Tag: High School

MEAN GIRLS (2024) – Review

Avantika plays Karen Shetty, Angourie Rice plays Cady Heron, Renee Rapp plays Regina George and Bebe Wood plays Gretchen Wieners in Mean Girls from Paramount Pictures. Photo: Jojo Whilden/Paramount © 2023 Paramount Pictures.

Get ready for another “full circle film”, an IP (intellectual property) that began in one medium, was adapted to another, and then returns to that original medium. One of the more recent Broadway trends, along with the “jukebox musical”, has been taking an often beloved feature film and adapting it into a big splashy stage musical. And when they’re big hits, then bring the musical take to the big screen. Back in 2005, THE PRODUCERS did the big “whip-around” when the musical based on the 1967 Oscar-winning classic played (briefly) at the multiplex. A couple of years later saw the tune-filled return of HAIRSPRAY. Just a few weeks ago (it’s still playing in many markets) THE COLOR PURPLE did much the same, although it may be more of a “full-square” as it began as a book that became a 1985 Spielberg epic. As the TV hosts might say, “On a much lighter note”, we’ve got a big circle all within the 21st century as an adored (and endlessly quoted) cult comedy from way back in 2004 is now filling the world’s movie theatres with those singin’ and dancin’ divas, the MEAN GIRLS.


In the first of many “tweaks,” we first meet the misfit duo of North Shore High, Janis (Aluli’i Cravalho) and Damian (Jaquel Spivey), who serve as the story’s guide and narrators. Their garage/TikTok studio door opens up to the wilds of Kenya where teenager Cady Heron (Angourie Rice) is told by her wildlife-researcher mom (Jenna Fischer) that her homeschooling is done. They’re moving back to the States, where Cady will be part of the aforementioned school’s student body. Principal Duvall (Tim Meadows) escorts her to her first class, Calculus taught by Ms. Norbury (Tina Fey). Seems that Mama Heron has taught Cady well, but she’s not prepared for the battlezone AKA the school cafeteria. Luckily Janis and Damian take her under “their wings” and point out the different “social groups” (“burn-outs”, “goths”, etc.). Oh, and Cady is warned about the “queens” known as “the Plastics”. The trio consists of gorgeous, dim Karen (Avantika), insecure “lackey/sidekick” Gretchen (Bebe Woods), and their “leader’ the imposing goddess Regina George (Renee Rapp). Surprisingly she welcomes the new, “girl from an exotic land” Cady, and puts her in the runnings as a ‘fourth wheel”. Damian and Janis (who also has a history with Regina) encourage her to join and give them “the dirt” on the group. But things take a drastic turn when Cady becomes smitten with hunky Aaron (Christopher Briney), who just happens to be Regina’s ex (gasp). What will happen when Regina finds out? Cady survived the carnivores of Africa, but can she stand a chance against the sharpened talons of Ms. George?

The young cast expertly hits all the comedic and melodic beats of this musical fable. Rice is the story’s focus and quickly has the audience’s support as the wide-eyed innocent Cady. Perhaps because she’s the film’s heroine she doesn’t have as much opportunity to “cut loose”, although we get a hint of her range when Cady goes “dark”. The much “showier” role is the fierce and fiery (literally) Janis given an energetic power by Cravalho, perhaps best known as the voice of Disney princess Moana. With her third-act retelling of a childhood trauma, she truly ignites the screen. Her rival in many aspects of Cady’s character arc is Rapp as the sadistic “queen B” Regina whose sly seductive smile masks her cruel nature. At times she seems to be a bored cat casually taunting a mouse in its clutches, as she manipulates everyone into being pawns in her schemes. Rapp catutes that camp villainy and proves to be a most compelling crooner. Wood elicits lots of empathy as the needy, over-eager-to-please Gretchen while Avantika scores loads of laughs as the bubble-brained Karen, bouncing off the screen in the big Halloween number. Spivey brings lots of energetic charm to the cliche role of flamboyant BFF supporter Damien, while Birney is the required “eye candy” as the affable, but somewhat bland Aaron. But for many, the movie’s big highlight is the return of original faculty members Fey and Meadows who seem to have been “frozen in time” ( the old Captain America “pause”) as Norbury and Duvall, effortlessly hilarious in their too, too brief bits of screen time, making us wish that two other newbies, but also comedy vets, Jon Hamm and Fischer were given chances to shine. Luckily Busy Phillips picks up some of the “slack” as Regina’s too accommodating, wistful mother.

This reimagining is helmed by the first-time feature film directing team of Samantha Jayne and Arturo Perez Jr., who use several interesting techniques to “open up” the “Broadway staging’, giving the plot a sense of urgency I like the opening number’s quick location transitions), They’re striving to give this remake its own energy and style, though many storybeats feel lifted right from the 2004 original. But unlike that version, the kids must deal with social media which gets an exhausting couple of zippy montages. Ditto for many of the bouncy dance numbers especially an elaboration of the “school is a jungle” sequence from the first flick, with the “beasts” giving Regina her invisible “walkway”. Aside from those big numbers, the power ballads”, and the phone videos and memes, is this one an improvement over the now twenty-year-old gem? Not especially, but the script and setup by Ms. Fey endures and stands the “test of time”. It’s a very different “take” that should engage those “theatre geeks” (just hope that your multiplex’s sound system is up to it, as ours “garbled” most of the lyrics so it’s impossible to judge the quality of the tunes), but it won’t replace that well-worn disc (or maybe you still have a tape) of those marvelous but often malicious MEAN GIRLS.

2.5 out of 4

MEAN GIRLS is now playing in theatres everywhere

RUBY GILLMAN, TEENAGE KRAKEN – Review

Things have certainly gotten interesting recently with the Summer box office. Usually, we’d be talking about the records being broken by the superhero franchises or the big action-adventure “tentpoles”. Then a big switch happened last weekend when the first two spots in the weekly BO “Top Tens” were animated features. Studio wisdom was the notion that animated flicks would “cancel each other out” hurting the ticket sales on both. Nope, not this time, though the rapid downhill trajectory of a certain scarlet speedster aided their performance. Could this brand-new animated feature snag a spot in the top five with the other two holdovers? Mind you, that globetrotting archeologist will crack his bullwhip into the upper slots on the roster. However, families may want to return to the sea after that recent Disney live-action remake and dive into the adventures of another mythical nautical being, RUBY GILLMAN, TEENAGE KRAKEN.

