Tag: Musical

LYLE, LYLE, CROCODILE – Review

(l to r) Mrs. Primm (Constance Wu), Josh Primm (Winslow Fegley), Lyle (Lyle the Crocodile) and Hector (Javier Bardem) slurp up an ice cream sundae in Columbia Pictures LYLE, LYLE, CROCODILE. Photo by: Courtesy of Sony Pictures

So, are you looking for a “family-friendly” flick to perhaps introduce your “pre-K’ tots to the wonders of moviegoing? Well, many parents may be leery of much of the fare, since the “kid aimed” movies are often part of an ongoing franchise or based on a line of toys, video/computer games, or TV shows, perhaps resembling a feature-length commercial to provide “product synergy”. So where are the big-screen adaptations of classic children’s books, one that may inspire the wee ones” to (gasp) read? Well, we’ve got one opening “wide” this weekend based on a beloved tale that’s almost sixty years old. Oh, and it’s filled with music often sung by an adorable animal. A reptile, actually, with a rhyming moniker. Straight from the swamp and into your heart comes LYLE, LYLE, CROCODILE. And he’s at the multiplex now, not “after while”.


Now the kiddos will have to have a bit of patience as the opening sequence introduces us to the hustling, but largely unsuccessful magician Hector P. Valenti (Javier Bardem) as he finagles his way into another failed attempt to win a spot on the TV showcase “Show Us What You Got” (you can figure out its real-life talent show inspiration). A dejected Hector ambles into a run-down NYC pet supply store to replenish his live props (pigeons, bunnies, etc.). As the store manager searches his inventory, Hector hears an angelic singing voice. He follows it to the back room and meets Lyle, a young crocodile (his pipes are provided by Shawn Mendes). Hector now has an idea for a new act. The duo heads back to his East 88th Street duplex and begin rehearsing some song-and-dance duets. Hector contacts a theatre owner about renting his venue. But he needs cash “up front”, so Hector offers his home. Opening night, the place is packed and …Lyle is silenced by “stage fright”. Not a peep. Back home, Hector tells Lyle that he’ll have to seek new funding. He insists he’ll return, but in the meantime, Lyle should stay in the attic and act “stuffed”. Cut to many months later as a high-end prep school has taken over the house and has made it availible to the newest faculty member Joseph Prim (Scoot McNairy), his wife Katie (Constance Wu), and timid, nervous pre-teen son Josh (Winslow Fegley). The Prims settle in after meeting their abrasive downstairs neighbor Mr. Grumps (Brett Gelman) and his pampered Persian kitty Loretta. Late that night Josh hears a noise from above and heads to the attic where he meets the now full-grown adult Lyle. Somehow the two become friends and eventually the croc helps the family become closer through their fun antics. But what happens when Hector does return? Can they keep the critter a secret from the sour old Grumps? But more importantly, will Lyle finally get the courage to sing for the whole world?

Well, I suppose I should start with the title character and say that Mr. Mendes is quite the spectacular crooner, belting out the new tunes and the standards with equal aplomb. However, I was stunned that the movie’s true MVP is the energetic Bardem who hurls himself into the Hector role with enormous energy and charm to spare. We knew he could sing after his turn as Desi a few months ago, but who knew that this robust athletic frame was so graceful? He commits to every glide, every sidestep with the confidence of a veteran “hoofer”. Hector’s a rascal and a bit of a reprobate, but Bardem turns him into the ultimate “cool uncle” to the Prims. Speaking of, Wu also gets a musical number with Lyle and shows us that her vocal chops are as polished as her…moves in HUSTLERS. Plus she brings in a bit of drama as Katie frets over being a perfect stepmom to Josh. He’s given an endearing twitchy vulnerability by the effusive Fegley. In a chance of pace from his often dark supporting roles, McNairy does very well as a bumbling but warm papa Prim. Of course, we need a “baddie” and Gelman is pure prissy poison as the unctuous, conniving Grumps (if he didn’t have a full beard he could twirl his mustache with devilish glee).

Overseeing this mix of live-action and mo-cap (Lyle and Loretta) are the directing team of Will Speck and Josh Gordon, who made their mark in several adult comedies. They’re comfortable in “kid-mode”, crafting a tale that the small ones will enjoy and inspiring some to perform along) and the adults will find amusing (again, Bardem), Their take on the “big apple” covers it in a bright candy coating, one that’s a tiny bit scary, but full of pretty nice reg’lar folks, save for the cartoonishly cruel Grumps. The tech wizardry is pretty good on the story’s star, though he often (in his younger version) seems like a smooth molded-plastic cuddle toy (how many more weeks till that holiday), but he seamlessly interacts with the human and his CGI feline sidekick, The new songs by the award-winning team of Benj Pasek and Justin Paul aren’t quite on the level of their showstoppers from LA LA LAND or THE GREATEST SHOWMAN, but they’ve hummable and enter the ear easily. It’s all a cozy spirited romp that makes for a pleasant matinee (or later). Though he doesn’t bite, this green guy can belt out the melodies while being light on his feet…um, claws…in LYLE, LYLE, CROCODILE.

