Davies).  After being kidnapped, he wakes up in a soundproof basement with an old fashioned  phone that suddenly begins ringing despite being disconnected.  All of the former victims of The Grabber begin communicating with Finney through the phone to help him escape their fate.  Meanwhile, Finney's sister Gwen (Madeleine McGraw) has had unsettling dreams about all of the crimes and, when her brother is kidnapped, she also receives clues from the victims which she uses to help the police with their investigation.  All of the elaborate instructions given to him do not seem to work at first until, in a brilliant final act, Finney finally learns to stand up for himself.  I really loved the message about self-empowerment (it was much more emotionally satisfying than I was expecting) which is why the subplot involving Gwen's dreams didn't really work for me (I wonder if her character was expanded from the short story by Joe Hill for the movie).  Because Gwen rescues him from a bully in the first act, I think his character arc would have been a lot stronger if Finney had not had to rely on her once again to lead the police to him.  The sepia toned cinematography adds much to the sinister atmosphere and the 1970s period details are nostalgic in an unnerving sort of way.  Hawke, who wears a creepy mask most of the time, is absolutely terrifying because he creates volatile shifts in tone by using just his body language and voice.  Thames does a great job conveying so many different emotions as he discovers his inner strength and McGraw shines, especially in an incredibly powerful scene, even if her character feels superfluous to the story being told.  While this isn't as scary as expected, it is compelling and I would recommend it.

The Drowsy Chaperone at HCTO

Last night I saw another production of The Drowsy Chaperone (go here for my review of the Empress Theatre's production) at HCTO.  This show has become one of my favorites because, as a fan of musical theatre, I love the message about its power to transport you away from the real world and all of your problems to a place where happy endings are possible for a few hours.  Man in Chair (Daniel Fenton Anderson) is feeling a bit blue so he decides to listen to his cast recording of The Drowsy Chaperone, a popular musical from 1928 which features mix-ups, mayhem, and a gay wedding (which, he explains, had a different meaning back then).  As he listens to the record, the actors appear in his apartment and bring the show to life with frequent pauses, during which the actors freeze, for his wry commentaries on the musical theatre tropes found therein.  Mrs. Tottendale (Liz Whittaker) and her Underling (Dayne Joyner) are hosting the wedding of wealthy oil tycoon Robert Martin (Preston Taylor) and Broadway star Janet Van De Graff (Brittany Sanders) who is giving up her glamorous career to marry a man she barely knows.  Robert is leaving the wedding details to George (Josh Valdez), his best friend and best man, while Janet's Chaperone (Amelia Rose Moore), who gets drowsy when she drinks champagne, is charged with keeping the couple apart to prevent bad luck.  Broadway producer Feldzieg (Benjamin J. Henderson) is unhappy about losing his biggest star and sets out to stop the wedding by convincing a Latin lover named Aldolpho (Jacob Thomason) to seduce the bride.  An investor in the Feldzieg Follies is also worried about losing its biggest star and hires two gangsters (Preston Harmon and Ethan Freestone), disguised as pastry chefs, to stop the wedding but a ditzy chorus girl named Kitty (Amanda Baugh) is hoping to take Janet's place.  Mayhem ensues but a happy ending comes when Trix the Aviatrix (Aria Love Jackson) marries four couples on her plane while flying to Rio.  Man in Chair puts the wrong record on at the beginning of Act 2, because the woman who cleans for him puts his records back in the wrong sleeve, and the cast, as completely different characters, perform "Message From a Nightingale" from a different musical until he realizes his mistake.  This production is extremely well done and I laughed and laughed through the whole thing.  The cast is incredibly strong but my favorites were Moore and Thomason because they are completely over the top in "As We Stumble Along" and "Aldolpho," respectively.  I also really enjoyed Anderson because he interacts with the cast more than I have ever seen before and I especially loved it when he does a soft shoe routine along with the tap dancing Taylor and Valdez during "Cold Feets" and when he steadies the blindfolded and rollerskating Taylor during "Accident Waiting to Happen."  The choreography is fantastic (I am always so impressed with how effectively the small space is utilized at HCTO) and I particularly enjoyed "Show Off" (the quick wardrobe changes are a lot of fun), "Toledo Surprise" (I loved it when the record gets a scratch and the cast performs the same steps over and over), and "Bride's Lament" (the monkeys!).  The 1920s costumes are fabulous (I especially loved all of the feathers used on the Chaperone's costumes) and the set of Man in Chair's apartment is very effective because the cast enters through a large armoire.  This show makes me so happy (for a few hours, at least) and I loved what HCTO did with it!  I highly recommend getting a ticket (go here).

