Anyone who knows me knows that I went through a pretty hardcore Hamilton phase when that musical first hit Broadway. I played the album all the time, I knew the vast majority of the lyrics. I adored that show. And I still do, even if I think In the Heights is Lin-Manuel Miranda’s superior show. So, naturally, when the news broke that Disney+ would be debuting the live capture of the show, recorded just before the original cast departed, over a year earlier than expected, I was devilishly excited. I’d only seen bits and pieces of the show, having never had a chance to see it in person, and I was so ready to finally see this show that I loved. Well, now that I’ve seen the film, how do I feel? I mean, it’s Hamilton and I love Hamilton. But, to be honest, this capture is a bit of a mixed bag. (4 out of 5 wands.)
Hamilton (directed by Thomas Kail, written and composed by Lin-Manuel Miranda) An unforgettable cinematic stage performance, the filmed version of the original Broadway production of “Hamilton” combines the best elements of live theater, film and streaming to bring the cultural phenomenon to homes around the world for a thrilling, once-in-a-lifetime experience. “Hamilton” is the story of America then, told by America now. Featuring a score that blends hip-hop, jazz, R&B and Broadway, “Hamilton” has taken the story of American founding father Alexander Hamilton and created a revolutionary moment in theatre—a musical that has had a profound impact on culture, politics, and education. Filmed at The Richard Rodgers Theatre on Broadway in June of 2016, the film transports its audience into the world of the Broadway show in a uniquely intimate way.
Who doesn’t love a good mystery? I feel like I say that every time I set out to review a mystery story, but it remains true. I just love mysteries. There’s something really enjoyable, though, about mysteries aimed at kids. It’s charming how simple those mysteries are and how they’re often used as a frame through which some kind of moral can be taught to children. Which is exactly where Agathe-Christine: Next Door Spy comes in. An English dub of a Danish film, Nabospionen, Next Door Spy is a weird little film. Ostensibly aimed at kids, I’m unsure exactly who the target audience is. It features a pretty simplistic plot, some surprisingly less-kid-friendly language, some uneven vocal performances, and some beautiful animation. It’s a mixed bag, but an enjoyable one. (3.5 out of 5 wands.)
Agathe-Christine: Next Door Spy (written and directed by Karla von Bengtson) The film follows ten-year old Agathe-Christine, who dreams about mystery from her new family’s basement, where she’s established a little detective bureau. But while solving the first mystery, she soon finds herself involved in a much more complicated case, bigger than she ever imagined.
1955’s Damn Yankees, with a libretto by George Abbott and Douglass Wallop, music by Richard Adler, and lyrics by Jerry Ross, is iconic in its own right. It is a retelling of the classic Faust story, with Joe Boyd selling his soul to Mr. Applegate in order to play for his favorite baseball team – the Washington Senators. It marked the first collaboration between Bob Fosse and Gwen Verdon, leading to their multi-decade relationship and partnership. It ran for 1,019 performances on Broadway and spawned a reasonably successful film adaptation in 1958. So, why is Damn Yankees revived so rarely? Aside from a short, but successful, run in 2008 as part of the City Center Encores! Series, the last major American production of the show was its 1994 revival – a revival that ran for over two years, itself. If the show is as popular as it seems, why is it so rarely done outside of schools and other smaller theatres? Perhaps it has something to do with its subject matter and how well it has stood the test of time? That is certainly true for other Golden Age musicals. But is it true for Damn Yankees? Maybe not. In fact, Damn Yankees is one of the rare Golden Age musicals that holds up relatively well. However, there are certainly things that can be done to make it more appealing for a modern audience – most notably an update in its depiction of women. (more…)
I love Scooby-Doo. I’m way out of the age range for the show these days and I haven’t regularly watched anything from the series since the mid-2000s, but it still holds a special place in my heart. I grew up on those direct-to-VHS movies and re-runs of the old series (especially A Pup Named Scooby-Doo) on Cartoon Network. So, it’s one of those things that will always be special to me. However, I tend not to be one of those fans who get upset by changes made to the franchise. I really enjoyed the live-action Scooby-Doo films from the early 2000s and when I first saw the trailer for Scoob!, the latest theatrical reboot of the series, I was intrigued. The animation style was neat, it seemed to be teasing a pretty enjoyable story, and I was interested to see what some new talent could bring to the material. Thankfully, even with most movie theaters around the country closed, Scoob! was able to make its initial release date – just on PVOD instead of in theaters. So, having seen Scoob!, how is it? In short: it’s surprisingly solid. It’s a decent-if-predictable story with some good jokes, some beautiful animation, and a lot of heart. (Mild spoilers follow!)