Wait a sec, isn’t the Kraken a monstrous destructive demon from the ocean’s depths, from CLASH OF THE TITANS, as in “Release the…”? Well, the savvy narrator at the start of this story sets us straight. It seems that the Krakens are really the protectors of the sea, battling other “beasties’ including those savage mermaids (so they’re “baddies”). Plus it turns out that a family of Krakens lives on the land in the port city of Oceanside as the Gillmans (figures). They can “pass” as long as they stay out of the water, and cover their gills with high collars and turtleneck sweaters. The title character, Ruby (voice of Lana Condor) is a high schooler sharing a home with her bratty kid brother Sam (Blue Chapman), crafting wizard and shop owner dad Arthur (Coleman Domingo), and successful real estate agent mom Agatha (Toni Colette). Ruby really wants to go to the upcoming prom with her crush Connor, but Agatha nixes the notion since the dance is on the deck of a big tourist touring ship. But then Ruby’s rebellious pals decide to attend the party “ironically”, so Ruby sets her sights on her dream guy. Oh, but she botches the “prom-posal” and knocks Connor into the “drink”. Ruby saves him, but the seawater transforms her into a multi-tentacled, Godzilla-sized monster. After she dries off and shrinks back to normal (away from the hundreds of digital devices that captured her “rampage”), Ruby confides to her visiting Uncle Brill (Sam Richardson). To answer her questions he guides her deep beneath the surface to get the answers from his mother and her “Grandmamah” (Jane Fonda), the Kraken Quenn. It seems that Agatha gave up her title to live on the land. Ruby returns home hoping to confront her mother. But a new girl shows up at school to complicate things. Perhaps Chelsea (Annie Murphy) has a similar secret. Could she derail Rby’s big night with Connor? More importantly, will Ruby embrace her royal nautical heritage before she’s “discovered”?

The diverse vocal cast, composed of big-screen newcomers and veterans, enhance this whimsical tale. Connor is quite impressive as the teen hero, full of emotion with her pals and in her budding romance, while also showing us her anger over the family history denied to her. Collette as her mum Agatha revels in her hectic balance of sales and family dynamics, loving her new “land” life, but finally realizing that she must embrace her “warrior princess” past. A big part of the latter is Grandmamah, who is given a feisty and haughty tone by Fonda, is thrilled by her newly discovered grandkids, and revels in a bit of mischief with Ruby. Richardson brings an endearing goofball charm to the flaky and fun Uncle Brill. Another comedy pro, Will Forte, is aboard as an old local “salt” who seems to be somewhat related to the Simpsons’ sea captain (“Argh, matey”) and the talking “seadog” picture in the attic of Seth Myers during his “late night lockdown” a couple of years ago. However, Gordon (as in Gordon Lighthouse…clever) has an over-caffeinated mania to his guttural rants.

As with many animated features, this is overseen by a directing “tag team” duo, Kirk Demicco and Faryn Pearl. They’ve created a dazzling colorful world on land and underwater, offsetting soft pastels with bouncy bursts of near-fluorescent hues of violet and deep blue. The Gillman family has a “loosey-gooey” way of movement, a rubbery lurch as though their inner frames were a variation of a classic toy of my youth, the Slinky (“fun for a girl and a boy”), so I’m officially ancient. As with other recent CG flicks (LUCA for one), the artists have done variations of anime facial designs and expressions, which work well to convey the ultra-dramatic teenagers. Unfortunately, the script loses focus around the midpoint to set up a big fantasy action-packed showdown finale. Plus it explores many of the themes of maturity (really puberty) that were better discussed in Pixar’s TURNING RED a few years ago (from giant red panda to towering tentacled “beastie”). And much like the overrated THE MITCHELLS VS. THE MACHINES, too many slapstick sequences are slowed down (like “bullet-time” in THE MATRIX) in order for the characters to “get in your face” with distorted bits of “mugging”. The preteen set may find this engaging, but after the marvels of the Spider-Verse, animation aficionados may be “treading water’ in the familiar “depths’ and “shallow” interludes at the “surface” of RUBY GILLMAN, TEENAGE KRAKEN. “Glub, glub”.


2 Out of 4


RUBY GILLMAN, TEENAGE KRAKEN is now playing in theatres everywhere

DEAR EVAN HANSEN – Review


(from left) Connor Murphy (Colton Ryan) and Evan Hansen (Ben Platt) in Dear Evan Hansen, directed by Stephen Chbosky.

And a week later we’re back in the messy, stress-filled, anxiety-inducing halls of high school in this new film. Oh, this has songs too, since it’s also based on a musical produced for the stage. But that may be where the similarities end (well, Daddy’s not running the house). EVERYBODY’S TALKING ABOUT JAIMIE is set in the UK, Sheffield specifically, with a lead character who’s fairly happy, though he yearns to follow his drag diva dreams. Across the pond, in the US in an unnamed sunny suburb (probably in the West, with mostly Atlanta, again, based-locations), this title character (he gets his full name, though) doesn’t really have such long-term goals. He’s just trying to “push on” while remaining essentially invisible to his classmates. Oh, and this tale tackles life and death issues, really. Plus it was a big Tony winner back in 2015. And all the songs and drama stem from a letter that opens with DEAR EVAN HANSEN.


Actually, those are the first words we see, on a computer monitor. Nervous, always anxious Evan (Ben Platt) is completing the daily assignment given to him (along with a prescription for lots of meds) by his therapist. It’s a letter to himself, a sort of written “pep talk’, pushing him to assert himself and strive for positivity. He’s interrupted by a phone call from mother Heidi (Julianne Moore) who has to work later at the hospital (she’s gotta pick up shifts since her hubby went AWOL years ago). Soon Evan arrives for the first day of his senior year of high school. He dashes to the gym where he helps run the audio system for the big “welcome assembly” alongside old “family friend”, the snarky Jared (Nik Dodani). As usual, Evan pines for the band’s cute guitarist, Zoe (Kaitlyn Dever). Unfortunately, Evan runs afoul of her sullen brother Conner (Colton Ryan) in the computer room. After writing his name in huuuge letters on Evan’s arm cast, Connor snatches up Evan’s daily letter from the single printer. Incensed at the mention of his sister in it, Connor storms off with the letter. Days later, Evan is called into the principal’s office where he meets Connor’s distraught parents, Cynthia (Amy Adams) and Larry (Danny Pino). It seems their son took his own life and the only note found was Evan’s stolen letter. Cynthia believes it was written by Connor and that he and Evan were “secret” BFFs. In an effort to give them some comfort, a flustered Evan lies. This lie leads to others as he and Jared compose more “fake” emails for a “fake” secret online account. Soon Evan is coming over to Cynthia’s home, mostly to be closer to Zoe. But things get more complicated when the very popular Alana (Amandla Sternberg) approaches Evan about raising funds for a suicide prevention program dubbed “The Connor Project”. When his speech goes viral, Evan finds himself drowning in a sea of deception. Can he stay adrift or will he be dragged down in the depths of (well-intentioned) deceit?