3 out of 4

LYLE, LYLE, CROCODILE is now playing in theatres everywhere

BETTER NATE THAN EVER – Review

Rueby Wood as Nate in 20th Century Studios’ BETTER NATE THAN EVER, exclusively on Disney+. Photo by David Lee. © 2022 Disney Enterprises, Inc. All Rights Reserved.

Much like Don Lockwood’s “Broadway Melody” hero in SINGIN’ IN THE RAIN, this title kid’s “gotta’ dance”. And sing. And, well, just be on the stage. Any stage, but one on the “great white way”…someday. Yes, this is another tale of a youngster following his “dream” while trying to survive small-town life. Plus he’s trying to keep that dream alive, protecting it from being crushed by those that just don’t “get it”. In this original Disney feature film, this dreamer’s determined to prove he’s got the “chops” because when his big breaks looms, everyone will realize that it’s BETTER NATE THAN EVER. And he’s not gonna be late.


So when we meet Nate (Rueby Wood) early on a school day morning, he’s prepping for the big cast announcement for his middle school’s big stage musical. Of course, his room is adorned with posters of hit Broadway shows past and present. His older brother Anthony (Joshua Bassett) is more concerned about his football team (and girls) while their parents Sherrie (Michelle Federer) and Rex (Norbert Leo Butz) really try to be supportive of both. Rushing to the school office bulletin board, Nate finds out that he has been cast…as a tree. Not “Honest” Abe (if there can be a Hamilton musical, then..). At least he can share his heartbreak with BFF and fellow “theatre geek” Libby (Aria Brooks). Oh, but she knows something that will lift his spirits. It seems that there will be open auditions this weekend for a stage musical of the film LILO & STITCH…in NYC. Oh, but Nate’s folks are going on a weekend getaway leaving Anthony in charge. Could he get past big bro and board an early bus with Libby to the Big Apple? Perhaps they might be able to pull off the “stay over switcheroo” (“I’m staying at Libby’s” “I’m staying at Nate’s”). And they can grab the early evening bus back home after the try-outs. Of course, they won’t run into Nate’s aunt Heidi (Lisa Kudrow), also an aspiring actress now estranged from sister Sherrie. But can they bluff their way past the show’s talent staff who require a parent or guardian to sign the releases (and hopefully a contract)? Really, can these obstacles possibly block the goals of these two “starry-eyed” kids?

With an energy that could light up all of 42nd street, Wood is a most likable lead. His Nate is warm, endearing, but not overbearingly cloy though he does switch over to Disney cable channel emoting a few times. Oh, and he’s a pretty smooth crooner, matched by his often frenetic footwork. Brooks as Libby is the more calming influence, helping Nate get his feet back on the pavement as he reaches for those stars. Yes, she’s a bit sassy (the “tone” gag is overused) but Libby’s good heart shines through. Federer, Bassett, and real Broadway vet Butz make a solid family support unit. But the movie’s true secret weapon, its MVP is the dependable Kudrow who really gets to exercise her sublime comic timing while exposing her nurturing side as the adult who still hangs on to a bit of the dream that propels her nephew, though her hopes are bruised and battered. Boy, were we spoiled when we got to see this gifted pro on TV every week.

Making his feature film directing debut, Tim Federle (who wrote the screenplay adaptation of his own book) keeps the pace moving, propelling us through Nate’s bouncy glittery world. It really plays like a modern fable with NYC a dreamland with only a few sourpusses (they’ll smile when the singing starts). Here’s hoping families will watch this together so there can be discussions about the safety of secret bus trips (you won’t be a social media sensation). Federle does get in a few good digs at “stage parents and kids” behavior while showing the turmoil of cattle calls. But in the wake of other stage-translated Disney flicks would the main character have a full head helmet (more like a cowl/cap and a bit of makeup so the human face shows)? Despite the story’s often implausible twists and coincidences (look who’s at the auditions down the hall), this is a pleasant bouncy bit of fluff buoyed by the terrific Kudrow who truly helps BETTER NATE THAN EVER earn some kudos.

2.5 Out of 4

BETTER NATE THAN EVER begins streaming on Disney+ this Friday, April 1, 2022

CYRANO – Review

Haley Bennett stars as Roxanne and Peter Dinklage as Cyrano in Joe Wright’s CYRANO, a Metro Goldwyn Mayer Pictures film. Photo credit: Peter Mountain © 2021 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved.

Peter Dinklage playing Cyrano in a new film adaptation of the beloved story sounded like an excellent idea. Being directed by Joe Wright, who handled costume dramas such as PRIDE AND PREJUDICE so well, made the prospect sound even better. But a few minutes into the new CYRANO, it became clear it had a big problem: it’s a musical.

