Deadpool & Wolverine

Last night I went to see a Thursday preview of Deadpool & Wolverine in a packed theater and it was so much fun!  Wade Wilson (Ryan Reynolds) is living a mundane life as a used car salesman after Vanessa Carlysle (Morena Baccarin) breaks up with him and he is rejected by the Avengers.  However, when he is summoned by the Time Variance Authority and one of its agents, Mr. Paradox (Matthew Macfadyen), he suits up once again as Deadpool and recruits a reluctant Wolverine variant (Hugh Jackman) in order to save his timeline because it has been jeopardized by the death of Logan.  They soon realize that they must join with others to save the entire universe from an even bigger threat, Cassandra Nova (Emma Corrin).  The story is a bit messy but it is a funny and irreverent spoof of superhero movies in general, and multiverses specifically, that had me and the entire audience laughing out loud the whole time.  It includes the usual profanity-laden one-liners but, as always with this franchise, I especially enjoyed the meta humor (there is a throwaway line about Gossip Girl that made me laugh so hard I spit out my drink).  There are also quite a few unexpectedly emotional moments because Deadpool is desperate to prove that he matters and this variant of Wolverine is not the hero that Logan was (the reason for the return of Wolverine's original suit, while in service to the fans nostalgic, is incredibly poignant).  Reynolds and Jackman have so much chemistry as the goofy Deadpool and the intense Wolverine play off each other and all of the "gratuitous" cameos are a hoot (several of them had my crowd cheering) and feature some heartwarming and hilarious performances.  The big action set pieces are epic (my favorite of which is the opening credits sequence) but my enjoyment of them came more from the needle drops than from what was actually on the screen (I particularly loved the use of "Hells Bells" by AC/DC, 'You're the One That I Want" from Grease, and "Like A Prayer" by Madonna).  I had such a great time with this and I highly recommend seeing it with a big crowd!

Note:  Definitely stay for the end credits scene because it got some of the biggest laughs of the night!

National Anthem

Last night I went to see National Anthem at the Broadway on a whim and I absolutely loved this coming-of-age drama about self-acceptance.  Dylan (Charlie Plummer) is a 21-year-old construction worker who is supporting his younger brother Cassidy (Joey DeLeon) and his alcoholic mother Fiona (Robyn Lively) in rural New Mexico.  He is also trying to save money to buy an RV in order to pursue his dream of traveling around the country.  He takes a temporary job as a day laborer at a ranch called the House of Splendor, an LGBTQ+ community run by Pepe (Rene Rosado), and is immediately enchanted by Sky (Eve Lindley), a transgender woman who works with the horses.  He spends more and more time at the ranch with Sky and feels accepted for the first time in his life by people who feel more like family than his mother does.  He is also inspired by Carrie (Mason Alexander Park) and all of the others who are pursuing their dreams (as rodeo and drag performers) to fight for his.  What I loved most about this movie is the authentic and non-judgmental portrayal of the LGBTQ+ characters and the fact that they are shown to be thriving, and even inspiring others, rather than surviving trauma.  I also loved that the narrative challenges preconceived expectations and conventions.  One of my very favorite scenes is when Cassidy rather bluntly asks Carrie if they are a boy or girl and, when they respond that they are neither, he simply accepts it and it is so powerful!  Plummer gives an extraordinary performance as Dylan because his transformation from a world-weary acceptance of his lot in life to wide-eyed wonder at the possibility of a different one is visibly evident on his face without much dialogue.  Lindley is incredibly alluring and charismatic as Sky and you can't look away whenever she is on the screen while Park imbues Carrie with a warmth that I found very compelling.  Finally, the cinematography is incredibly beautiful with wide shots of the rugged landscape and immersive action shots at the rodeo (which subvert traditional ideas of both).  I was very moved by this and highly recommend it!

Widow Clicquot

I grew up on a farm in Southern Ontario near the vineyards located on the Niagara peninsula so I was really intrigued by the trailer for Widow Clicquot.  I decided to see it last night at the Broadway and, while I loved many aspects of this biopic, I was a bit disappointed.  Barbe-Nicole Ponsardin Clicquot (Haley Bennett) vows to continue running the vineyards bequeathed to her by her husband Francois (Tom Sturridge) after his death.  However, there are massive debts after the failure of the last harvest, her father-in-law Philippe Clicquot (Ben Miles) is pressuring her to sell to Jean-Remy Moét (Nicholas Farrell), her managers doubt her abilities and do not support her unconventional techniques, and the embargoes enforced during the Napoleonic Wars make distribution almost impossible.  Her only ally is wine merchant Louis Bohne (Sam Riley) but, when she begins a relationship with him, her status as a widow is called into question because marrying again would make it illegal for her to run her late husband's business under the Napoleonic Code.  She eventually overcomes all obstacles to become the Grande Dame of Champagne and creates innovations that are still used today.  Bennett is outstanding in the role because she convincingly embodies Barbe's all-consuming grief over her husband's death, for which she feels responsible, as well as her uncompromising determination to succeed equally well.  The cinematography, featuring shots of sun-dappled vineyards and low-lit rooms in a vast estate, is absolutely gorgeous, the production design is sumptuous, and the original score by Bryce Dessner is dreamy and atmospheric.  The story about a woman who defies all expectations to revolutionize an entire industry is an incredibly compelling one but the telling of it loses focus.  The narrative is very jumbled as it alternates between her volatile romance with Francois and her collaboration with Louis as they try to find a way to make the vineyard a success.  As much as I enjoyed Sturridge's performance, I wanted more of the latter and less of the former.  I didn't love this as much as I thought I would but I recommend it to fans of period dramas.