Reprising his Tony-winning role, Platt easily works past the media speculations about his “aging-out” of the seventeen-year-old (hey look at most teen TV dramas from a few decades ago) and is achingly believable as the awkward, twitchy Evan. His social awkwardness is expertly conveyed by Platt’s body language as he walks stiffly with shoulders haunched and arms never veeringly far from the torso. This also heightens his musical numbers as his confident singing makes up for his character’s stunted verbal skills. As his fib grows we see him start to blossom (thanks to Zoe, perhaps), occasionally lashing out (poor mum), but that “skittish mouse” is always there, especially when the “social walls” begin to close in. As Zoe, Dever projects a lot of the rebellious, but still accessible “cool kid” vibe as she delves into her complex family issues (at the dinner table she’s the unfiltered “voice of truth”). As for the main adults, Adams as Cynthia is vulnerable and somewhat fragile as she uses the “letter’ as a lifeline that will soften her grief, holding on to a fantasy of her son with her last bit of strength. Pino as Larry tries to be the “solid anchor’ for the floundering family, but he’s trying to push down his own feelings of anger at rage (over Connor, but mainly directed at himself). Though she’s absent (dashing through the hospital) for most of the tale’s midsection, Moore is strong but somewhat oblivious as the frazzled, but proud Heidi, who truly thinks her son has defeated his past demons (and Moore does well with her solo song). Sternberg is quite compelling as the high school “joiner” and organizer whose bright smile is her shield against her own insecurities as she and Evan bond over their mood-altering meds. Ryan, in a pivotal role with little screen time, ably handles the different “versions” of the volatile Connor, truly scary in hisreal encounter with Evan, and endearing as Cynthia’s “fantasy” of a sweet devoted pal. And luckily, Dodani generates some much-needed levity as the cynical Jared, taking the “p#*%s” out of his “bro” at nearly every turn.

The direction from Stephen Chobsky (best known for helming the movie of his YA novel THE PERKS OF BEING A WALLFLOWER) is very creative, exposing little of the material’s “stage roots’, while “opening up” the story and making it a bit more intimate, as the camera can focus in on the main characters. He eases the action into the musical numbers with few bombastic bits of flourish. Plus he makes great use of montages in order to bring us into the “viral world”, which is as important a setting as the school or Zoe’s opulent home (or Heidi’s modest two-bedroom tract house). Unlike the aforementioned JAIMIE, there’s not an abundance of flashy dance numbers (“Sincerely, Me”, a fantasy duet with Evan and Connor comes close), which aid in showcasing the clever songs by Justin Paul and Dan Romer (LA LA LAND). The screenplay from Steven Levenson (another Tony winner)aptly explores the social hierarchy of high school while also touching on economic class clashes (Evan likes the “swanky digs” at Zoe’s), though the third act (like many stage shows) feels a bit lacking in its denouncement, especially as Evan “faces the music” while trying to achieve a somewhat hopeful finale’.I kept harkening back to a much darker, though similar in subject teen comedy/drama from 2009, Bobcat Goldthwait’s WORLD’S GREATEST DAD, which is an underrated gem with a messier, but more compelling conclusion. The final moments aside, this is one of the better stage adaptations with soulful songs and a stellar cast giving the flick a real emotional punch. DEAR EVAN HANSEN delivers its heartfelt message both dramatically and musically, one that should resonate with all ages (and hopefully lead to some needed family discussions).

3 Out of 4

DEAR EVAN HANSEN opens in select theatres on Friday, September 24, 2021

BOOGIE – Review

Though film fans may not acknowledge it, several other entertainment venues have had a tough time getting by in the past year. Just a few miles from the shuttered multiplex there were the empty stadiums and sports arenas. Now many more theatres are starting to open their doors once more (hey Big Apple and Tinsel Town), and the prospect of watching live baseball in a few weeks has many fans ecstatic. But there’s another sport just finishing up, allowing a few fans in, and adding another pandemic phrase for the “new normal”. That would be the basketball “bubble” that’s had a bumpy history. This new release is set in the before days, with a high schooler “baller” dreaming of the “big show”. But his parents are also counting on his “dream”. That and the pressure of representing his unique cultural community weigh heavily on the shoulders of the teen “hoop sensation” nicknamed BOOGIE.

His story actually begins just months before his birth in 2001 as a fortune teller tries to convince a young Chinese-American couple to stick together for their baby. Jumpcut to 2019 as that child, the lanky high school senior named Alfred “Boogie” Chin (Taylor Takahashi) has used his considerable basketball skills to gain entry into an elite NYC prep school. He cruises through his courses with the help of his best pal and teammate Richie (Jorge Lendeborg Jr.) while trying to “make time” with the dazzling Eleanor (Taylour Page). These activities take a back seat to his efforts to be noticed by college scouts. But the big pressure comes from his folks, who are still together despite their clashes. Mr, Chin ( Perry Yung) is on parole after an assault conviction, and ekes by as a runer for sports gamblers, while his missus (Pamelyn Chase) tries to keep them from drowning in debt. They believe Boogie could be their winning ticket if he can nail down a college scholarship which would lead right into the NBA. Unfortunately, Boogie alienates the scouts with his on-court “showboating” and inability to adhere to Coach Hawkins’ (Domenick Lombardozzi) plays. When he’s not playing, Boogie spends his evening at an outdoor court called “the Barracks’ which is ruled by the swaggering “B-ball” bully known as Monk (Bashar “Pop Smoke” Jackson). They’ll face-off soon, and Boogie hopes to be ready. But as their match approaches, things at home heat up as his mom brings in a “wannabe” sports again named Melvin (Mike Moh), who gets an offer from the pros…in China. His folks are truly split on this idea, while Boogie ponders these options as things begin to heat up with Eleanor. But before contracts can be signed he has to reign in his ego and prepares to take on Monk in a game that could decide his, and his family’s, entire future.