And not a very good musical at that. While there are those who are happy see everything adapted into a musical, this reviewer is firmly in the opposite camp. Not everything should be a musical, and the new CYRANO is exhibit one in that case.

Still, Peter Dinklage gives a moving, stellar performance as Cyrano de Bergerac in a musical adaptation that is less than stellar. There have been numerous stage and film versions of Edmond Rostand’s play, including Steve Martin’s 1987 contemporary, comic one ROXANNE, and a glorious French one, 1990’s CYRANO DE BERGERAC, starring Gerard Depardieu in his prime. Dinklage has the goods to top that famous performance, and actually does, if one is not too distracted by the mediocre musical numbers.

Personally, I love Rostand’s “Cyrano de Bergerac” and generally I am a sucker for all its various adaptations. I have nothing but pure admiration for the remarkably talented Peter Dinklage and I am also a fan of Joe Wright’s movies generally. But this musical CYRANO is an awkward thing, where the weak musical numbers interrupt the dramatic flow of the adventurous, tragic, romantic tale. Every time the drama builds up to a spell-binding, heart-wrenching arc with well-acted scenes, that spell is broken by a song.

The familiar play is full of romance, swordplay, wordplay, wit, and tragedy. Cyrano de Bergerac (Peter Dinklage) is an aristocrat serving as a soldier, a bold personality and multi-talented man known for his skills as a poet and duelist, as well as his intellect, taste and style. But Cyrano’s confidence undermined by his appearance, which makes him feel no woman could love him. References to his appearance often prompt duels.

Nonetheless, Cyrano is secretly in love with the beautiful, intellectual Roxanne (Haley Bennett), his distant cousin and childhood friend. Roxanne is skillfully avoiding the Count de Guiche (Ben Mendelsohn) who relentlessly pursues her with the intent to make her his mistress. Meanwhile, Roxanne has fallen for a handsome young soldier, Christian (Kelvin Harrison Jr.), whom she has only seen from afar, and she seeks Cyrano’s help. Cyrano and Christian become a team to woo the beautiful Roxanne, with Christian’s good-looks and Cyrano’s beautiful words.

There are things that this Cyrano does get right. It was a brilliant idea to cast the gifted Peter Dinklage in the role of tragic Cyrano. Usually it is Cyrano’s large nose that causes his problems and every version seems to use an actor with a false nose. But here it is height, a surprisingly easy transition, and Dinklage does it marvelously well, squeezing all the brilliance from the sparkling dialog and thrilling us with its mix of brash and tragic. Only a few changes to the dialog were needed and there are few direct references to height, as they are unnecessary.

Further, CYRANO is a visually beautiful production, shot in Italy. The staging, the sets and costumes are all wonderfully lavish and brilliantly colorful. The theater scene that introduces Cyrano, where he chases a bad but popular actor off the stage, is wonderfully comic and brash. The scene where Cyrano and Roxanne meet in the bakery alone, and she tells him she is, is unmatched in its heartbreaking power.

As expected, the gifted Peter Dinklage is excellent with the dramatics, turning the words over with startling power and nuance, He even does well with the singing, with a nice baritone voice. Ben Mendelsohn delivers a striking turn as the sinister de Guiche and Kelvin Harrison Jr. does well as handsome, tongue-tied Christian. Haley Bennett gives a more unusual performance as Roxanne, playing her as a bouncy, girlish free spirit more than the lovely, discerning intellectual she usually is.

Despite Dinklage’s strong performance, it never feels right or comfortable to have this dramatic romantic tragedy periodically interrupted with what are generally silly songs, backed by rather eccentric, if athletically impressive, dancing (fortunately the leads, including Dinklage, are not called on to dance as well).

Most of the songs are forgettable, but there is one exception. It is the song that the soldiers sing as they are being sent off to war, while they write letters to their loved ones in case they do not make it home, which is deeply moving and melodic.

Yet, it is a great role indeed for Dinklage, a brilliant re-imaging, and if this had been a different kind of production, it would have ranked up there with the great French production with Gerard Depardieu in his prime. Dinklage’s performance does exceed that high bar but the production it is in is a distraction. Alas, it is not just the songs that are stumbling blocks but other unevenness in the production. Haley Bennett’s odd choice to play Roxanne as a bouncing, romantic comedy figure rather than a clever, intelligent woman, as Roxanne is usually played, seems to undermine the play’s premise. That Roxanne is a worthy match for the brilliant Cyrano. This Roxanne, while beautiful, seems less a sparkling wit and less perfect for Cyrano.