The Hunchback of Notre Dame at Murray Park Amphitheater

Murray Park Amphitheater is one of my favorite outdoor venues in the summer and The Hunchback of Notre Dame is one of my favorite musicals so I had a wonderful time seeing a fantastic production of this show there last night!  Quasimodo (Patrick O'Boyle) has been hidden by his master Frollo (Layne Wilden) in the bell tower of Notre Dame Cathedral all of his life because he is deformed.  The gargoyles convince him that it will be safe for him to roam the streets of Paris during the Feast of Fools and he is eventually crowned the King of Fools.  However, when the crowd turns on him, he is rescued by the gypsy Esmeralda (Mia Crutch).  She also catches the eye of the captain of the cathedral guard Phoebus de Martin (James Dixon) who falls in love with her and she bewitches Frollo who becomes obsessed with possessing her.  When Esmeralda rejects Frollo, he orders Phoebus to arrest her but he refuses and they both become fugitives who are aided by Quasimodo until the final confrontation in the bell tower.  In my opinion, the best part of this show is Crutch because she is such a great singer, dancer, and actor.  She is captivating in "Rhythm of the Tambourine," incredibly powerful in "God Help the Outcasts" (my favorite song in the show), playful in "Top of the World," and very affecting in "Someday."  I was also impressed with Wilden's passionate rendition of "Hellfire" and O'Boyle's renditions of "Heaven's Light" and "Made of Stone" (this gave me goosebumps).  Other highlights of this production are the live orchestra, under the direction of Nate Holcomb, and the choir (I loved that they are robed and located on either side of the stage in areas that mimic the chancel in a cathedral) which adds so much to "The Bells of Notre Dame" and all of its reprises.  The striking set features wooden platforms of different levels, which Quasimodo uses to ring the bells, and is dominated by a large rose window that is reflected on the floor of the stage.  The amphitheater does not have a lot of the technical wizardry that other theatres around the valley do so I really appreciate the clever staging of some of the more complicated scenes, particularly the final confrontation, and the dramatic lighting.  I wish that the gargoyles had more obvious costumes (they wear simple collars over their other costumes) because it is sometimes confusing to know when they are in a scene but I can understand why the actors wouldn't want to wear something more substantial in the heat.  Seeing a show at the Murray Park Amphitheater is a great way to spend a summer evening and I highly recommend getting a ticket (go here) to this or any of the other performances (I am excited for Peter and the Starcatcher next month).

Twisters

I have been looking forward to Twisters ever since the first trailer dropped during the Super Bowl so I was really excited to see it last night at a Thursday preview.  It is a crowd-pleasing summer blockbuster and I thoroughly enjoyed it.  Kate Cooper (Daisy Edgar-Jones) is a storm chaser trying to prove her theory about a method for taming tornadoes with her crew, including her friends Javi (Anthony Ramos), Addy (Kiernan Shipka), and Praveen (Nik Dodani) and her boyfriend Jeb (Daryl McCormack), but when she miscalculates the strength of the storm only she and Javi survive.  Five years later Kate is now working for NOAA in New York but she is still tormented by the deaths of her team members.  However, Javi now has military-grade equipment and corporate sponsors and he lures her back to Oklahoma to collect data during a particularly devastating storm season.  Javi's business partner Scott (David Corenswet) is not happy to have her on their team and things are further complicated by the appearance of Tyler Owens (Glen Powell), a reckless storm chasing YouTube personality known as the "Tornado Wrangler," his crew, including Boone (Brandon Perea), Lilly (Sasha Lane), Dexter (Tunde Adebimpe), and Dani (Katy O'Brian), as well as a British journalist (Harry Hadden-Paton) who is writing an article about him.  Kate begins to suspect Javi's motivation and eventually joins Tyler after he convinces her to resume her research.  It goes without saying that the action sequences are amazing with incredible visual effects and immersive sound design that put the audience in the middle of tornadoes as they wreak havoc on a motel, a rodeo, an oil refinery, and a movie theater as well as fields and entire towns (see this on the biggest screen possible).  Having said that, the story is actually much better than I was expecting and I was particularly moved by the emphasis on the casualties of these cataclysmic storms.  I think Edgar-Jones is really bland in the role but Powell has enough charisma to spare (even though I didn't really buy the romance shoe-horned in at the end) and the supporting cast is a lot of fun despite not having much to do.  I should mention that, other than a cameo from "Dorothy," this is a standalone sequel to the original so don't expect a lot of nostalgia. I recommend it as an entertaining movie to watch with a big tub of popcorn!