In his screen acting debut, Takahashi proves he has the dramatic skills to match his athletic prowess, looking confident on and off the court in the title role. In school, he’s all “laid back” as he teases Richie and works his line on Eleanor (one of his “compliments” should have gotten him suspended at least), but in his quiet time, we see the at-home tensions in his sad, downturned eyes. His folks are pulling him from all sides, often using him as a weapon on each other. Boogie works out those conflicts on the court, but he frustrates the audience and his peers with his casual arrogance, but Takahashi still has us rooting for him. Luckily Paige as Eleanor brings out his tender side, even as she projects a tough, “don’t play me” attitude as she strips away his sports “swagger”. Much of the same can be said of Lendeborg Jr. as his confident/defender who tires of being the “gatekeeper” to Boogie, enduring endless questions from his Coach, played with a “tough love” concern along with endless patience by Lombardozzi. As for the basttling Chins, both have been “beaten down” by life, with that frustration often exploding at each other and their son. For Yung, he views his son as a way to express his cultural pride, and perhaps a way to shake his ex-con stigma. Chee’s much more of a “hard case”, a version of the pop culture “tiger mom”, who’s unable to express any maternal affection for fear it will take Boogie’s mind off “the prize”. And while they act out (lots of destroyed dishwares), they are still moments of unexpected tenderness. Moh, who we last saw as Bruce Lee fighting Brad Pitt, conveys the right amount of silky-smooth sleaze as the low-rent Jerry Maguire with a financial interest in Boogie and a personal one in his mom. Fortunately, the film has a great villain in Jackson who has a truly terrifying gaze as the gifted thug Monk who will go to any lengths to win.

And this is another debut, behind the camera (and script). Restaurateur, clothing designer, author, and sitcom-creator (ABC’s “Fresh Off the Boat”) Eddie Huang can now add feature film writer/director to his list of accomplishments. Huang never appears to hit a false note with his glimpse into this culture barely explored on our shores, making a gritty urban companion to the recent MINARI. There’s a yearning from the characters to break out of the stereotypical roles US society wants to impose. In one scene Boogie’s pop makes him watch a big tennis match from the 90s, hoping he’ll be swept up in a major sports victory for a Chinese-American. Huang captures the rhythms of the crowded streets along with the flirty exchanges between Boogie and his pal and Eleanor and his BFF. The pace shifts to the game sequences as Huang puts us right in the middle of the “organized chaos” as Boogie seemingly ignores any pleas for the ball from the other players, while the Coach can only swallow his anger with a few ineffectual vocal bursts of “C’mon!”.Much of that is true in the domestic battles as mother and father vie for domination, as Boogie looks on with tired regret. And though it ends with the “big game”, as most sports films do, Huang doesn’t indulge in the usual cliches (a shift to slow motion as the music swells). As family drama and coming of age basketball fable, BOOGIE scores.

3 out of 4


BOOGIE is now playing in select theatres.

LUCE – Review

Enough with Summertime frivolity, time to get serious. Really, here’s a real thought-provoking, and debate-provoking, drama featuring some award-winning actors and a fresh new actor who could be up for several of those with this work. Though set in the world of high school, this film focuses on the parents and teachers as much as the students. Yes, it is a drama, but it’s also a mystery, as loyalties change and evolve, and unlikely alliances are formed. Throw in explorations of class and race and you’ve got a compelling tale that swirls all around the title high school student, the young man named LUCE.

The story opens at the start of his senior year as Luce Edgar (Kelvin Harrison Jr.) delivers a speech to a most appreciative audience of fellow students, faculty, and parents including his folks, Amy (Naomi Watts) and Peter (Tim Roth). Ten years ago the Edgars brought Luce over from the war-torn African nation of Eritrea where he was a “child soldier”, and after months of therapy, adopted him. The only one not enthralled with the speech is Luce’s taciturn history teacher Harriet Wilson (Octavia Spencer), who meets the Edgars post-speech along with Principal Dan Towson (Norbert Leo Butz). Shortly after the event, Ms. Wilson calls in Amy for a private meeting at the school. Harriet was alarmed by Luce’s recent essay. It was to be told in the voice of a historical figure (some students chose FDR). Luce picked the violent revolutionary West Indian radical leader Frantz Fanon. The brutal rhetoric of the paper alarmed Harriet so much that she searched Luce’s locker and found a bag of illegal (and very dangerous) fireworks. Amy is shocked by the violation of her son’s privacy at first. Breaking the news to Peter, the parents are conflicted over what to do next. This sets off a chain of events that lead to secrets concerning sexual assault, drugs, and the whole social class system of the school and eventually threatens this “model family” and “shining example” son.

This film derives much of its impact from this talented cast lead by the star-making performance of relative newcomer Harrison in the title role. He makes Luce a wily chameleon, ready to switch personas as if he were donning a mask from an almost bottomless bag o’ tricks. Harrison effectively uses his eyes and body language to go from confident crusader to a clueless victim, sometimes jumping back and forth in the course of the same conversation. This puts us in much the same position as his co-stars. Except for Spencer’s Harriet, who is an unyielding rock, a solid wall that Luke can’t break through with his charm or eagerness to “please’. But Spenser also gives us her softer side as she tries to deal with an unstable sibling, showing us that the teacher must have order in the classroom as her home life is in chaos. Harrison and Spenser are superb sparring partners especially as Luce toys with her during a trivial talk about holidays. Caught in their crossfire is Watts, torn between devotion to her son and worries about the ghosts of his past life. At one point she becomes an internet sleuth, desperate to set her mind at ease while fearful of what she may digitally “dig up”. All this while trying to maintain a “united front’ with her hubby Peter, played with a gritty “low key” edge by Roth. Pete wants to think the best of their boy but refuses to “walk on eggshells” around him. And as he sees other families, Roth shows us the man’s deep regrets over “mutual decisions”. Butz is quite good as the usually easy-going administrator who strives to please faculty and parents using his good-natured sense of humor. And special kudos to the heart-wrenching performances by Marsha Stephanie Blake as Harriet’s mentally ill sister Rosemary, whose inner demons figure into the final act, and Andrea Bang as Luce’s loyal, needy and confused classmate Stephanie.