Bottom line, Peter Dinklage is brilliant in this role, one that is near perfect for him, and his performance makes the film soar in those moments when he dominates the screen. But that soaring emotion, the overall heart of the film, and its dramatic arc are repeatedly deflated by the grafted-on musical numbers. It is really a shame, and those who can get past the distraction of those interruptions, will enjoy this visually beautiful, romantic retelling of the beloved Cyrano de Bergerac with the marvelous Peter Dinklage.

CYRANO opens Friday, Feb. 25, at multiple theaters.

RATING: 2.5 out of 4 stars

STUDIO 666 (2022)- Review

This weekend’s big film release might just remind you of a classic TV candy commercial: “Hey, you got rock ‘n’ roll in my horror!” “Well, you got horror in my rock ‘n’ roll!”. But the big question is whether they taste great together. Maybe it’s “delish” or perhaps it’s a big loud gooey mess. It’s not like the two haven’t mixed in the past. Countless monster chillers have used pounding metal music in their soundtracks, while many a “head-bangin'” band have lifted imagery from several classic and modern terror flicks (I think versions of Freddy and Jason have popped up, if not the real “things”) for their video shorts on MTV. Now, this flick goes several steps further by having a very popular group playing themselves and confronting the “forces of darkness”. Sure the Monkees were chased around by clones of Frank, Wolfie, and Drac in their 60s TV series, but nothing like this! They may be because they wisely opted against recording in STUDIO 666.

All the monster mayhem begins in that title space, actually a dingy, once opulent Encino mansion, way back in 1993. We’re placed right at the end of the massacre of the heavy metal band Dream Widow as its lead singer/drummer (Jenna Ortega) struggles to survive. Jumpcut to the modern-day music biz as label exec Jeremy Shill (Jeff Garlin), maybe that last name is a bit “on the nose”, implores Dave Grohl and his Foo Fighters (yes, the real guys playing themselves) to finish their big tenth album. Dave insists that the music is all in his head, but needs the right recording venue for the proper sound and…ambiance. Aha, Jeremy and his eager real estate agent Barb (Leslie Grossman) have just the perfect spot…you know where. After she gives a quick tour of the place, Dave agrees (though the guys need a bit more persuading). Soon the band’s road crew is setting up their equipment as the guys are picking their rooms (they’ll stay there while recording). Then tragedy strikes their electrical guy (you can guess) and the fellas wanna’ bolt. Despite this, and the overly friendly, overly chatty next-door neighbor Samantha (Whitney Cummings) Dave convinces them to “stick it out”. But things get even weirder as he sees a mysterious “caretaker” skulking about with a pair of very sharp shears (nobody else spots him). Then later that night strange noises lure David to the basement where shadowy smoky black figures with glowing red eyes and teeth surround him and…Well, maybe number ten could be the final Foo Fighters work. Or will it?

Perhaps after Lady Gaga’s dazzling turn in A STAR IS BORN, followed by her great work in HOUSE OF GUCCI (Oscar got it very wrong), many might think that singers would be natural thespians. And with this film…they’ll rethink that. Grohl is probably the most natural actor of the band, though he often swallows his words, then leaps to the other extreme with contorted histrionics to convey his metamorphosis. That’s when he’s not manically bobbing his head up and down for comic effect, perhaps (Wayne, Garth, and the gang did it the best thirty years ago…yikes). The other bandmates stiffly recite their lines, mug as though they’re a revamped Little Rascals cast, or merely offer a blank stare until they can drop an “F-bomb”. They might have thought the addition of comic actors would “up the ante”, but they merely have us wishing them to be more prominent in a worthy script. Garlin tempers her usual affable exasperation with unnerving aggression. Cummings is a welcome relief with her take on the next-door wacko who loves to “spill the tea” while getting her “Fatale/groupie” vibe going. Grossman does a nice spin on the whole straight-laced real estate super-agent cliche. And SNL vet Will Forte scores some laughs as the rock star-wannabe’ food delivery guy who really wants to hand over a demo CD with the “extra ranch”. The most offbeat casting may be that of Ortega who’s almost redoing her big scene from a horror franchise reboot from just last month.

So were the filmmakers hoping for sort of a romp similar to the Beatles follow-up feature HELP? Well, this isn’t even KISS MEETS THE PHANTOM OF THE PARK. Horror film vet (HATCHET III) B.J. McDonnell tries to straddle the line between show biz satire and a sort-of greatest hits (like many music acts) of horror. Many hard-core “gore-hounds” could almost tick off a list of “tributes’ from their Fangoria-festooned clip-boards: EVIL DEAD-check, HELLRAISER-check, TEXAS CHAINSAW MASSACRE-double check. They might have intended this to be a loving parody/nod to the VHS slasher “nasties” of the 1980s but it just becomes repetitive and tiresome as the entrails ooze and the body count rises. Yes, fans of the old latex Savini-esque disembowelings will enjoy how CGI helps to sell some of the tricks and stunts, but it’s in service of a plot that spins its wheels until a truly dopey-dumb denouncement (and it’s based on a story by Dave himself). Couple that with the awkward acting and you’ve got an hour or so better spent listening to the group’s infectious rock anthems. And that’s the foul 411 on STUDIO 666. Forsake the cameras and keep fighting Foo, fellers’!!