Ben Platt at the Eccles

I love Ben Platt's latest album Honeymind but I especially love the song "Andrew," which was released as the first single several months before the album dropped.  I listened to this song over and over and, every time I did, I would imagine how amazing it would be to hear it live!  So I was absolutely thrilled when the tour was announced and, even though the ticket was more than I wanted to spend, I bought one during the presale (my plan to be more frugal this summer is not going well).  Last night's concert at the Eccles was my first time hearing him live and it was incredible!  He performed quite a few songs from Honeymind including "Right Kind of Reckless" (which opened the show), "All American Queen," "Shoe to Drop," "Monsters," "Cherry on Top," "Before I Knew You" (which ended his main set), and "Andrew" (which definitely did not disappoint and was the highlight of the show for me).  He also performed some of his favorite songs from his previous releases Sing to Me Instead and Reverie (both of which I also love), prefaced with some highly amusing anecdotes, including "Ease My Mind," "Rain," "Share Your Address," a brilliant rendition of "Grow as We Go," and "I Wanna Love You But I Don't."  His covers of James Taylor's "Your Smiling Face" and Joni Mitchell's "River" were fantastic but he blew the roof off of the Eccles Theatre with "Maybe This Time" from Cabaret (his homage to Liza Minnelli was complete with an *ahem* appropriate costume).  For the encore he sang a beautiful medley of "When You Wish Upon a Star" and "Somewhere Over the Rainbow" which was unique to SLC audiences!  Platt is quite the performer and he, and his talented band, put on an amazing show that I won't soon forget.  He was so funny and he sounded even better than his recordings!  I had so much fun because all of the theatre girlies sitting around me were pretty much losing their minds screaming, crying, and singing every single word of every single song at the top of their lungs! Just kidding. It was me. I am theatre girlies!

Note:  I love the song "Andrew" so much because, to me, it is the perfect description of what unrequited love feels like when you are young (even though it is from a queer perspective, many of the feelings evoked are universal).

Touch

I already had a ticket for Touch at the Broadway last night but, when a friend highly recommended it to me, I was even more excited to see it.  I absolutely loved this tender ode to love, loss, and memory.  Kristofer (Palmi Kormakur) is a student from Iceland at the London School of Economics.  When he becomes disillusioned with his studies he impulsively takes a job as a dishwasher at a Japanese restaurant when he sees the proprietor's daughter Miko (Koki).  He immerses himself in the culture and language of Japan and eventually falls in love with Miko.  Takahashi (Masahiro Motoki) holds Kristofer in high regard and even teaches him to cook traditional Japanese dishes but he disapproves of his relationship with his daughter and separates them.  Fifty years later, Kristofer (Egill Olafsson) is a widower who runs a restaurant in Iceland.  After he receives some news he travels to London, then Tokyo, then Hiroshima to find Miko (Yoko Narahashi).  On the surface this is about a man searching for his lost love with a timeline that alternates between 1969, when he and Miko fall in love, and 2020, when they are reunited.  However, as it progresses, more and more layers are uncovered to reveal a story that is even more captivating and poignant than I was expecting.  I loved the character of Kristofer, in both timelines, because he is such a kind, gentle, and understanding soul and both Kormakur and Olafsson portray him so beautifully (the actors do not necessarily look alike but they have such similar characteristics and mannerisms that you just accept that they are the same person).  I also loved the warm glow of the cinematography in 1969 juxtaposed with the cool tones used in 2020 because memories are often idealized and I enjoyed all of the scenes involving the preparation of food, particularly the meal that Kristofer prepares for Miko.  This is beautiful and meditative (my favorite kind of movie) and I highly recommend it.