Scoob! (written by Kelly Fremon Craig; directed by Tony Cervone)
“SCOOB!” reveals how lifelong friends Scooby and Shaggy first met and how they joined with young detectives Fred, Velma and Daphne to form the famous Mystery Inc. Now, with hundreds of cases solved and adventures shared, Scooby and the gang face their biggest, most challenging mystery ever: a plot to unleash the ghost dog Cerberus upon the world. As they race to stop this global “dogpocalypse,” the gang discovers that Scooby has a secret legacy and an epic destiny greater than anyone imagined.
Among the artistic industries suffering the hardest during the COVID-19 crisis is the Broadway community. Unlike with film and TV, Broadway has nearly nothing “in the can” that they can roll out to fill the time all of their theatres are shut down. No shows can be performed while all the theatres are closed and nobody can gather to see them. So, what is Broadway to do? Answer: release some of the musicals they’ve professionally filmed over the years. Which is where Bandstand enters. Directed and choreographed by Andy Blankenbuehler and featuring a book and lyrics by Richard Oberacker and Robert Taylor and music by Richard Oberacker, Bandstand tells the story of a group of PTSD-suffering World War II veterans who, after returning home from the war, form a band and compete in a nationwide songwriting competition. The show opened on April 26, 2017, and closed on September 17, 2017, playing only 166 performances. The musical was filmed towards the end of its run and shown in movie theaters in November 2018. Yet most of the public, even the theatre-going public, probably haven’t heard of it. With its early closure, its mixed reviews, and its lack of any major Tony nominations, Bandstand would seem to the definition of a flop destined to rot in obscurity. But does it deserve that reputation? From a financial standpoint, sure. But from a creative one? I’d argue the opposite. I’d argue that Bandstand is one of those forgotten treasures that hit Broadway at exactly the wrong time. It’s a show filled with captivating characterizations and excellent music and is well worth a watch. (Spoilers for Bandstand follow.)
Bandstand (directed by Andy Blankenbuehler, lyrics by Richard Oberacker and Robert Taylor and music by Richard Oberacker)
1945; as America’s soldiers come home to ticker-tape parades and overjoyed families, Private First Class Donny Novitski, singer and songwriter, returns to rebuild his life with only the shirt on his back and a dream in his heart. When NBC announces a national competition to find the nation’s next great musical superstars, inspiration strikes! Donny joins forces with a motley group of fellow veterans, forming a band unlike any the nation has ever seen. Along the way, they discover the power of music to face the impossible, find their voice and finally feel like they have a place to call home.
I haven’t read a single Star Wars novel since 2016’s Bloodlines (which was genuinely one of the best Star Wars stories, in general, and should be read by all Star Wars fans). It’s not that I don’t have any interest in them, although I did find it a little frustrating that so many of them were being published in the eras of the Prequel Trilogy and the Original Trilogy instead of during the era I was more interested in reading about – the Sequel Trilogy. It’s just that I didn’t really have the time to read these books that might get invalidated in a few years by another canon overhaul alongside all the other books I wanted to read. So, many Star Wars books fell by the wayside. But when I heard about Dooku: Jedi Lost, I was immediately interested. I love audio dramas and I have really enjoyed Cavan Scott’s work on various Doctor Who titles, so I was definitely intrigued. Unfortunately, having read the script and listened to the audio drama, Dooku: Jedi Lost feels more like a lost opportunity than a truly good audio drama. It’s got a good plot but the story doesn’t work well in this medium. (Spoilers follow!)
Star Wars – Dooku: Jedi Lost (by Cavan Scott)
Darth Tyranus. Count of Serenno. Leader of the Separatists. A red saber, unsheathed in the dark. But who was he before he became the right hand of the Sith? As Dooku courts a new apprentice, the hidden truth of the Sith Lord’s past begins to come to light.
Dooku’s life began as one of privilege—born within the stony walls of his family’s estate, orbited by the Funeral Moon where the bones of his ancestors lie interred. But soon, his Jedi abilities are recognized, and he is taken from his home to be trained in the ways of the Force by the legendary Master Yoda.
As he hones his power, Dooku rises through the ranks, befriending fellow Jedi Sifo-Dyas and taking a Padawan of his own, the promising Qui-Gon Jinn—and tries to forget the life that he once led. But he finds himself drawn by a strange fascination with the Jedi Master Lene Kostana, and the mission she undertakes for the Order: finding and studying ancient relics of the Sith, in preparation for the eventual return of the deadliest enemies the Jedi have ever faced.
Caught between the world of the Jedi, the ancient responsibilities of his lost home, and the alluring power of the relics, Dooku struggles to stay in the light—even as the darkness begins to fall.