1 Out of 4

STUDIO 666 is now playing in theatres everywhere

SING 2 – Review

So, did you blow out your vocal cords when you went from house to house caroling this holiday season? Would you rather watch somebody else croon some tunes for your entertainment? And if they’re cute and fuzzy, why all the better! After you knock back some hot tea and lemon, head over to the multiplex because an encore concert is about to start. Encore? Yes, can you believe that it’s been five years and a day since a menagerie of cuddly critters warbled dozens of pop tunes and standards. Yes, that long ago! So take a break from the Christmas “crunch” and shuttle the whole family to the moves to tap your toes (but please refrain from joining vocally) along with the cartoon cast of SING 2.

During those years it appears that all’s going well at the New Moon Theatre. The current musical revue based on “Alice in Wonderland” produced by Buster Moon (voice of Matthew McConaughey) is a smash. He’s so confident that he invites a talent scout from The Crystal Tower Theatre in fabulous Redshore City to catch it, with hopes that her boss will pick them up for a residency. Unfortunately, Ms. Suki ( Chelsea Peretti) is unimpressed and heads to the lobby right after the big “Let’s Go Crazy” number. She tells the pleading Buster that they’re just not ready for the “big time”. But he and his troupe are not deterred, so Gunter (Nick Kroll) blurts out an idea for an outer space revue, and they soon pile into a bus for a road trip to Redshore. After a bit of subterfuge, they make it into the plush penthouse office of Mr. Crystal (Bobby Cannavale) himself. But he’s not interested until the cast guarantees that reclusive music superstar Clay Calloway will come out of retirement to be part of the cast. Crystal gives them a “go”, so now Buster and number one Clay fan Ash (Scarlett Johannson) have to convince the “legend” to perform again. And there’s still plenty of backstage drama to deal with. Male lead Johnny (Taron Eggerton) clashes with the impatient dance director Klaus (Adam Buxton), but he learns the “moves’ with help from street dancer Nooshy (Letitia Wright). Then Crystal insists that his talent-challenged daughter Porsha (Halsey) replace the nervous (afraid of heights) Rosita (Reese Witherspoon). Plus the female lead Meena (Tori Kelly)has no chemistry with vain Crystal Theatre star Darius (Eric Andre), as she’d rather spend time with dreamy ice cream vendor Alfonso (Pharrell Williams). Can Buster and his pals possibly pull everything together in order to avoid the wrath (and pointy fangs) of the vicious Mr. Crystal?

As is the case with many film sequels, I can say with confidence that if you enjoyed the first flick, then you’ll probably enjoy this one, too. I must admit that I’m not in that group. Watching a hundred or so minutes of “fuzzies’ and friends doing karaoke just wears thin on me. Now, you got each main character’s “origin” story last time, so this all hinges on the new plot or “show’ and all the new characters introduced. Buster’s got a pretty fearsome villain to butt heads with in Mr. Crystal, a snarling sociopath in the mode of Shere Khan or Scar, with street guy swagger. Kudos to the filmmakers for making him more dangerous than buffoon-ish, even at the risk of spooking the “wee ones”. And I like his daughter Porsha, who’s more dim than deadly, though she often enjoys flaunting her privilege. Plus Halsey and Carnavale do a great job as their respective “pipes”. But the best of the bunch is Clay, a slow-moving stoic silver lion with a surprisingly warm Texas drawl, considering his vocal “source” ( a true rock icon that I won’t spoil, though he’s on the poster). Also visually pleasing is the background design which makes Redshore a bright shiny pastel-colored near-mirror image of a certain gambling/entertainment mecca. Ditto for the forced perspectives of the outer-space show sets and auditorium with the singers and dancing zipping along on wires that dangle them dozens of stories above the adoring throngs. All this tries to make up for another fairly thin story and some tiresome slapstick bits. Recent films like the superb ENCANTO have set the bar very high for animated musical features, as the tunes reveal more info on the characters while pushing the plot forward, rather than stopping everything for a big brassy solo. And this flick’s hero, Buster, is just pleasant to the point of dull banality. Like its predecessor, it may make a good “first film” for toddlers with its tunes and soft colors. But for more discerning viewers, and fans of the talented folks at Illumination Animation, you may get more than a bit “fidgety’, and wish you were seeing another adventure of Gru and his Minions, rather than the simple show-biz shenanigans of SING 2.