Longlegs

I was so excited to see Longlegs at the Broadway last night after all of the hype surrounding its release and the huge crowd only increased my anticipation (I don't think there was an empty seat in the theater).  Unfortunately, I think I would have liked this more if I hadn't had such impossibly high expectations.  FBI agent Lee Harker (Maika Monroe) is assigned by her superior (Blair Underwood) to a cold case involving a serial killer known as Longlegs (Nicolas Cage) after she is shown to possess a heightened sense of intuition on another case.  Over the course of several decades a series of men have suddenly snapped and killed their families before killing themselves and every crime scene features a Satanic message in code from Longlegs even though there is no evidence that anyone else was there.  As Harker investigates, she discovers that there is a connection between the daughters in each family and that she also shares this connection and may have interacted with Longlegs as a child.  There is a very palpable sense of dread that is enhanced by unnerving sound design, atmospheric lighting, and a brilliant performance from Monroe (I was genuinely afraid for her character on multiple occasions because of her ability to portray the terror Harker is experiencing).  Cage is also very committed but I found his performance to be more disturbing than scary and his bloated and clown-like appearance (with some wild prosthetics) is, in my opinion, at odds with the Satanic character he is portraying so it is hard to take that threat seriously.  My biggest disappointment, however, is that the unbearable tension so painstakingly crafted in the first two acts is undone as the mystery is revealed.  It is such a letdown after what was incipiently promised.  Director Osgood Perkins definitely delivers on the style but not the substance and I was expecting both after all of the buildup.

Hootie & The Blowfish at Utah First Credit Union Amphitheatre

I have been a huge fan of Hootie & The Blowfish ever since their debut album Cracked Rear View was released because I love Darius Rucker's voice.  The first time I saw them in concert I was with both of my sisters and what I remember most is that Rucker kept breaking his guitar strings and a tech would bring him a new guitar every time it happened (even in the middle of songs).  I got to see them again last night at Utah First Credit Union Amphitheatre with one of my sisters and I am happy to report that Rucker didn't break any guitar strings!  They began the show with my very favorite song by the band, "I Go Blind," and then proceeded to play all of their hits.  I especially loved "Time," "Let Her Cry," "Hold My Hand," and "Old Man & Me" (which was a cool mashup with "Mo Money Mo Problems" and "Big Poppa").  They did a really cool acoustic set featuring "Will the Circle Be Unbroken?/ Desert Mountain Showdown" and a cover of "I Hope I Don't Fall in Love With You" by Tom Waits.  These songs had a bluegrass sound that I really liked and I especially enjoyed the mandolin.  They performed quite a few covers and my favorite was "Hey, Hey What Can I Do" by Led Zeppelin (I've heard this live before and it is so good).  Other covers included "For What It's Worth" by Buffalo Springfield, "Interstate Love Song" by Stone Temple Pilots (I loved this), "Losing My Religion" by R.E.M., and a rousing rendition of "Wagon Wheel" by Old Crow Medicine Show.  They brought Edwin McCain, who opened for them, back to the stage to perform McCain's song "Solitude" with them (I didn't recognize McCain's name when the tour was announced but I knew all of the songs in his set, especially "I Could Not Ask for More" and "I'll Be").  I also really enjoyed their performance of "Alright" which is one of Rucker's songs from his country solo career.  The night ended with an epic performance of "Only Wanna Be With You" and I was honestly sad for this concert to end because I enjoyed it so much.  I was so happy to be with my sister because she loves the band as much as I do and we sang all of our favorites!  We kept talking about how good Rucker's voice sounded (we think he might be getting better with age) and how tight all of the musicians were.  It was incredibly hot but it cooled down once Hootie took the stage so it was a perfect summer night listening to music that I love!

Note:  The other opening act was Collective Soul.  Other than a stirring rendition of "The World I Know," I was a bit underwhelmed with their set (especially when they played "Shine" twice in a row).  I really wanted to hear "Tremble for My Beloved."

Schubert's Symphony No. 6 at St. Mary's Church

Last night I drove up to Park City for a Utah Symphony concert at St. Mary's Church as part of the Deer Valley Music Festival.  St. Mary's is such a cool venue for a concert because it is a beautiful church with a large wall of windows through which you can see amazing views of mountains and pine trees and I look forward to seeing at least one concert here every summer.  Last night's concert began with Symphony No. 61 by Franz Joseph Haydn and it was really fun.  Guest conductor Chelsea Gallo talked about all of the humorous elements and throughout the piece she turned to the audience to let us know when to laugh (she was very charming).  I especially loved the whimsical themes played by the oboe, bassoon, and flute in the second movement.  Next came Romance No. 1 for Violin by Ludwig van Beethoven with Associate Concertmaster Kathryn Eberle as soloist.  Not much is known about why Beethoven wrote this shorter piece (along with Romance No. 2) but it is very beautiful and I loved the themes played by the violin (an exquisite performance by Eberle) which were then echoed by the orchestra.  Eberle joined the orchestra once again as soloist for Havanaise by Camille Saint-Saens.  This is based on a dance that originated in Cuba in the mid-nineteenth century and then became popular in Spain.  It has a distinctive repeating rhythm that begins with the cellos and is heard throughout.  The solo violin is quiet and reflective at times and then has some fiery virtuoso passages (featuring another brilliant performance by Eberle) and I loved it!  After the intermission, the concert concluded with Symphony No. 6 by Franz Schubert.  This piece was written when Schubert was only twenty years old but it wasn't performed until after his death.  I really enjoyed it, especially the melody played by the clarinet and the bassoon and then the response from the oboe and flute in the first movement.  It was a lovely evening listening to the Utah Symphony in a beautiful setting and I highly recommend getting a ticket to one of the remaining concerts at St. Mary's Church (or one of the concerts at Deer Valley).  Go here for tickets and information.