Director Julius Onah, working from the screenplay adaptation he co-wrote with J.C. Lee (based on his play), maintains a most somber tone, filling the school hallways with a sense of dread and tension. He captures the awkwardness of that setting along with the Edgar dinner table. This is particularly true when Pete veers away from Amy’s planned reveal to Luce about the essay and the fireworks. Onah’s eschews fancy camerawork and effects to find the impact of dialogue. The “cat and mouse’ exchanges between Luce and Harriet are as riveting as any high-speed car chase. He sets the horrific within the most casual of settings as when Amy talks to Stephanie about a “party game”. This story takes unexpected turns and twists, but never feel contrived. That may be because of the flawed characters, no 100% “good guys and bad guys”, just human beings trying to do right, but often coming up short. The overall mood is aided by the hypnotic score by Geoff Barrow and Ben Salisbury. And, once again, the movie soars on this talented cast. They make LUCE a complex morality tale perfect for these troubled times.

3.5 out of 4

LUCE opens everywhere and screen exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas and Tivoli Theatre

SCIENCE FAIR – Review

Students entering International Science and Engineering Fair at the Los Angeles Convention Center. Photo courtesy of Univision and National Geographic

SCIENCE FAIR is a crowd-pleasing, entertaining look at a group of high schoolers competing for the top prize in an international science fair. And forget that baking soda “volcano” from grade school science fairs. These kids are doing real science, with research projects on real-world topics like the tackling the Zika virus, creating an improved stethoscope, and developing innovations in aeronautics.

Not kidding about the crowd-pleasing: SCIENCE FAIR won the Audience Choice Awards at both Sundance and SXSW. SCIENCE FAIR The film is a celebration of science kids, of geek culture in all its quirky and funny glory, but also of the smart kids who know how to work hard and will go on the have a real impact on out world.

The National Geographic documentary has a similar structure others about student competitions, for spelling bees or choirs or dance troupes, following a selection of young people as they prepare and finally participate in a top competition. Neither the audience nor the filmmakers know if the likable, talented kids they are spotlighting will win in the end, which is part of the excitement of these films. SCIENCE FAIR has an extra element that makes it even more intriguing: these young people are doing real science research and preparing for careers that can impact society directly. Spelling is important but it is hard to top finding a vaccine against the Zika virus.

It is that real world application that sets science fairs apart, and makes the kids featured so interesting. SCIENCE FAIR follows nine teenagers from diverse backgrounds, including two from other countries, as they work towards competing in the International Science and Engineering Fair. As smart, hard-working and creative as these kids are, there can be only one winner for Best in Fair.

Emmy-nominated filmmakers Cristina Costantini and Darren Foster selected an intriguing group of nine young people set on winning and fascinated by science and engineering. Some students submit projects as part of a team and others individually, and the film follows both teams and individuals. And of course, these are teens, so there is all the drama, rivalries and hormones of that age. The documentary also spotlights an inspiring teacher, Mrs. McCalla, who serves as a coach to several science fair hopefuls.

Anyone who as even gone to one of these high school science fairs know that these budding scientists are doing serious work, with months of experimental research represented in the small display space allotted to them. As the teens themselves explain, it is not just the research and analysis that matters but how that is presented.

Not surprisingly, students who attend high schools that specialize in science and engineering have an edge. The documentary follows two projects from one such school in Kentucky, one by a team of three boys and another by a determined young woman.

Anjali is kind of the veteran of the documentary, having entered science fairs before and strategizing her campaign like a general. A child prodigy who scored a perfect 36 on the ACT as a 13-year-old freshman, sophomore Anjali has a sparkling, outgoing personality and is working on an arsenic testing device, addressing a threat that can be found in some drinking water.

Ryan, Harsha and Abraham are seniors who has banded together to create what they hope will be a science fair winner, an electronic stethoscope that connects to a database of heart sounds, an advance on the traditional doctor’s instrument.

Other students come from schools with little or no interest in science, and have to work more on their own. Kashfia is a Muslim girl at a South Dakota high school that is much more about sports than science. The daughter of immigrants, she is socially isolated at school but a strong and self-reliant person focused on her educational goals. She finds unexpected ally in the football coach, who becomes her sponsor for the fair, and her well-educated immigrant parents provide the support and encouragement she needs.

Robbie is another student out of place, and one of the most interesting kids in the documentary. Living in West Virginia, he stands our like a giraffe in a herd of cows in his poor, rural community. A socially easy-going, mathematically-gifted computer whiz with quirky taste in clothes, Robbie finds little to interest him at his public school that is totally unprepared to educate gifted students like him. There is a heart-breaking scene where his math teacher tells about how he would ask her questions about advanced mathematical concepts, to which she responded by telling him to just focus on his homework. Not surprisingly, his grades are low even though his test scores are high, the hallmark of a gifted-student not challenged by an inadequate school. While his parents are emotionally supportive and committed to backing his ambitions but they lack the educational background and experience to do much more than cheer him on.

The three international students featured are a study in contrasts and must win their country’s science fairs to reach the International Science and Engineering Fair. One is a German boy, Ivo, with an enduring interest in aeronautics whose supportive parents and country provide him all the resources he needs for his project to redesign and improve an old single-wing aircraft. The other two are a team from Brazil, Myllena and Gabriel. The film focuses mostly on Myllena, a girl from a little rural village in an area of Brazil hard-hit by the Zika virus, Myllena’s family are poor farmers but they and her cash-strapped school do what they can to support her, as she and Gabriel work on their science project researching a solution to combat Zika.

SCIENCE FAIR is a total winner. We get wrapped up in the stories of these likable, brilliant kids, and cannot help but root for all of them, both at the science fair and in life. So often it is the athletes who get all the attention so it is a treat to see the smart kids get their chance to shine. The documentary opens Friday, Sept. 28, at the Plaza Frontenac Cinema.

RATING: 4 1/2 out of 5 stars

BLOCKERS – Review

As Spring break finally starts to wind down, the multiplex offers an R-rated for raunchy oasis amidst the battling ‘bots and silent scary stories. It ‘s been six weeks since the wild antics of GAME NIGHT and four weeks for that bucks and bullets romp GRINGO. This week’s flick is unique since it concerns both adults and their kids, a twist on the NEIGHBORS movies which had a young married couple squaring off against some rowdy college students. Now, these parents are a bit older than Seth and Rose (who had toddlers), since they have kids about to graduate high school. Oh, and their kids are actually young women, maturing way too fast for their folks. That’s one of the reasons these three parents decide to become BLOCKERS.