Singin' in the Rain at HCT

I have been looking forward to HCT's production of Singin' in the Rain ever since the 2022 season was announced because I just knew it would be amazing. I had the chance to see it last night and it certainly lived up to all of my expectations because I had a smile on my face from beginning to end! Don Lockwood (David Paul Smith) is a silent film star in the 1920s along with his bubble-headed partner Lina Lamont (Erin Carlson). When the studio decides to transition to "talkies," Lina's obnoxious voice and terrible acting threatens to ruin the picture. Don decides to dub Lina's voice with that of Kathy Seldon (Debra Weed Hahn), an aspiring actress with whom he has fallen in love, and chaos ensues when Lina finds out! This production is very much informed by the wonderful 1952 movie of the same name and all of the big song and dance numbers are just as spectacular. I really enjoyed the choreography in "Fit as a Fiddle," "Make 'Em Laugh," "Moses Supposes," "Good Mornin'," and "Broadway Melody" because they feature fantastic tapping (which always impresses me) and the use of set pieces and props which are integrated into the dancing. However, I was especially enchanted by "You Were Meant for Me" because it takes place on an empty soundstage with a lot of different lighting effects and other special effects. I think I gasped out loud at an effect featuring Kathy and a backdrop of shooting stars. It is simply magical! The highlight of the show is definitely the iconic number "Singin' in the Rain" because Don dances around the lamppost as rain actually falls around him! It was absolutely thrilling to watch this sequence, especially since I was sitting on the first row in the splash zone! The young girl sitting next to me squealed with excitement every time we were splashed and I think this caused Smith to be a bit more exuberant whenever he was kicking puddles in our section! The set is quite simple with elements brought in from the wings and coming down from the rafters but I was impressed by the attention to detail. The marquees above each entrance to the theater feature the logo for Monumental Pictures, the stage is outlined with plexiglass in the shape of a filmstrip, and the LED screens look like the red velvet curtains you would find in Art Deco movie theaters. Large screens come down from the rafters to show the movie Don and Lina are filming and I loved it whenever we would see Lina's version and then the version dubbed with Kathy's voice because the sound design is quite impressive in these scenes. The 1920s costumes are dazzling with flapper dresses and headdresses that feature more sequins than you can count! Hahn and Smith are great singers and dancers and have a lot of chemistry, especially when they are fighting, and Carlson (who is one of my favorite actresses at HCT) is an absolute hoot, but Alex King, as Don's sidekick Cosmo Brown, steals the show with his comedic timing and physicality! I loved everything about this show and I highly recommend getting a ticket (go here) but you need to act quickly because many shows are already sold out (with good reason).

Note:  Even the bows are entertaining because the entire cast returns to the stage wearing rain coats, hats, and boots while the rain falls once again!

Matilda at Murray Park Amphitheater

For the second time in less than a week I was in the audience for a musical adaptation of one of Roald Dahl's beloved children's books last night!  This time it was Matilda at the Murray Park Amphitheater.  When I saw the Broadway touring production of this show I didn't especially like it but, now that I have seen it a few times, it is starting to grow on me and I enjoyed this production very much!  Matilda Wormwood (Maevah Hiatt) is a precocious five year old with a penchant for reading, telling stories, and being just a little bit naughty.  She is ignored by her mother (Alina Mower), an amateur Latin ballroom dancer, and father (Adam Wilkins), an unscrupulous used car salesman, and is terrorized by Miss Agatha Trunchbull (Brinton Wilkins), the former Olympic champion in hammer throwing who is now the headmistress of her school.  With the help of a sympathetic teacher named Miss Honey (Hailee Christensen) and a story about an Escapologist (Mark Williams) and an Acrobat (Sylia Seitz), Matilda triumphs over the neglectful adults in her life!  One of the elements that I always enjoy in this show is the use of typography and I liked the innovative way that large alphabet blocks are used in multiple scenes, particularly in the number "School Song."  I was also impressed by how projections are used as an interactive chalk board.  My favorite song in this show is "When I Grow Up" and I loved the choreography involving all of the kids on swings (I always get a tear in my eye during this song because it is so poignant).  I also enjoyed the choreography in "The Smell of Rebellion" (the tumbling got a lot of applause) and "Revolting Children."  Other crowd favorites were "Loud," because Mrs. Wormwood and her dance partner Rudolpho (Eric Lash) are completely over the top, and "Chokey Chant," because there is a fun effect involving a child being thrown into the chokey.  Hiatt is absolutely adorable as Matilda and I enjoyed her renditions of "Naughty" and "Quiet."  Christensen has a lovely voice as Miss Honey and her scenes with Hiatt are so endearing.  All of the kids in the ensemble do a wonderful job but I especially liked Gwenyth Nielsen as Lavender and Zander Weir as Bruce because their antics are so much fun to watch.  Miss Trunchbull often steals the show and Wilkins was definitely the highlight of this production for me!  I laughed out loud during "The Hammer" and "The Smell of Rebellion" because of his facial expressions and gestures.  This show is a lot of fun and I thoroughly enjoyed myself because last night was perfect for an outdoor performance (it was cool but not too cold).  I highly recommend bringing the whole family to one of the two remaining productions (go here for tickets).