Crazy for You at the SCERA Shell Outdoor Theatre

When the summer shows at the SCERA Shell Outdoor Theatre were announced, I was most excited for Crazy for You because it is so fun with lots of fantastic singing and dancing. I had a wonderful time watching this delightful production under the stars last night. Bobby Child (Cam Bronson) wants to be a dancer in the Zangler Follies but his fiance Irene Roth (Lauren Billings) is eager to get married after waiting five years and his mother Lottie (Tina Fontana) wants him to work at the family bank. He is sent by the bank to Deadrock, Nevada to foreclose on a theatre owned by Everett Baker (Quin Swallow) but he falls in love with Everett's daughter Polly (Aubrey Jackson) and decides to save the theatre instead. Polly doesn't want anything to do with him so he impersonates Bela Zangler and brings his friends from the Zangler Follies to Deadrock for a show to raise the money to pay the mortgage. Chaos ensues when both Irene and the real Bela Zangler (Evan Meigs) come to town! The plot is a bit thin but it matters not because the best part of this show is all of the classic songs by George and Ira Gershwin, including "Shall We Dance," "Someone to Watch Over Me," "Embraceable You," "I Got Rhythm," "They Can't Take That Away From Me," and "But Not For Me." The choreography is spectacular and I especially enjoyed watching the dancing from the talented and enthusiastic ensemble in "I Can't Be Bothered Now," "Slap That Bass" (the use of rope as lassos and strings on a bass is so fun), "Stiff Upper Lip," and "Nice Work If You Can Get It." I also loved all of the physical comedy in "What Causes That" (the kids sitting around me laughed out loud through the whole number). Jackson has a lovely voice and her versions of "Someone to Watch Over Me," "Embraceable You," and "But Not For Me" are incredibly poignant and show a vulnerable side to the indomitable Polly. Bronson is very charismatic and has some impressive tap dancing skills (I love to see tap dancing in a show which is why I was so excited to see this). Another standout from the cast is Billings. She only has one big number, "Naughty Baby," but she makes it count by vamping it up in a thrilling performance. This set might be my favorite that I've seen at the SCERA Shell! Very detailed set pieces rotate to become the Zangler Follies Theatre, the buildings on Main Street in Deadrock, and backstage at the Gaiety Theatre in Deadrock and the backdrops, featuring the New York skyline and the red rocks of the desert, are visually stunning. All of the period costumes are great but I really liked the glitzy showgirl costumes and the colorful cowboy shirts. I highly recommend getting a ticket to this entertaining song and dance extravaganza during its run at the SCERA Shell (go here) because it is the perfect way to spend a summer evening (especially if you are an old-school musical theatre fan). Who could ask for anything more?

Green Border

I have very strong opinions about the treatment of refugees around the world so I knew that seeing Green Border at the Broadway last night would be upsetting, and it was, but I am glad that I did because it is a compassionate portrayal of people willing to do whatever they can to help those who have been unlucky enough to be born with the wrong passport.  Refugees from Africa and the Middle East are lured to Belarus by the dictator Alexander Lukashenko with promises of easy passage to the EU.  However, when they arrive, they are dumped by border guards in a treacherous forested area between Belarus and Poland as a political stunt.  Border guards in Poland, who fear that these refugees are terrorists sent by Lukashanko, transport them back to Belarus in the middle of the night only to be returned again.  This never ending cycle is shown from the perspectives of a Syrian family, including Bashir (Jalal Altawil), his father (Mohamad Al Rashi), his wife Amina (Dalia Naous), his son Nur (Taim Ajjan), and his daughter Ghalia (Talia Ajjan), trying to join a relative in Sweden, a Polish border guard named Jan (Tomasz Wlosok) struggling with the implications of what he is being asked to do, a group of activists, including sisters Marta (Monika Frajczyk) and Zuku (Jasmina Polak), trying to do what they can to help but fearful of being arrested, and a woman living near the forest named Julia (Maja Ostaszewska) willing to help the refugees no matter the cost.  The black and white cinematography, the narrative based on actual events and real people, and the authentic performances from the cast (most of whom worked for little or no compensation) make this seem like a documentary with very real and very high stakes.  I was incredibly moved by scenes depicting humanity both at its worst and at its best.  Of the former, I was particularly struck by a group of border guards who demand that a refugee pay 50 euros for a bottle of water and then pour it out in front of her because, even though there are more harrowing scenes, it is so cruel and petty.  Of the latter, I was moved to tears by a scene showing a group of boys interacting with the teens from the family who rescued them because it shows how similar they are despite their backgrounds.  This is a movie that is definitely going to stay with me for a long time, especially since this is still happening on the border between Belarus and Poland, and I highly recommend it.