 

Through a cell phone’s camera we first meet sweet little Julie as she looks sadly into the lens. It’s her first day of school (likely first grade, so first full day, and maybe a new school). Single mom Lisa (Leslie Mann) does her best to put her angel at ease (while stifling a sob, no doubt). Then Lisa’s frown turns upside down as another girl, Kayla, introduces herself, seconds before Samantha (Sam) joins them. A bond is formed at the school’s entrance way. While on the other side of the cell phone another friendship begins between Kayla’s papa Mitchell (John Cena) and Sam’s dad Hunter (Ike Barinholtz). Cue the Broadway standard “Turn Around” as a dozen or so years pass, and the bond between the little girls is even stronger as they blossom into young women. It’s a special day, because that night is the big prom. At school, later that morning, Julie (Kathryn Newton) announces to her pals that she will “give herself” to her longtime boyfriend Austin (Graham Phillips) that night, after the dance. Kayla (Geraldine Viswanathan) excitedly suggests that she will lose her virginity that night also, allowing them to share a secret special anniversary. The quiet, shy Sam (Gideon Adlon) is hesitant as she, unbeknownst to her BFFs, is questioning her ..um..”orientation”. But, deciding she should experience “everything”, Sam agrees to be part of the big “Sexpact 2018”. After school, Lisa throws a pre-prom get together in her backyard for the kids and their parents. Mitchell takes an instant disliking to Kaylo’s date Connor (Miles Robbins), her science lab partner. Suddenly a stretch limo pulls up and the long absent Hunter, who was divorced by Sam’s mom years ago, emerges proclaiming that the “ride” is his treat. As the couples head out for their big night, Mitchell and Hunter stick around to help Lisa clean up. They’re distracted by the near-constant beeping coming from Julie’s room. Turns out she left her laptop on, and it’s synced up with her phone so that every text pops up on the screen. The trio are perplexed by the stream of symbols and emojis, but Hunter finally decodes them and figures out the after-dance plans. Then Lisa proposes another pact: stop the girls from going “all the way”. Mitchell quickly agrees, as does an initially reticent Hunter. Thus begins their long night’s odyssey, as they attempt to track down their girls and “block” those boys.

 

 

Hey Rock, watch your back (and read your scripts carefully) because another “brother from the ring’ is making a name for himself in the movies. After several great supporting roles in comedies (SISTERS, TRAINWRECK, and the DADDY”S HOME flicks), Cena gets to shine center stage (along with Leslie and Ike) with a very energetic and appealing performance as perhaps the most protective screen pop since Neeson’s TAKEN role. Mitchell may have a body chiseled from stone, but there’s a soft gooey center inside when it comes to his love for Kayla. He will (and does) suffer any amount of embarrassment and humiliation in her name. Not only is Cena a terrific physical comedian (and impressive physical presence), but he’s got great comic timing, hitting the punch lines with expert precision. He ably holds his own screen time along with his two comedy vets at his side. We know that Mann can deliver the funny from her work on four films made by her husband Judd Apatow. This is her strongest work since their last collaboration (and a serious career stumble with two dismal 2016 efforts, HOW TO BE SINGLE and THE COMEDIAN). There’s a real complexity and vulnerability to her performance as the helicopter mom, Lisa. As she pursues her daughter, she begins to reflect back on her own life and choices, especially in a telephone call between the two that proves brutally honest and heartbreaking. This gives her final scenes an emotional wallop, which Mann delivers on to make Lisa’s story arc very compelling. That arc is nearly as strong as that of Barinholtz’s Hunter who begins as the hard-parting goof we’ve seen him do in the NEIGHBORS flicks and as the wild male nurse in TV’s “The Mindy Project” (he was a writing and producer in the show also). He’s got a manic motormouth that switches on to high without thinking things through. Although he’s the first to realize the pact plans, Hunter has the most mature response, although he’s soon at the forefront of the nutty schemes. But Barinholtz opens up the Hunter character, who rebels at being labeled the “bad dad” of the block and rails at his “banishment” by those he thought were his friends. And, most touchingly, he begins to repair his relationship with his daughter Sam, admitting his mistakes and devastating regrets. We know that Barinholtz can tickle the funny bones, but here he also pulls at the heart-strings.

 

The other trio is more than worthy of praise (we’ll be hearing from them in lots of future projects). Newton handles the more difficult role with great skill. Her relationship with mom Lisa is the film’s most complex and dramatic. Luckily Newton can balance the laughs and tears while making her romance with Phillips as Austin very warm and real. Adlon (daughter of Pamela Adlon, mastermind behind TV’s “Better Things’, so the apple doesn’t fall far…) also brings warmth with awkward laughs as Sam, whose character faces a huge life decision that threatens to upend her friendships. It’s another great character arc, one that plays out beautifully, and deftly handled with true grit by Adlon. And then there’s the film’s comedic force of nature, the wild whirlwind that is Viswanathan as the crude, rude, full of attitude Kayla. In the tradition of Melissa McCarthy in BRIDESMAIDS through to Jillian Bell in ROUGH NIGHT, she’s got a go for broke, unfiltered energy that bursts off the screen. She’s a superb scene-stealer (and with this cast, that’s saying something). That energy works well as a counter-balance to the always-chill Robbins as “herbal chef” Connor. When he’s not rattling off the ingredients of his crafted mood-enhancers (like a server relaying today’s specials at a fancy eatery), he’s smirking beneath his “man bun” ( a look that acts as a red flag to the “man-bull” Mitchell). And let’s praise Sam’s date, Jimmy Bellinger, as theatre geek Chad, a guy trying way too hard to be hip (that fedora). Getting back to the adults, there short but solid work from June Diane Raphael as Sam’s still bitter mom and Hannibal Buress as her new hubby, the good-natured but off-putting Frank. Plus Colton Dunn as the world’s most accommodating limo driver scores big laughs , as do Gary Cole and Gina Gershon as Austin’s very adventurous parents. And though she doesn’t get to deliver many of the movie’s jokes, Sarayu Blue as Mitchell’s no-nonsense hard-working wife Marcie is a most welcome voice of sanity amidst the chaos.