Brian and Charles

Another favorite from Sundance that is now playing at the Broadway is Brian and Charles and it was the second film in my double feature last night.  This is a mockumentary about Brian (David Earl), a lonely and eccentric handyman in a small village in Wales, who has a penchant for inventing unusual items which sometimes work but mostly do not.  One day he finds a head from a mannequin in a pile of rubbish on the side of the road and decides to make a robot by attaching it to an old washing machine and using other sundry parts found in his cowshed.  The resulting robot, named Charles Petrescu (Chris Hayward), comes to life during a thunderstorm and he and Brian become the best of friends.  Trouble arises when Charles wants to explore (he is especially keen to see Honolulu after watching a travel program on the telly) but Brian wants him to stay at home to keep him safe from the harsh world.  Charles ultimately plays matchmaker between Brian and a lonely woman (Louise Brealey) who lives with her mother, helps Brian find the courage to stand up to a bully (Jamie Michie) who has been terrorizing the village, and convinces Brian to let him live his dream of traveling the world.  This might not be everyone's cup of tea but I absolutely love British humor and I think it is hilarious.  It reminds me of all of the old British comedies that I used to watch on PBS when I was a teenager and I laughed out loud through the whole thing.  I am so glad that I decided to see this on the big screen (Sundance was completely virtual this year) because it was definitely a lot more fun watching it with a crowd that was laughing as much as I was!  It is as heartwarming as it is funny and I highly recommend it!

Note:  Stay through the credits to hear Charles Petrescu rapping!

Cha Cha Real Smooth

The Broadway is currently showing two of my favorite films from Sundance this year so I decided to see them both as a double feature yesterday.  I started with Cha Cha Real Smooth, which was the darling of the festival, and I think I enjoyed it even more the second time.  After graduating from college, Andrew (Cooper Raiff) is at loose ends because his girlfriend has moved to Barcelona to study and he living at home in the suburbs with his mom (Leslie Mann), stepdad (Brad Garrett), and younger brother David (Evan Assante) while working a dead end job at the food court in the mall.  When asked to drive David to a Bat Mitzvah, he crashes the party and eventually gets everyone dancing.  He meets Domino (Dakota Johnson) and impresses her when he is able to get her autistic daughter Lola (Vanessa Burghardt) out on the dance floor.  All of the other mothers are impressed with his energy and enthusiasm so they hire him to be a party starter for all of their upcoming Bat and Bar Mitzvahs which keeps him in frequent contact with Domino.  They eventually form a complicated friendship.  Domino flirts with him because, even though she is engaged, he makes her feel young and carefree and he believes that he is in love with her because he feels needed by both her and Lola.  Their relationship eventually runs its course after Domino finds the courage to commit to her fiance and Andrew finds some direction in his life.  This is a heartfelt and charming coming of age story with incredibly appealing performances from Raiff, who is as irrepressible as a puppy, Johnson, who is absolutely luminous, and Burghardt, who steals every scene she is in.  Even though I am a bit older (ahem) than the target audience I really related to the main character because I also felt completely lost during this period in my life.  I loved everything about this film (the attention to detail with all of the Bat and Bar Mitzvah themes is a highlight) and I left the theater with a huge smile on my face.  Go see it!

Charlie and the Chocolate Factory at the Eccles

Last night I had the chance to see Charlie and the Chocolate Factory, a musical based on the beloved book by Roald Dahl, and I thought it was a lot of fun.  Willy Wonka (Cody Garcia), the world's greatest chocolatier, laments that making chocolate has become bitter for him and he wants to find someone to take over his chocolate factory.  Charlie Bucket (Kai Edgar) is an imaginative boy who loves chocolate but, because his family is desperately poor, he can only afford one chocolate bar a year on his birthday.  Wonka decides to invite five lucky children who find a golden ticket in one of his chocolate bars to tour his factory and soon four children from around the world, Augustus Gloop (David Nick), Veruca Salt (Angela Palladini), Violet Beauregarde (Zakiya Baptiste), and Mike Teavee (Jacnier), find tickets.  Charlie dreams of finding a golden ticket but, even though Grandpa Joe (Steve McCoy), Grandma Josephine (Jenna Brooke Scannelli), Grandpa George (Stanton Morales), and Grandma Georgina (Nicole Zelka) encourage him, his mother (Claire Leyden) warns him not to get his hopes up.  Charlie doesn't find one in his birthday chocolate bar but Wonka contrives to give him another one with a golden ticket inside.  The children join Wonka in the world of pure imagination but four of them give into their negative impulses.  The greedy Augustus falls into a chocolate waterfall after being warned not to drink from it, the obsessed Violet blows up into a giant blueberry after being warned not to chew an experimental piece of gum, the spoiled Veruca is pulled apart by the squirrels who sort the nuts after demanding one for herself, and the addicted Mike is shrunk inside a TV after misusing WonkaVision.  The imaginative Charlie gives into his desire to look at Wonka's inventions but this convinces Wonka to take Charlie on the Great Glass Elevator and give him his factory.  I loved the colorful projections, sets, and costumes (especially inside of the factory), the full body puppets used for the Oompa Loompas (they are hilarious), and the performances (especially the adorable Edgar as Charlie and the charismatic Garcia as Wonka).  However, I didn't think that any of the songs were particularly memorable.  There were only a couple that made an impression on me, including "Willy Wonka!  Willy Wonka!" and "The Oompa Loompa Song," and I liked them because of the choreography and the performances by the ensemble.  I also felt that the second act got bogged down with all of the special effects.  It was really cool to see Violet transform into into a giant blueberry and to see Mike shrink inside of a TV in front of our eyes but the execution of these and other stunts slowed the action down considerably.  I enjoyed this show and I am glad that I got to see it but I do not count it as a favorite.  It will be at the Eccles Theatre through June 19 (go here for tickets).