Daddio

Another trailer that really caught my attention was the one for Daddio so I decided to see it at the Broadway last night.  It is a dialogue heavy two-hander that takes place in one location in real time but it is far more compelling than it has any right to be!  A young woman (Dakota Johnson) lands at JFK and gets into a cab driven by Clark (Sean Penn) for the ride home to midtown Manhattan.  At first the two of them engage in desultory small talk but, when they are detained for an extended period of time by a serious accident on the highway, he begins asking probing questions about her life and relationships.  She pushes back against his unsolicited advice but, when he suggests that he is the perfect person to talk to because she will never see him again, she opens up which allows both of them to share a profound human connection.  The script is incredibly intelligent with razor sharp insights about the dynamic between men and women that are sure to provoke lots of conversations.  Both Johnson and Penn give brilliant and highly nuanced performances (in my opinion Johnson is an outstanding actress when given the right material) and their chemistry with each other is authentic as they spar back and forth.  Even though almost all of the action takes place inside a cab, the cinematography is very dynamic with shots that alternate between Johnson and Penn and employ many different angles and perspectives (I loved the use of the rear view mirror).  I also really loved the moody original score because it adds another layer of subtext to the dialogue.  This might not be for everyone because it requires a lot of engagement but my attention never wavered and I would highly recommend it (with the caveat that there is a lot of profanity).

Janet Planet

I was intrigued by the trailer for Janet Planet so I decided to see it at the Broadway yesterday.  I was really impressed with the performances but I sometimes found it very tedious to sit through.  Janet (Julianne Nicholson) is a free-spirited acupuncturist living in rural Massachusetts with her precocious 11-year-old daughter Lacy (Zoe Ziegler).  During the summer of 1991 Janet has an ill-fated relationship with a withdrawn and troubled boyfriend (Will Patton), reconnects with an old friend (Sophie Okonedo) who is fleeing a new age commune, and pursues a friendship with the guru (Elias Koteas) of this commune.  Lacy cannot bear to be away from her mother (she begs to come home from summer camp and even pretends to be sick to delay going back to school) but she spends most of her time on the periphery of Janet's life while silently judging her choices.  This is a very impressionistic examination of a codependent relationship between a mother and daughter in which newcomer Ziegler brilliantly portrays the loneliness of a child who inhabits an adult world while Nicholson is heartbreaking as a mother who loves her child but is being suffocated by her neediness.  The narrative is incredibly thin and, while that is not necessarily a bad thing, the characters need to be compelling to sustain interest.  Unfortunately, I found them both to be unlikable (Janet is aimless and Lacy is manipulative) and there isn't any growth or resolution (I was actually stunned when the credits started rolling).  The images are beautiful and I liked the use of natural sound instead of an original score but the pacing is so boring deliberate that my mind wandered frequently (I get that many of these scenes are meant to mimic the boredom of a child spending the summer with only adults for company but that makes it boring for the audience, as well).  I am definitely in the minority but this just didn't do anything for me.

Fly Me to the Moon

Last night my sister and I went to an early access screening of Fly Me to the Moon (another movie on my sister's list) and we both really enjoyed it!  With support for NASA's mission to the moon waning, a marketing expert named Kelly Jones (Scarlett Johansson) is brought in to improve public opinion and ensure continued funding from Congress, much to the dismay of the launch director Cole Davis (Channing Tatum).  As the launch date approaches, the White House fears what a failure will mean for US-Soviet relations so Jones is coerced by a government official, Moe Berkus (Woody Harrelson), to create a simulation of the moon landing as a contingency plan.  However, Jones comes to believe in the importance of the mission, and develops feelings for Davis, so will she continue to fake it?  This is a fun and lighthearted romantic comedy, with a charming performance from Johansson and amazing chemistry between her and Tatum (even though I did have a hard time believing that Tatum was smart enough to be a director at NASA), and it is a lot funnier than I was expecting (I laughed out loud every time Jim Rash appeared on the screen as the flamboyant director of the fake moon landing).  This also has more substance than I was expecting with a dark backstory for Jones and a more poignant one for Davis that really informs the decisions that they make.  The story is also really compelling because the filmmakers manage to create a lot of suspense about the moon landing (even though we all think we know what happened).  I loved the 1960s aesthetic in the production design, especially the clothes, hairstyles, and cars, and I was impressed with all of the scenes at NASA, particularly the launch of the rocket.  This is an incredibly entertaining summer blockbuster that I highly recommend!