 

This marks the feature directing debut of Kay Cannon, another of this film’s delightful surprises. Aside from guiding the terrific cast, Cannon has a confident comedic hand, knowing just when to trim a scene or cut for ultimate hilarity (this flick has the most excruciating genital close-up since THERE’S SOMETHING ABOUT MARY) to generate multiple laughs (sure I’ve missed a few jokes due to the big audience reactions). Much of those laughs must be credited to the intelligent script by Brian and Jim Kehoe who have created some of the most engaging high school women since LADY BIRD. What’s most interesting is the way the story shifts. After the first hour or so most comedies hit a lull, a dull stretch until the usual slapstick finale. Here, when the laughs begin to taper off a tad, the tone gets more dramatic and is just as compelling as the goofy hijinks It put me in mind of the terrific SUPERBAD (can’t be 11 years old already), and wouldn’t you know, Seth Rogan and Evan Goldberg are two of this flick’s producers. Though this film seems to be just right for these changing times. The marketing folks are selling this as a raucus raunchy farce, but it really has lots to say about sexual mores and manners. And it really tackles some old antiquated double-standard about active young men and women (these three ladies have no need of rescuers). Despite crude symbolism in the poster art, and the chugging contest in the trailers (pretty funny payoff, though), BLOCKERS is a smart and savvy comedy.

 

4 Out of 5

 

 

LOVE, SIMON – Review

 

Time to plunge into a movie genre that strikes fear in many a film goer (or it does so with me, I’ll admit). No, it’s not a horror, monster, or thriller flick, nor from the sub-genres like “torture porn” or the played out “found video footage”. Nope, this is an adaptation, or to be precise it’s based on a “young adult” novel, but (here’s the good news) it’s not from a series like “The Maze Runner” or “Divergent”. Whew, thank heaven for small favors. This one’s a coming of age story set in the lead character’s last months of high school, full of dreams and romantic entanglements. Hmmm, sounds a whole lot like last year’s critical darling, and Oscar shut-out (awww) LADY BIRD. Well, that’s where the similarities end. LB was set around 16 years ago, and it was a low-budget, non-studio independent flick (with Greta Gerwig writing and directing it practically screamed, “Indie!!”). The new movie is set in the here and now and is from a major studio, Fox (not Fox Searchlight, either). But the biggest difference in this week “newbie” is that it’s not just a “coming of age” tale, it’s also a “coming out” story.  Yes, it’s the first big studio gay teen romance, the affectionately tiled LOVE, SIMON.

 

The title refers to high school senior Simon Spier (Nick Robinson), a high school senior whose upper middle class family adores him. There’s his adorable kid sister, cooking whiz Nora (Talitha Eliana Bateman), doting psychologist mom Emily (Jennifer Garner) and goofy, loving but clueless pop Jack (Josh Duhamel). And he’s got a close circle of friends that adore him also. His school carpool consists of long time (maybe kindergarten) pal Leah (Katherine Langford), soccer-obsessed pal Nick (Jorge Lendeborg Jr.), and new transfer, the bubbly Abby (Alexandra Shipp). who’s the “apple’ of Nick’s eye. But Simon’s hiding a secret from all of them. He realized three or four years ago, that he’s gay. He’s decided to keep it under wraps and cruise through his senior year without a lot of drama. Speaking of drama, aside from attending Nick’s soccer games, he and Abby are in the big school musical of “Cabaret”, where they try to avoid the obnoxious Martin (Logan Miller), who has a big crush on Abby. All’s going smoothly until Leah, his constant texting pal, alerts him to a new post in the school’s social media blog site, “Creeksecrets”. An anonymous male student posted his gay confession. Simon’s intrigued and sends a response to the poster with the handle “Blue” under the name “Jacques”. Their online conversations become an obsession for Simon, so much that Principal Worth (Tony Hale) catches him texting in the school hallway and confiscates his phone. But Simon can’t wait to retrieve it at the end of the day, so he logs on to one of the library’s computers. Unfortunately, he forgets to log off, and the next user can access his very private emails with the “Blue”. And, wouldn’t you know, the next user is Martin, who takes screen shots of the messages. He strikes a deal with Simon: unless he helps with his pursuit of Abby, Martin will put those shots online. Talk about “a rock and a hard place”! Can Simon stave off Martin’s threats by playing cupid. More importantly can he continue with “Blue” and convince him to reveal his identity? Simon doesn’t want to hurt his family and friends while going after his big chance at romance.

 

 

The film rests on Robinson’s young but experienced (quite a feature resume) shoulders. He carries the weight with confidence (no wonder he’s the only face on most of the promotional art) giving us a hero we’re rooting for right from the start. He balances Simon’s sweet nature with just the right amount of snark, and, oddly, is a superb “straight man” for many of the more outlandish characters. Most importantly, he conveys that sense of longing, of hoping that the future will be brighter and better. Langford, as oldest pal Leah, has much of the same soulful longing in her gaze. Her desire is clearer to all but her heart’s target. The spark in their “click” is the energetic Shipp (Storm in the last X-Men movie), whose outgoing personality masks a difficult home life. Then there’s the more fervent of her two suitors, Martin played with total lack of inhibition by Logan Miller in a performance full of foolish bravado. Martin is truly “fingernails on a chalkboard”, maybe the most obnoxious villain (yes, despite some last scene remorse) in any recent teen comedy/drama. Perhaps it’s a testament to Logan’s skills that we yearn for his comeuppance. As for Simon’s folks, Garner is much the same sweet, nurturing matriarch we’ve seen in most of her recent run of films (I hope she cuts loose as a femme fatale soon). Now the really pleasant surprise is the warm, compassionate turn by action flick staple Duhamel as confused papa Jack. His realization that he may have unintentionally added to his son’s turmoil via his silly jokes may cause the most jaded film goer to tear up. Happily the school’s faculty includes two truly gifted comic talents. Hale is joyfully awkward as the school’s enforcer that tries too hard to keep up with the kid’s “lingo” while fighting a losing battle against tech (“life is happening beyond that tiny screen, yo!”). There’s that same exuberance in Natasha Rothwell as the bombastic drama coach Ms. Albright, the most frustrated arts advisor since Mel Blanc played Jack Benny’s apoplectic violin teacher (now there’s some ancient history). Her take down of two bullys in the cafeteria is a big highlight.

 

In his first feature film directing in eight years (hey, the guy’s been building the terrific DC superhero shows for the CW TV network, shows far more entertaining than most of the dismal DC movies) Greg Berlanti directs with a light touch, keeping the pace swift, while knowing when to slow down to give the drama the right impact. Sure the suburban backdrop is a little too pristine and antiseptic (no hint of drugs or violence here), seeming as though the Spier household may be right around the corner from most TV sitcom households with the most diverse high school body this side of SPIDER-MAN: HOMECOMING. But it’s forgiven, since the story is, at its core, a modern fairy tale, a good-natured fable that mashes-up CYRANO, EMMA, and bits of countless “rom-com” staples. And despite the marketing, the film never gets two cloying or precious, despite a couple of fantasy sequences (“what if straight kids had to come out to their folks” and Simon’s dream of rainbow-colored college life) that never overstay their “welcome”. And it’s refreshing to see kids and parents more tolerant and enlightened (perhaps truly “woke”), along with faculty that intervenes quickly (unlike last year’s similar MOONLIGHT). LOVE SIMON is an engaging antidote to these toxic times. If only all the young adult novel-based films could be as entertaining and kind.