Lightyear

Last night I got to see an early access screening of Lightyear and I thoroughly enjoyed the movie that inspired Andy to ask for the toy!  Buzz Lightyear (Chris Evans) is a Space Ranger on a mission in uncharted space 4.2 million light-years from Earth when his ship is diverted to a planet.  He and his commanding officer Alisha Hawthorne (Uzo Udubo) explore the planet, determine that it is hostile, and attempt to leave but they become stranded when the ship is damaged after Buzz ignores the advice of the autopilot navigator.  The crew eventually decides to search the planet for an energy source needed to achieve hyperspace so they can go home.  Buzz, who feels responsible for marooning the crew, conducts many test flights for each energy source but they last a few minutes for him and several years for everyone else.  After many years and many failed tests, he finally finds the correct energy source but when he returns he discovers that Alisha has died and the planet has now been overtaken by alien robots ruled by Emperor Zurg (James Brolin).  To rid the planet of these robots and get everyone back home he must accept the help of a ragtag group of inexperienced volunteers, including Alisha's granddaughter Izzy (Keke Palmer).  What I enjoyed most is that, while there are similarities to the Toy Story franchise (Buzz is a cocky and arrogant pilot who must learn to work with others as part of a team in order to succeed), this is a standalone movie with a powerful message about being so focused on a goal that you miss out on living your life and there is a montage where Alisha gets married, starts a family, grows old, and dies while Buzz flies the same test missions over and over again that will pull at the heartstrings.  Evans does a wonderful job voicing Buzz because he displays such a broad range of emotions.  I'm not sure why there is so much discourse about continuity because Tim Allen's version of the character is a toy inspired by the movie character so they are meant to be different (in my opinion).  The rest of the voice cast is also really good with Peter Sohn as the robotic cat Sox as the standout (this character is hilarious).  The animation is fantastic and the action sequences is space are thrilling (I loved all of the visual cues to other space movies, especially 2001: A Space Odyssey).  Finally, the score by Michael Giacchino (he is having a good year) really compliments the visuals.  I wouldn't call this a top-tier Pixar movie but I had a lot of fun watching it (and so did all of the kids sitting near me) so I would definitely recommend it.

Benediction

I have a fascination with World War I and I am always drawn to movies set during this historical period so I went to see Benediction, a biographical drama about the war poet Siegfried Sassoon, last night at the Broadway.  After receiving the Military Cross for bravery, Siegfried Sassoon (Jack Lowden) speaks out against how the government is prosecuting the war.  Rather than be court-martialed, his mother (Geraldine James) and a family friend (Simon Russell Beale) use their influence to have him declared mentally unfit and sent to a psychiatric facility against his will to recuperate.  Despite his therapy sessions with the sympathetic Dr. Rivers (Ben Daniels) and his friendship with fellow poet Wilfred Owen (Matthew Tennyson), his experiences on the Western front plague him for the rest of his unhappy life.  He has a series of doomed love affairs with men, including the musician Ivor Novello (Jeremy Irvine), actor Glen Byam Shaw (Tom Blyth), and socialite Stephen Tennant (Calam Lynch), he enters into a loveless marriage with Hester Gatty (Kate Phillips), he has a tense relationship with his son George (Richard Goulding), and he has a crisis of faith after converting to Catholicism.  It is his tortured existence that informs his brilliant and haunting poetry which eventually brings him the acceptance he so desperately craved but never found in life after his death.  With its non-linear narrative and beautiful cinematography, this movie almost feels as if it is one of Sassoon's poems and, even though it is incredibly slow, it is ultimately very moving.  The use of Sassoon's poems read by Lowden and Peter Capaldi, who plays the older Sassoon, along with archival footage of the war interspersed throughout is very effective in showing that Sassoon is never free from the horrors of war.  The performances are all excellent (I especially enjoyed Irvine's version of "And Her Mother Came Too") but Lowden's subtle portrayal of grief is absolutely captivating.  The scene in which Sassoon says goodbye as Owen leaves to return to the front and the final closeup on Sassoon with the voiceover of Owen's poem "The Disabled" almost destroyed me.  This is a heartbreaking but beautiful movie that was so compelling I immediately wanted to know more about Sassoon and read more of his poetry after watching it.  I recommend it to fans of biographical dramas.