MaXXXine

I was quite surprised by how much I loved both X and Pearl so I was really excited to see MaXXXine, the conclusion to the trilogy, at an early access screening at the Broadway last night.  It is definitely the weakest of the three movies, which is a bit disappointing, but at least I had fun watching it with a big crowd.  After surviving a massacre at a Texas farmhouse, Maxine Minx (Mia Goth) is now living in Hollywood and working in the adult entertainment industry.  She signs on to star in a horror film, The Puritan II, written and directed by Elizabeth Bender (Elizabeth Debicki) because she is hoping for more mainstream success but her big break is jeopardized by a mysterious serial killer with ties to her past who is killing her friends and colleagues and using a private detective named John Labat (Kevin Bacon) to stalk her.  She evades homicide detectives Marianne Williams (Michelle Monaghan) and Ben Torres (Bobby Canavale) to confront the killer herself, in an epic battle at the Hollywood sign, and uses the notoriety to become the star she was always meant to be.  Just as X is an homage to the slasher films of the 1970s and Pearl takes inspiration from the Technicolor Golden Age of Hollywood, MaXXXine references the neo-noir erotic thrillers of the 1980s (it reminded me of a Brian De Palma movie).  It portrays the sleazy underbelly of Hollywood and the fear of the religious right about the influence of horror prevalent during the time period but these themes are not explored with any depth.  As a result, I found the climax and the big reveal of the killer to be incredibly underwhelming and I kept waiting for there to be another twist in the final few minutes.  Even though there is more style than substance, I thoroughly enjoyed the 1980s aesthetic in the costumes and production design as well as all of the needle drops, especially "Welcome to the Pleasuredome" by Frankie Goes to Hollywood during a club scene.  Goth is as compelling as ever, particularly in a scene involving an audition, and Bacon's over the top performance is so much fun to watch but most of the other actors are not given much to do and Debicki seems like she is in a completely different movie.  I didn't hate this but I was expecting so much more (because the previous movies are so good).

The Nutty Professor at HCT

Other than one of the best versions of Fiddler on the Roof that I've ever seen, I haven't been very impressed with the shows at HCT this season. Happily, that changed with their production of the new musical The Nutty Professor, which I was able to see last night, because it is so much fun! I don't know what I loved more: the story, the performances, the choreography, the costumes, the sets, or the projections! Julius Kelp (Spencer Jackson Hohl) is a nerdy and socially awkward chemistry professor at Korwin College who is often reprimanded by the dean, Dr. Warfield (BJ Whimpey), for blowing up his lab. He befriends Stella Purdy (Bre Welch), a new adjunct professor, but when he is humiliated by the star football players (Eric Ascione and Even McKay Naef), he decides that he must make some changes in order to impress her. He creates a serum that transforms him into the handsome and charismatic, but narcissistic, Buddy Love and soon the entire studentbody, including Stella, is under his spell. However, when Stella sees that Buddy is having a negative influence on the students, she realizes that it is Julius who she truly loves! This is a delightful and entertaining show and I love the message that it is always better to be yourself. Hohl is absolutely hilarious as Julius/Buddy because he is so good at the physical comedy! A scene where the serum wears off and he keeps transforming from Buddy to Julius and back again at inopportune times, with just a change in posture and facial expression, had me laughing out loud. He is also incredibly charming in all of the scenes with the students and it is entirely believable that Buddy could have them all swooning over him (I think Hohl may have actually taken the serum because all of the girls around me were swooning over him, too!). Welch has a beautiful voice and I especially loved her performances of "Too Much for Me" and "While I Still Have the Time." Everyone in the ensemble is insanely talented but I have to give a shoutout to Phil Lewis for the epic baton twirling! The choreography by Afton Wilson is amazing and it is worth the price of admission just to see all of the dazzling song and dance numbers. My favorites were "Dance to My Own Drummer," "(Hey Is It Me Or) Is It Hot in Here," "Buddy's Place" (especially when Julius suddenly appears and starts dancing awkwardly and then all of the students mimic him), "Everything You've Ever Learned is Wrong," and "Step Out of Your Shell" (the ballroom dancing is lovely). All of Joy Zhu's costumes are incredible (I was impressed by the sheer number of them) but I really loved the purple sequined suit worn by Buddy the first time he appears and all of the purple and yellow uniforms worn by the Korwin College cheerleaders, football players, and marching band (probably because they are the same colors as my college alma mater). I always love the sets at HCT and this one is no exception! The attention to detail in Julius' laboratory (I loved all of the neon potions in the beakers) is fabulous! Finally, the projections featuring atoms and the periodic table on the LED screens around the theater and on the stage are very amusing! I really cannot say enough about every aspect of this production and I highly recommend that you do not miss it! It runs on the Young Living Centre Stage through August 17 and tickets may be purchased here (but act quickly because many shows are sold out).

Note:  I saw Bre Welch last night in this show and her husband Addison the night before in Kiss Me Kate!