1.5 Out of 4

SING 2 opens in theatres everywhere on Wednesday, December 22, 2021

WEST SIDE STORY – Review

Ariana DeBose as Anita (center) in 20th Century Studios’ WEST SIDE STORY. Courtesy of 20th Century Studios

WEST SIDE STORY is the exception to the rule that remaking a classic is pointless task. In fact, in some ways it is a better film. No wonder with the stellar team behind it – directed Steven Spielberg, script adapted by Tony Kushner, cinematography by Janusz Kaminski, and with executive producer Rita Moreno, the EGOT plus Pulitzer winner (one of the world’s three) who starred in original film as Anita, the only real Puerto Rican cast member in the 1961 film.

WEST SIDE STORY is one of the great classics of musical theater, first on the Broadway stage in 1957 and then in a 1961 movie version, with choreography by Jerome Robbins, music by composer Leonard Bernstein, lyrics by Stephen Sondheim and book by playwright Arthur Laurents. The story, based on Shakespeare’s “Romeo and Juliet,” is still set in the same 1957 New York but now the story takes place in a gritty, more realistic setting, with rubble in the streets as well as passersby and vintage cars. Tony Kushner adapted his script from the stage play rather than the movie, so audiences will notices a few differences from the familiar movie, as well as some updates to make the film more accessible for modern audiences. This story takes place in a neighborhood under the shadow of “urban renewal,” the destructive wholesale “clearance” of whole poor neighborhoods for redevelopment for the more affluent. Two juvenile street gangs, the Jets and the Sharks, are vying for dominance over the neighborhood, even as it is being emptied to make way for the new Lincoln Center.

The Sharks are recent arrivals from Puerto Rico while the Jets are the descendants of earlier immigrants from Ireland, Italy and Poland, who resent the new arrivals. Against that backdrop, Tony (Ansel Elgort), once a member of the Jets, meets and falls in love with Puerto Rican Maria (Rachel Zegler), the sister of Bernardo (David Alvarez), the leader of the Sharks. Maria lives with her brother and his girlfriend Anita (Ariana DeBose), who has taken the young girl under her wing.

The Jets are now led by Riff (Mike Faist), Tony’s childhood friend, who hopes to bring his pal back into the gang, at least for a showdown with the Sharks. Rita Moreno, who played Anita in the original film, now plays the widow of Doc, the kindly pharmacist who employed and advised Tony, a role that she plays in this version. Corey Stoll plays police detective Lieutenant Schrank and Brian d’Arcy James plays the frustrated Officer Krupke, while Josh Andrés Rivera plays Chino, the Puerto Rican boy that Bernardo has picked out for his sister Maria.

The immigrants theme was ground-breaking in 1957 but that the issue remains timely gives the story a contemporary hook. While the basic story remains the same, there are some changes, Some lyrics and dialog are gently updated to reflect modern sensibilities and address old issues, which gives the film a more contemporary feel. Some songs are sung in a different order or even sung by a different character but the changes do not change the basic story or its audience appeal. These changes seamlessly blended in by using musical arrangements and singing style similar to the 1961 movie.

Casting is also different, as this version corrects some cringe-worthy choices in the original cast, by casting more Hispanics in those roles. Unlike the 1961 film, the stars do their own singing, and both Ansel Elgort and Rachel Zegler do well in that respect.

Dancing remains a strong point in this film, with several fast, colorful, pulse-raising production numbers that are highlights. While the leads are focal points for songs, the supporting characters lead the dance numbers with Mike Faist as Riff and Ariana DeBose as Anita soaring to impressive heights. Both are triple threats, excelling in acting, singing and dancing, particularly dancing for Faist and singing for DeBose.

This is a musical with so many memorable songs. Highlights include the “America” production number, now opened up on to the streets and even more colorful, and the very funny “Officer Krupke” number, now set in a police station retains its punch. The “Tonight” duet has all the romance audiences could want, and the opening “Jets” number retains all its energy, with a little extra menace added in.

The cinematography by the legendary Janusz Kaminski adds greatly to the film. The strong use of slanting light adds drama, the dance numbers are brilliant and electric, and the night time scenes are filled with stabs of light, from street lights, searchlights, and headlights, adding a jolt of electricity to many scenes.

While some will still cite the 1961 classic film as their favorite, a good case can be made that this one is the better film, meaning Spielberg and Kushner have pulled off the near-impossible – remaking a classic and topping the original.

WEST SIDE STORY opens Friday, Dec. 10, in theaters.

RATING: 4 out of 4 stars

ENCANTO – Review

MEET THE MADRIGALS – Walt Disney Animation Studios’ “Encanto” introduces the Madrigals, a compelling and complicated extended family who live in a wondrous and charmed place in the mountains of Colombia. Opening in the U.S. on Nov. 24, 2021, “Encanto” features the voices of Stephanie Beatriz as the only ordinary child in the Madrigal family; María Cecilia Botero as Mirabel’s grandmother, Abuela Alma; Angie Cepeda and Wilmer Valderrama as Mirabel’s parents, Julieta and Agustín; Jessica Darrow and Diane Guererro as Mirabel’s sisters Luisa and Isabela; Carolina Gaitan and Mauro Castillo as Mirabel’s aunt and uncle, Pepa and Félix; and Adassa Candiani, Rhenzy Feliz and Ravi Cabot-Conyers as Mirabel’s cousins Dolores, Camilo and Antonio, respectively. © 2021 Disney. All Rights Reserved.