Birds of Prey is one of those comic properties that know very little about. While I’ve always been more of a DC fan, and Batman has always been my favorite of the DC heroes, I’ve rarely ventured too far outside of his main title. Of course, I’ve seen some of his various animated films and shows, so I’m familiar with characters like Harley Quinn and Renee Montoya, but I’ve never been introduced to Huntress or Black Canary. So, going into this movie I wasn’t really sure what to expect. The DCEU has a historically uneven track record, with only Wonder Woman and Shazam being particularly good and this film is technically a sequel to the atrocious 2016 Suicide Squad film, so there was certainly no guarantee of quality here. Couple that with the slightly-unusual way the film was promoted and it became quite hard to predict just what kind of film Birds of Prey would be. Luckily, the film is an utter delight from start to finish and ranks among the best entries of the DCEU to date. (Mild spoilers follow!)
Birds of Prey (And The Fantabulous Emancipation of One Harley Quinn) Written by Christina Hodson and directed by Cathy Yan
You ever hear the one about the cop, the songbird, the psycho and the mafia princess? “Birds of Prey (And the Fantabulous Emancipation of One Harley Quinn)” is a twisted tale told by Harley (Margot Robbie) herself, as only Harley can tell it. When Gotham’s most nefariously narcissistic villain, Roman Sionis (Ewan McGregor), and his zealous right-hand, Zsasz (Chris Messina), put a target on a young girl named Cass (Ella Jay Basco), the city is turned upside down looking for her. Harley, Huntress (Mary Elizabeth Winstead), Black Canary (Jurnee Smollett-Bell), and Renee Montoya’s (Rosie Perez) paths collide, and the unlikely foursome have no choice but to team up to take Roman down.
You never know what you’re gonna get with an indie/low-budget horror movie. You could get a movie that’s super charming and works really well within the constraints forced upon it (by budget/time/available talent/etc) or you could get something that’s truly appalling and devoid of any entertainment value whatsoever. Or you could get something somewhere in between, where it’s clear that a lot of love went into the creation of the film but some element of its making went catastrophically wrong. That’s the joy of looking into a low-budget horror movie. For every gem (like Rubber), there’s an enjoyable-yet-bad film (like Attack of the Killer Tomatoes), and at least three films that are too awful to watch (like Thankskilling, half the Troma catalog, or Birdemic). So, where does Headshots fall in this breakdown? Well, much to my surprise and enjoyment, it falls within the first camp. Headshots is a charming film that makes the most of its constraints and brings an interesting twist to its premise. (Mild spoilers follow!)
Headshots (written and directed by Chris O’Neill)
HEADSHOTS follows a young British actress who goes to LA to be a movie star- only to cross paths with a serial killer in her acting class.
I’m always willing to give a movie with an interesting premise a shot – especially if that film has a solid trailer. This was the case with My Hindu Friend, a film that sounded like I might enjoy it. While I don’t often watch films that fall into a strictly realistic genre, I can enjoy a good one. But the trailer for My Hindu Friend made it look like something more unique than any of the other films that have tackled this kind of subject. And, to be totally fair to the movie, it probably is unique from most other films of its ilk – but I wouldn’t say that’s really a compliment in this case. Let’s be clear – there are moments of brilliance in My Hindu Friend, but it takes the better part of an hour to find any of them and much of the rest of the film just feels like a jumbled mess of scenes, ideas, and characters that never fully coalesces into a coherent story. But, hey, at least those few moments of brilliance are fun to watch.
My Hindu Friend (written by Hector Babenco and Guilherme Moraes Quintella, directed by Hector Babenco)
Diego (Willem Dafoe) is a film director very close to death, surrounded by people who are having trouble dealing with his current tempestuous mood. Chances are he won’t survive, but if he does, that means he needs to relearn how to live.
Oh, Star Wars. Is it the curse of nearly every Star Wars film made after 1983 to be extremely divisive? While I wasn’t one of the people who abhorred The Last Jedi, I also wasn’t one of the people who adored it. There were some solid ideas (that, admittedly, weren’t executed very well) mixed in with some less-than-stellar ideas, and the movie didn’t really do a great job at setting up the final film in the trilogy – which, really, is the entire purpose of a trilogy’s middle film. So, in the wake of all of that, was it ever really possible for The Rise of Skywalker to actually be very good or remotely satisfying? I’d argue it wasn’t, which is exactly the mindset I went into this movie with. Somehow, I was still disappointed, though. In fact, Star Wars: The Rise of Skywalker is a deeply frustrating film. In trying to please everybody, it pleases nobody. It tries to cram too much plot, and too much poorly-thought-out fan service into too little a runtime to make something remotely interesting. (Very mild spoilers may follow; you’ve been warned.)
Star Wars: The Rise of Skywalker (written by J.J. Abrams and Chris Terrio; directed by J.J. Abrams)
Lucasfilm and director J.J. Abrams join forces once again to take viewers on an epic journey to a galaxy far, far away with Star Wars: The Rise of Skywalker, the riveting conclusion of the seminal Skywalker saga, where new legends will be born and the final battle for freedom is yet to come.