The Wedding Singer at the Empress

The next show in the 1980s double feature at the Empress last night was The Wedding Singer.  After a brief intermission, the set for the Bourbon Room used in Rock of Ages was quickly transformed into a New Jersey reception center where Robbie Hart (Caden Terry) sings with his band.  At his latest wedding gig he announces to the crowd that he will be getting married himself the next day but his fiancee Linda (Brenna Moody) dumps him at the altar.  Julia Sullivan (K'lynn Reid), one of the waitresses at the reception center, tries to console him but his next wedding gig is a disaster.  He begins to have feelings for Julia but she is engaged to a rich, handsome, and charming (but sleazy) Wall Street banker named Glen Guglia (KC Cook).  Robbie decides to give up trying to be a rock star and gets a job with Glen but Julia is not impressed because she is having second thoughts about marrying Glen and Linda wants him back.  Will Robbie finally be able to win Julia's love or will Linda and Glen ruin things for them?  I have to be honest and say that I am not a big fan of The Wedding Singer (I saw it at HCT a few years ago) because, as is the case with many musicals adapted from popular movies, the music is incredibly contrived.  The songs often seem as if large sections of dialogue from the movie have simply been set to music, particularly "A Note From Linda" which Linda reads to dump Robbie, "A Note From Grandma" which Robbie's grandma writes to cheer him up, and "Come out of the Dumpster" which Julia sings after a disgruntled groom throws Robbie in a dumpster after he ruins his wedding.  None of the songs are particularly memorable but the cast is more than game and their exuberant performances are a lot of fun to watch.  My favorite in the cast was, once again, Cook because he looks like he is having a blast playing the shady Glen.  There are many elements of this production that I really enjoyed, such as the wedding dress Linda wears to dump Robbie (which resembles the one Madonna wore for her performance of "Like a Virgin" at the VMAs), the Halloween costumes worn by the guests at the wedding Robbie disrupts (the twins from The Shining, Princess Leia, Wonder Woman, and Indiana Jones), the scene at the mall where Julia buys her wedding dress as Robbie's grandma power walks around the perimeter of the entire theater, and the awkward dancing of the young guests at the bar mitzvah where Robbie performs (I laughed out loud at this).  This show is the first Empress All Night production (shown as a double feature with Rock of Ages on Friday and Saturday nights) and I loved being a part of the rowdy late night crowd!  The excitement was definitely infectious and I am glad I stayed for it!

Rock of Ages at the Empress

Last night I went to the Empress Theatre for a double dose of 80s nostalgia and it was so much fun!  First up was Rock of Ages, which I saw when the Broadway touring production came to SLC about ten years ago but haven't seen since.  It is a jukebox musical featuring songs from 1980s glam rock bands and I may or may not have been singing along during every number!  Sherrie (Benzley Tinney), a small town girl living in a lonely world, and Drew (Aaron Allred), a city boy born and raised in south Detroit, both come to Hollywood to make their rock and roll dreams come true and end up working at the Bourbon Room on Sunset Boulevard.  The owner, Dennis Dupree (Brian Fuller), is desperate to generate some income because a German developer (Cassie Hurt-McLarty) wants to tear it down so he convinces Stacee Jaxx (KC Cook), who's seen a million faces and rocked them all, to perform one final concert with his band Arsenal at the Bourbon Room.  Drew opens for Arsenal and gets a record deal and Sherrie hooks up with Stacee Jaxx.  Complications ensue but, if they don't stop believing, their dreams might eventually come true!  I love all of the music in this show, especially "Nothin' But a Good Time," "Sister Christian," "Too Much Time On My Hands," "I Wanna Rock," "Waiting For a Girl Like You," "Wanted Dead or Alive," "I Want to Know What Love Is," "Shadows of the Night," "Pour Some Sugar on Me," "High Enough," "Oh, Sherrie," and "Don't Stop Believin'."  Both Tinney and Allred are fantastic and bring a lot energy and attitude to their performances (although Allred occasionally struggled to hit the high notes) but Cook absolutely steals the show as Stacee Jaxx (I could not stop laughing at his rock star poses).  The choreography is amazing and the ensemble does a good job with it.  I especially enjoyed the aerialists in the scene at the strip club.  The costumes feature as much acid wash denim, neon, and big hair as you would expect from an 80s show and the set of the Bourbon Room includes a stage and bar with vinyl records and posters advertising Arsenal's final concert on the wall.  I loved this show so much and it was really fun to be with a crowd that cheered louder and louder as it went on.  If you are a fan of the 80s, make sure you get a ticket (go here) for one of the remaining performances because it's nothin' but a good time!