So, you didn’t think we’d go through the year’s last two big holidays without a brightly-wrapped animated gift from the “Mouse House”? Of course not, because we’ve all been “special good’ in 2021 (well most of us). In case you’re wondering, this is our second film of the past year from the very talented folks at the Walt Disney Animation Studios (after RAYA AND THE LAST DRAGON). Not that the Pixar crew has been idle, as they cooked up that tasty Italian dish LUCA a few months ago, And it would seem that the spirited competition (well friendly might be more applicable) has elevated all their efforts. Oh, and the WDAS artists are teaming up again with one of Broadway’s brightest talents for lots of intoxicating tunes. As a bonus, we’re heading into fairly unexplored territory (hey, SALUDOS AMIGOS and THE THREE CABALLEROS are from the 1940s), way, way south of the border. It’s the perfect family flick to savor after getting together after the big meal, because a big extended family is its focus, along with their home, the extraordinary ENCANTO.

We get the backstory of the magical Madrigal family from their matriarch, Abuela Alma (voice of Maria Cecilla Botero). Long long ago a tiny village was besieged by attackers, causing its residents to flee into the jungle. Unfortunately, the evil forces caught up to them, and only the sacrifice of Alma’s husband (and father of their triplet babies) could ensure their safe escape. But it seems his loss sparked some enchantment as their only candle continued to burn without melting. Then the trees and hills guided them to a new village and a seemingly living, ever-expanding mansion for the Madrigals, called Encanto. One part of its wonders becomes an annual tradition as the children who reach a certain age (looks to be about 8 or 9). It produces a golden glowing door for each, and when opened a special power, a “gift”, is bestowed upon the child. One lad is a “shape-shifter”, a lass is super strong, another can control the weather by her emotions. But then came bespectacled Mirabel (Stephanie Beatriz) whose door gave her…nothing. No powers…nada. But she carries on, and helps for the newest ceremony as her sister Isabela (Diane Guerrero) is being prepped to capture the heart of the handsome villager Mariano (Maluma). Then Mirabel notices cracks in the house’s perfect floor, then slight tremors. Is the magic fading? But can she even convince anyone of this since they think she may be just seeking attention? And could that mysterious figure dashing down the hallways be her long-missing uncle, the “unmentionable” Bruno (John Leguizamo)? Could he be the cause of this impending catastrophe? Oh my, the candle’s flame is sputtering…it’s almost going out….

Such a joyful celebration, this is an explosion of color and music. Speaking of the latter, the witty, top-tappin’ tunes are from that very busy mega-talent Lin-Manuel Miranda (his third feature effort this year), while the bouncy soundtrack comes from Germaine Franco. But back to those songs that reveal so much about the lead characters while advancing the story and never slowing down the flow of the film. Now as for the former, the color palette nearly bursts off the screen (I may need to return for the 3D version), mixing bright pastels with glowing golds and the lush greens of the surrounding jungles and hills. Needless to say that the intricate background settings benefit also, with the house becoming as much of a character as the Madrigal family and the villagers. Speaking of characters, big kudos to the artisans giving them form and features. Each one beams with originality, as we can easily tell then apart merely from the silhouettes. But just seeing the shapes you couldn’t marvel at the distinctive and expressive faces (jumping back to color, this film sidesteps the controversy earlier about the Latinx tones of IN THE HEIGHTS as every skin variance is represented). I must single out a few of my favorite designs: the muscular Luisa, the beefy but graceful dancer Felix, and the frantic Bruno. The last is matched perfectly (what incredible body language) with the energetic comic timing of Leguizamo, while Beatriz is a singing emotional dream as the lead Maribel. She’s a great new addition to the Disney Princess line (those blue glasses are a great visual touch), as she never allows herself to wallow in misery over the lack of getting a “gift” (her attitude and intelligence make up for a “super-power). And she’s proactive, not sitting and waiting to be helped or rescued. That’s all from the delightful script by Jason Hand, Nancy Kruse, Mirando, and the titanic trio of directors, Jared Bush, Byron Howard, Charlie Castro smith (usually I snark about “too many cooks” but the end feast is so delicioso). This is a beautiful tale in every way with an incredible roster of diverse talents working at “the top of their game”. During the holiday rush take time to spend a few (very) minutes exploring the dazzling, exuberant fantasmagorical wonder that is ENCANTO.