Kiss Me Kate at CPT

I went to see Kiss Me Kate at CPT a few weeks ago with my sisters but I had to leave at intermission because I was feeling sick. I was really disappointed because I had been looking forward to it and I liked it up to that point. I decided to get another ticket and, thankfully, I was able to stay for the whole show last night! Ironically, I enjoyed the first act, which I had already seen, much more than the second. This features the classic show-within-a-show conceit as a theatre company stages a musical version of Shakespeare's play The Taming of the Shrew. Chaos ensues when life imitates art and the former husband and wife actors Fred Graham (Addison Welch) and Lilli Vanessi (Michelle Blake) engage in backstage squabbling that mirrors that of their characters Petruchio and Katherine on stage. I especially loved the scenes from The Taming of the Shrew (I will be seeing it at the Utah Shakespeare Festival later this summer) because they involve a lot of physical comedy that made me and the rest of the audience laugh out loud as Fred and Lilli actually fight with each other in character ("Were Thine That Special Face" and "I Sing of Love" were highlights because they are absolutely hilarious). I think the story takes a detour in the second act in favor of random musical numbers ("Too Darn Hot") and a less compelling subplot involving a romance between Lois Lane (Keely Parry), who plays Bianca, and Bill Calhoun (Isaac Carrillo), who plays Lucentio ("Always True to You in My Fashion" and "Bianca"), until Fred and Lilli, as well as Petruchio and Katherine, suddenly get back together without much motivation. Even though the musical numbers in the second act are extremely well done (the tapping in "Too Darn Hot" is amazing and the English teacher in me loved "Brush Up Your Shakespeare") I found my mind wandering because I wanted more hijinks from the main couple. My complaints are with the material and not with the cast because the performances are fantastic. Both Welch and Blake have beautiful voices and their renditions of "So In Love" and "Where Is the Life That Late I Led," respectively, gave me goosebumps. As previously mentioned, their comedic timing and chemistry with each other is so much fun to watch. Parry and Carillo also have beautiful voices and the ensemble is incredibly talented but Jeremy Botelho and Brandon Garside practically steal the show as gangsters collecting on an IOU who end up on stage. The choreography, particularly for "Another Op'nin, Another Show," "Tom, Dick, or Harry," and "Too Darn Hot," is incredibly dynamic and high energy. The set, featuring backstage, an alley behind the theatre, dressing rooms, as well as a curtain and backdrops for the production of The Taming of the Shrew, is brilliant and the period costumes look great. I enjoyed this production even if the show itself is not my favorite. It runs on the Barlow Main Stage through July 13 and tickets may be purchased here.

Horizon: An American Saga Chapter 1

Last night I decided to see Kevin Costner's Horizon: An American Saga Chapter 1 because I really respect it when someone is willing to take a risk for something they are passionate about (this is why I am also eagerly awaiting Francis Ford Coppola's Megalopolis).  A group of rogue Apache stage a raid on a new settlement in the San Pedro Valley and massacre most of the inhabitants.  One survivor, a young boy named Russell Ganz (Etienne Kellici), joins a group of bounty hunters, led by a tracker (Jeff Fahey) interested in trading scalps for money, in order to get revenge.  Two other survivors, Frances Kitteredge (Sienna Miller) and her daughter Lizzie (Georgia MacPhail), follow Lt. Trent Gephardt (Sam Worthington) to the military fort Camp Gallant.  A horse trader named Hayes Ellison (Costner) arrives in the Wyoming Territory and, after he inadvertently runs afoul of brothers Junior and Caleb Sykes (Jon Beavers and Jamie Campbell Bower, respectively) as they search for the woman (Jena Malone) who shot their father and took their son, he flees with a prostitute (Abbey Lee) who was caring for the child.  On the Santa Fe Trail, Matthew Van Weyden (Luke Wilson) leads a group of covered wagons traveling west but an English couple, Juliette Chesney (Ella Hunt) and Hugh Proctor (Tom Payne), stirs up trouble within the group.  Tying the disparate narratives together is a poster, printed by Bailey Pickering (Giovanni Ribisi) and carried by many of the characters, advertising Horizon, the settlement attacked by the Apache.  This feels very much like the first episode of a TV miniseries where lots of characters and plots, which are sometimes hard to keep track of due to some major issues with pacing, are tantalizingly introduced but not developed or connected (there is even a montage at the end featuring scenes from the next episode).  Having said that, I do feel invested enough in the fate of these characters to see Chapter 2 (which will be released in August).  I also think the beautiful and sweeping cinematography, which showcases the grandeur of the West (it was filmed in Utah where I live), warrants releasing this on the big screen rather than as a TV show.  I did end up enjoying this (I really liked Costner's performance and direction) but I can only recommend it to people who are willing to commit to the entire saga (which could be four separate movies) because it definitely does not work as a standalone.