Head Over Heels at the Grand Theatre

Last night I went to the musical Head Over Heels at the Grand Theatre.  I didn't know anything about this show beyond the fact that it features the music of the Go-Go's but that was enough to get me there because they were one of my favorite bands when I was a teenager.  I am so glad that I spontaneously decided to get a ticket because I loved it.  The story is an adaptation of The Countess of Pembroke's Arcadia by Sir Philip Sidney and it has a wonderful message about acceptance and living authentically.  Basilius (Zac Freeman) rules the peaceful and prosperous kingdom of Arcadia but he is incredibly rigid and refuses to deviate from long-held traditions to the detriment of his family.  His youngest daughter Philoclea (Elizabeth Petrucka) is in love with her childhood friend Musidorus (Michael Scott Johnson) but he doesn't approve of the match because he is a lowly shepherd.  He also expects his oldest daughter Pamela (Michelle Lynn Thompson) to marry well but she keeps rejecting all of her suitors while her handmaiden Mopsa (Madison Melia) pines away for her.  His wife Gynecia (Melody Baugh) is unhappy with her role but he refuses to give her a voice in ruling the kingdom.  He is summoned by the Oracle Pythio (K.J. Leuthauser) who gives him four prophecies of doom.  In order to save the kingdom, Basilius has the family go on a journey to Bohemia filled with mistaken identity, love triangles, sexual awakening, and self-discovery along the way.  Philoclea is eventually allowed to marry Musidorus, Pamela discovers her love for Mopsa, Basilius and Gynecia rekindle their love for each other, and Basilius gives up the crown in favor of Gynecia which creates a more open society.  Of course I loved all of the songs, especially "Mad About You" when Musidorus proposes to Philoclea, "Good Girl" when Philocea is forced to refuse him, "Our Lips Are Sealed" when both couples get together but decide to keep their love secret, "Head Over Heels" when both Basilius and Gynecia develop feelings for Musidorus who is posing as an Amazon warrior named Cleophila, "Heaven is a Place on Earth" when Basilius and Gynecia have an encounter but both believe that they are with Cleophilia, and "We Got the Beat" when the kingdom is saved.  I was really impressed with all of the performances, especially Petrucka because I loved her voice and Johnson because he is hilarious (especially as an Amazon warrior).  Everyone in the ensemble does an outstanding job with the choreography, particularly when they portray Musidorus' sheep.  The elaborate Elizabethan costumes worn by the main cast and the set featuring thatched cottages, stylized trees, and pastel tents give the production a fairy tale vibe that is very effective.  This show is so much fun (I had a hard time stopping myself from singing and dancing along with the cast) but it is also a wonderful reminder to accept people for who they are.  I highly recommend getting a ticket (go here) to one of the remaining performances through June 18.

Jurassic World: Dominion

I liked Jurassic World so, even though I was very underwhelmed by Jurassic World: Fallen Kingdom, I decided to conclude the trilogy by seeing Jurassic World: Dominion last night.  Unfortunately, I brought my sister and niece with me (and for that I am most profoundly sorry).  To say that the three of us hated it would be an understatement!  Four years after the events of Fallen Kingdom, humans are struggling to coexist with the dinosaurs that have reproduced and now roam the Earth.  Claire Dearing (Bryce Dallas Howard) and Owen Grady (Chris Pratt) are trying to protect as many dinosaurs as they can while keeping Maisie Lockwood (Isabella Sermon), the clone created by Hammond's business partner to replace his daughter, safe.  Dr. Lewis Dodgson (Campbell Scott), through his company Biosyn, has created a sanctuary for dinosaurs in order to study their genetic makeup for the benefit of mankind but he has much more nefarious intentions and employs mercenaries and black marketeers to capture the dinosaurs.  He masterminds the kidnapping of Maisie (for reasons) and a baby velociraptior being cared for by Owen so he and Claire attempt to rescue them.  Meanwhile, Dr. Ellie Sattler (Laura Dern) has discovered that prehistoric locusts are destroying every crop except those genetically engineered by Biosyn and recruits Dr. Alan Grant (Sam Neill) and Dr. Ian Malcolm (Jeff Goldblum) to help her find evidence.  After Claire and Owen make a detour to Malta where they are harassed by the mercenaries and black marketeers and then recruit a pilot for hire named Kayla Watts (DeWanda Wise), everyone ends up at the Biosyn headquarters to rescue Maisie (whose backstory is retconned to fit the new narrative), find evidence about the locusts, and fight a bunch of dinosaurs.  Are you confused?  This is a bloated and convoluted mess that doesn't make sense half the time and is boring the other half of the time.  It doubles down on everything I disliked about Fallen Kingdom and emphasizes the evils of genetic engineering and corporate greed rather the compelling story of how humans and dinosaurs would actually coexist (the ending where humans and dinosaurs have suddenly found a way to coexist is so convenient and unearned that I actually laughed out loud).  Much of the action is derivative and literally copies exact sequences in The Bourne Ultimatum (a chase on the rooftops of a Mediterranean city), Raiders of the Lost Ark (running through an underground tunnel with a torch and a fedora), and Skyfall (characters trapped in a fighting pit except with dinosaurs instead of a komodo dragon).  It was fun to see the original characters (Goldblum is probably the highlight) but there is absolutely no reason for Dr. Grant to be a part of the narrative other than for the nostalgia factor (and Neill is definitely phoning it in).  There are some fun sequences with the dinosaurs but they are few and far between (if you remove the dinosaurs the story would essentially remain the same) and the characters evade them so easily that it is almost laughable.  Let me echo Dr. Malcolm's sentiments when he says, "Jurassic World?  Not a fan."  Skip this and see Top Gun: Maverick again for a legacy sequel done well!