 

4 Out of 5

 

STEP – Review

Tayla Solomon and the “Lethal Ladies of BLYSW”. Photo by Jay L. Clendenin. Courtesy of Fox Searchlight Pictures. © 2017 Twentieth Century Fox Film Corporation All Rights Reserved

The inspirational documentary STEP follows a girls’ step dance team at a Baltimore charter high school, both in their quest to win a big step dance competition and to get into college.

The story takes place in 2015, the shadow of the unrest and protests that gripped Baltimore after the death of Freddie Gray, and the documentary has echoes of Ferguson and Black Lives Matter as well. All of the girls in this documentary are African-American and low-income, but they are lucky in one way: their high school, which has a staff devoted to their success, Baltimore Leadership School for Young Women was founded in 2009 as a small girls-only high school with the mission to get every one of its low-income students into college.

Director Amanda Lipitz’s film centers on the high school’s step team, a form of percussive dance historically linked to African-American sororities and fraternities. The film spotlights three girls in particular, as they prepare for a step competition, complete their senior year, and apply for college.

That premise may sound like BRING IT ON but the Lipitz’s true story is more heart-tugging and uplifting than the familiar narrative suggests. STEP debuted at Sundance earlier this year, to positive reviews and warm audience response. Lipitz, a Baltimore native, offers a surprisingly enjoyable story of struggle, obstacles, determination and ambition sure to pull in an audience.

The documentary singles out three girls, Blessin Giraldo, Cori Grainger, and Tayla Solomon, but also puts a spotlight on two educators, the coach of the step team, Gari McIntyre, and their college adviser, Paula Dofat.

The girls are all attractive and personable, so it is easy to root for their success, both in winning the step competition and getting into the college of their choice. The film gives us time with each girl’s family, with their coach and college adviser, and often lets the girls speak for themselves. But what we see little of are other pressures the girls face – in the classroom, among peers, or in their neighborhoods.

At first, it seems success is assured for all three but as the documentary unfolds, cracks emerge in that facade as the girls struggle with family and relationship issues, and one girl in particular seems really at risk. The girls talk a good game but conversations with the adults indicate not all is as smooth as the girls’ brave, think-positive talk would suggest.

Blessin is the co-founder of the step team, a beautiful, charismatic young woman with poise and positive attitude. She looks to have all the elements for success but she has a troubled family situation, with an unreliable mother who has her own issues with violence. Blessin has big dreams about college but more trouble focusing on the more immediate goal of keeping up with school work.

The documentary spends a bit more time on Blessin’s story but also spotlights time to the other two. Cori is proud of her perfect grades and has her heart set on attending Johns Hopkins. But with no money, winning a full-ride scholarship is her only chance. Tayla seems the shy one, working hard in school and on the team, but embarrassed by her mother’s big outgoing personality and nonstop cheering for her only child. As a guard at prison, Tayla’s mother knows how important her daughter’s success is but sometimes comes on too strong.

Audiences cannot help but pull for these girls and admire their efforts but what more impressive is the school support. Both the coach and the college adviser give these girls constant help and direction, both cheering them on and pulling them aside when needed. They are there to pick the girls up when they fall, or to correct their course when they waver. It is ultimately up to the girls, but these two educators never quit, refusing to give up on the girls even in the face of an unreliable parent. These two are the kind of teachers one would wish for all students, but which we too rarely find.

As the dates of both the step competition and graduation approach, the documentary focuses more on the quest to get into college – and the challenge of paying for it – than on the dance routines. By the film’s end, Lipitz brings the two threads together, the goals of winning the step contest and getting into college, in an uplifting ending.

The girls’ journey touches our hearts but the real inspirational story is that of these two dedicated educators, who are the true heroes of STEP.

RATING: 3 1/2 out of 5 stars

SLIFF 2014 Review – TEACHER OF THE YEAR

Teacher_of_theYear

TEACHER OF THE YEAR screens as part of the 23rd Annual Whitaker St. Louis International Film Festival on Saturday, November 22 at 8:30 PM at Landmark’s Tivoli Theatre. Get ticket information here.

Writer/director Jason Strouse’s feature film debut concerning the US education system may give credence to the old adage that “the inmates are running the asylum”. Truman High School’s a wild place thanks mostly to the oddballs and misfits making up most of the administration and faculty. The main exception being the title mentioned teacher of the year, Mitch Carter (Matt Letscher), who is also the rep for the faculty union. As a documentary crew follows him about, Mitch is at a crossroads. He’s being wooed by a private school lobbying group that’s dangling a big salary in front of him (and he’s got an adorable pre-schooler and a child on the way). On the other hand he believes he can make a difference in his pupils’ lives despite the jealousy of some other teachers like robotics coach Queeg (Jamie Kaler) and the inept principal Dr. Ronald Douche (pronounced “doo-shay” and played by Keegan Michael-Key of TV’s “Key and Peele”) and his toady VP Collins (Larry Joe Campbell), who delights in issuing detentions. But when one of Mitch’s teacher pals, math instructor Brian (Chris Conner), is accused of sexual harassment by a student, the pressures might push him over the breaking point.
Strouse shoots the film in a loose, fly on the wall manner similar to the “mockumentaries” of Christopher Guest and TV shows like “The Office’ and “Modern Family” which highlights lots of superb improv work from the very gifted Key (who’s a twitchy, preening mess) and the Sklar brothers, Randy and Jason, who may be the most incompetent, clueless guidance counselors ever (now they need some real guidance). Some familiar TV vets like Shari Belafonte and Tamlyn Tomita are welcome additions to the faculty lounge. But Strouse doesn’t skirt over real problems in the modern education like parental involvement and violence in the corridors. TEACHER OF THE YEAR is a strong, confident debut from this artist straight from the TV ‘trenches” and promises great future features from Mr. S. Oh, and don’t miss out on some hysterical outtakes as the end credits roll.