The Lies I Tell

My June Book of the Month selection was The Lies I Tell by Julie Clark (the other options were The Stardust Thief by Chelsea Abdullah, Things We Do in the Dark by Jennifer Hillier, The Lifestyle by Taylor Hahn, Woman of Light by Kali Fajardo-Anstine, and The Wedding Dress Sewing Circle by Jennifer Ryan). This is a cat-and-mouse thriller with a twist and I found it to be so engrossing that I read it during every bit of free time because I had to know who was conning whom! Meg Williams, an expert grifter, has returned to her hometown of Los Angeles after an absence of ten years to perpetrate the ultimate con on a man who once wronged her and her mother. Kat Roberts is a journalist who holds Meg responsible for an incident that derailed her life ten years ago and has been waiting for the opportunity to expose her for her duplicity. She views Meg's return as the perfect opportunity to take her revenge and does everything she can to insinuate herself into Meg's operation without revealing her true intentions. But can you really con a con artist? What I enjoyed most about this novel is that it features two strong female characters who are both incredibly sympathetic and have compelling reasons for doing what they do. I also enjoyed that fact that I didn't know what to believe and kept going back and forth about who I wanted to succeed until the final resolution! The unlikely friendship that develops between the two characters, despite their best intentions, is also very moving. The narrative alternates between the perspectives of the two women in the present with flashbacks to various times in the past so information about each of them is revealed little by little. It seems as if there is an a-ha moment at the end of every chapter and I kept reevaluating everything I thought I knew. I literally couldn't put it down! The ending is not at all what I was expecting but it left me completely satisfied and I think it is one of the best I've read in a long time. I thoroughly enjoyed this selection and would highly recommend it to fans of domestic thrillers.

Eiffel

I was really intrigued by the trailer for Eiffel so I decided to see it last night at the Broadway.  I enjoyed aspects of the film but it wasn't as good as I was expecting.  An engineer named Gustave Eiffel (Romain Duris), renowned for providing the structural support for the Statue of Liberty, is persuaded to enter a competition to build the centerpiece of the 1889 World's Fair.  When Adrienne (Emma Mackey), a woman from his past with whom he had a passionate affair that ended abruptly, enters his life once again he decides to build a tower dedicated to her.  Construction on the tower is beset with many problems but, when he rekindles his affair with Adrienne, her husband Antoine de Restac (Pierre Deladonchamps) threatens to ruin his reputation in the press.  Eiffel must ultimately chose between Adrienne and the tower that she inspired.  The images on the screen are absolutely beautiful with sumptuous costumes and atmospheric lighting.  I enjoyed the two lead performances, particularly Duris during a scene in which Eiffel gives a stirring speech to motivate his unpaid workers to continue building the tower, but Mackey does not age at all even though she appears in flashbacks meant to be twenty years earlier.  I have been to the top of the Eiffel Tower many times so I was absolutely fascinated by the engineering required to build it, particularly the method by which the four feet are raised and lowered by sand in order to align perfectly to create the first level (I was holding my breath during this scene and wanted to see more of the actual construction of the tower).  It was also very interesting to learn about the difficulty in securing funds and the public backlash against building it.  I was so engrossed by the building of the tower that the fictionalized romance seemed like an intrusion that didn't really advance the plot and it bored me at times.  The narrative would have been so much better if it had focused on the real Eiffel and his accomplishments instead of a romance that seemed shoehorned into an already compelling story.  I was a bit disappointed by this and recommend waiting until it is available to stream.

Hairspray at the Draper Amphitheater

Last night I saw Hairspray at the Draper Amphitheater and it was so much fun!  I had never been to the Draper Amphitheater before but, since I love seeing outdoor performances in the summer, I decided to make the drive and I am so glad I did because it is a great venue and the show was fantastic!  Hairspray has always been a favorite of mine (I saw the Broadway touring production a few years ago and another touring production will be coming to SLC next year) because it has such a great message about loving who you are, following your dreams, and standing up for what you believe is right.  Plus-sized Tracy Turnblad (Linze Struiksma) wants to be one of the dancers on the Corny Collins (Weston Seiler) Show, to have Link Larkin (Austin Kimbell) notice her, to integrate the show so her Black friends can dance with her, and to win the Miss Teenage Hairspray crown.  Velma Von Tussle (Marilyn Oveson) and her daughter Amber (Kellie Seiler) do everything they can to stop her but Tracy proves that you can't stop the beat and makes all of her dreams come true.  The main cast is outstanding but I particularly enjoyed Struiksma's performance as Tracy because she could really dance and was very charismatic.  I also really enjoyed Gennell Goodman as Motormouth Maybelle, because her rendition of "I Know Where I've Been" brought the crowd to their feet, and Chad Smith and Joey West as Edna and Wilbur Turblad, respectively, because their antics were incredibly amusing in "Timeless to Me."  The ensemble is also very noteworthy, especially all of the dancers on the Corny Collins Show and the Dynamites (Ariana Marshall, Rebecca Meats, and Kimberly Teitter), because they execute the choreography very well.  I especially loved the staging of "The Big Doll House" (the tap dancing!), "Nicest Kid in Town," "I Can Hear the Bells," "Run and Tell That," "Hairspray," and "You Can't Stop the Beat."  My favorite song in the show is "Mama, I'm a Big Girl Now" and Struiksma, Kellie Seiler, and Kaitlyn Schreiner (as Penny Pingleton) did such a good job with it. I loved the costumes (the sheer number of costumes is very impressive) because they were so colorful and sparkly.  The set was a lot of fun with a giant LED television screen that featured live shots in black and white of the Corny Collins Show.  I really enjoyed every aspect of this show and it was wonderful to sit outside because the weather was absolutely perfect (although it did get a tad cold when the sun went down).  I highly recommend getting a ticket for one of the remaining shows (go here) through June 11.

Note:  Most of the seating is on grassy tiers so bring a blanket or a camp chair and grab some snacks because food is allowed.

Crimes of the Future

I have been looking forward to Crimes of the Future ever since it premiered at the Cannes Film Festival and I finally had the chance to see it last night.  It is incredibly bizarre and definitely won't be for everyone but I found it to be haunting and extremely thought-provoking.  In the near future, humanity has begun evolving to cope with a rapidly decaying environment but the government attempts to control the rate of evolution with a National Organ Registry and a police force dedicated to solving evolutionary crimes called the New Vice Unit.  Saul Tenser (Viggo Mortensen) has developed the ability to grow new organs inside of his body but this is incredibly painful and causes severe digestive issues which require specialized machines to regulate.  He and his partner Caprice (Lea Seydoux) have turned the surgery required to remove his extra organs into performance art in front of a live audience who view mutilation as a form of pleasure.  This attracts the attention of a bureaucrat (Kristen Stewart) with the National Organ Registry who becomes enamored with him, a police detective (Welket Bungue) with the New Vice Unit who asks him to infiltrate a group of underground evolutionists, and the leader (Scott Speedman) of this group who wants to use his notoriety to publicly highlight an illegal but revolutionary advance.  I found the narrative to be a bit confusing in the beginning because the audience is dropped in the middle of a strange new world but there was a moment when everything suddenly came together for me and, by the time it ended, I was left wanting more because the themes are so compelling (the most fascinating, in my opinion, being that the destruction of the planet is actually changing our bodies).  The mood is quite unsettling (but it is not nearly as graphic as I was expecting) with a bleak production design filled with abandoned and rotting vehicles, atmospheric lighting, and a tension-filled score.  All of the performances are great but Stewart is brilliant and steals every scene she is in as a woman desperate for sensation in a world devoid of feeling.  I was captivated by this movie and I have not been able to stop thinking about it but it is not something I would recommend to everyone.

Montana Story

Last night I went to my favorite art house theater to see Montana Story and I really enjoyed it.  Erin (Haley Lu Richardson) and Cal (Owen Teague) are estranged siblings who return to the Montana ranch where they were raised after their father suffers a stroke and is placed on hospice.  They disagree over what should be done with an aging and decrepit horse named Mr. T once they sell the ranch.  Cal believes the humane thing to do would be to euthanize him but Erin reacts very emotionally to this plan and impulsively decides to haul him from Montana to upstate New York where she lives.  The disagreement over the horse triggers a past trauma between them involving their abusive father and another horse and, as they work out the logistics of transporting Mr. T, they begin to heal.  The plot unfolds very slowly and there are many long moments of silence so some viewers might become impatient with it but I found the narrative to be captivating because of the beautiful cinematography and the stellar performances from Richardson and Teague.  The expansive Montana scenery is used in juxtaposition with the tense and emotional drama that is playing out between the two characters in a claustrophobic setting and this is highly effective.  Richardson and Teague have great chemistry and their portrayal of siblings feels really natural.  You can feel the quiet animosity radiating off of them when they see each other for the first time in seven years and this tension continues to build until they finally confront each other in an incredibly powerful scene.  I loved the resolution between them but I loved the solution they find for the horse even more (a lovely metaphor for their relationship).  It is definitely a slow burn but it is ultimately very moving so I would recommend it.