4 Out of 4

ENCANTO opens in theatres everywhere on the evening of Tuesday, November 23, 2021

TICK, TICK…BOOM! – Review

tick, tick…BOOM! (L-R) ANDREW GARFIELD as JONATHAN LARSON in tick, tick…BOOM!. Cr. MACALL POLAY/NETFLIX © 2021

2021 could be remembered as a pivotal year in the history of movie musical adaptations. Of course, this synergy has been happening since cinema began to talk (which leads to the singing and the sounds of dance) over 90 years ago. Perhaps after being cooped up for much of last year, Hollywood has enlisted Broadway to get folks back to the multiplex. IN THE HEIGHTS kicked off the Summer film cinema, while DEAR EVAN HANSON stirred up lots of discussion, but very little box office. We’ll see Steven Spielberg’s take on a true stage classic WEST SIDE STORY in a few weeks. But what can tide the film song and dance fans till then? How about a flick that combines the talents of two Tony-awarding winning titans of the last thirty or so years? Yes, it’s a musical, but it’s also a biography (perhaps an autobiography, too). So what happens when you mix Lin-Manuel-Miranda with Jonathan Larson? Well, stand back before it goes TICK, TICK…BOOM!

And that’s the title of the intimate off, off-Broadway show/review that’s the framing device for this profile of Larson (Andrew Garfield). He’s on the tiny stage with a four-piece band along with two singers (who are also good pals) Karessa (Vanessa Hudgens) and Roger (Joshua Henry) as he tells of his life just months away from his 30th birthday (a biggie). He’s paying the rent (that show came a little later) by “slingin’ hash” as a server at the trendy Moondance Cafe in the Big Apple. Oh, his home is a cramped, falling-apart, sixth-floor walk-up. Luckily he’s got big dreams as he spends his post and pre-diner time creating the songs for his big stage musical, a futuristic fantasy/romance called “Superbia”. Even better, he’s getting love and encouragement from his dancer/girlfriend Susan (Alexandra Shipp) and his childhood pal, an aspiring actor turned very successful advertising exec Michael (Robin de Jesus). Unfortunately, Jon becomes too focused on the looming date for his creation’s workshop/showcase. And he has other options that aren’t as much of a gamble. Susan’s mulling over a teaching gig in the Berkshires (so far from NYC) and hopes Jon will join her. And Michael wants to help him get into the lucrative commercial jingle biz, even though he’s in need of emotional support from his BFF. It’s a choice between “fear and love”, as some encouraging words from Mr. Sondheim fuels Jon’s passion. But will that keep him going as the bills pile up?

Garfield proves to be one of our most versatile young actors by making a very successful dive into (for him) uncharted waters: song and dance. Despite his lengthy credits, singing was not an asset, something he can now amend on his resume. He performs with confidence, but he also captures the yearning of an aspiring, almost starving artist. We can see in his intense stare, that Jon is trying to take in everything and anything that can inspire and enhance his work. It’s to such a degree that others think he’s distracted, or, as girlfriend Susan believes, composing during interactions. But Garfield also gets the euphoria of the perfect blend of words and melody, which makes his agonized staring into the white void of his Commodore personal computer (ah, the 90s) worth it. Here a former Spider-Man seems more like Plastic-Man as Jon is mentally stretched between the “love and fear”. or really “glory and security”. This superb performance sends Garfield into the stratosphere. Luckily he works ver well with his main scene partners. Shipp is an ethereal beauty as the graceful Susan, but we see her shift from adoration to frustration in dealing with Jon’s career “waffling”. The latter is even more pronounced with de Jesus as Michael who’s caught between art and commerce. Unlike Jon, he can better straddle and even separate himself from the two worlds. He knows Jon will keep trying, while his dreams were dashed by too many dismissive “thanks yous” that cut him off in mid-song. Plus he conveys the heartbreaking of wanting so badly to share his fears with a life-long “brother” who can’t spare the space in his mind. MJ Rodriguez and Ben Ross are Jon’s cheerleading “work family” at the diner. We must also praise Hudgens’s musical “chops” who electrifies in a spirited exhausting duet with Garfield, “Therapy”. A couple of TV and screen vets score in smaller roles. Judith Light is Jon’s elusive agent Rosa who surprises him with a brutal, but needed, “wake up” call. And Whitford plays the acclaimed stage legend as a song “god’ who strolls casually down from Mount Olympus to fire a revitalizing bolt of encouragement toward Jon as he starts to wander from his path (he’s the mentor we dream of).

Miranda takes to filmmaking with the same energy and confidence that he brought to “boards’ on Broadway. The story’s flow is never disrupted by the bouncing between the stage review and the flashbacks to Jon’s struggles. The scenes flow from conversation to musical numbers naturally, never feeling forced or awkward. Much credit must go to screenwriter Steven Levenson who captures the clash between worlds (art and business) while giving us a harsh glimpse into the creative “clusterf*#k” (again that blank void that must be filled). As a bonus, we get some scathing satire directed at the current state of the stage when one number is set against an ever-changing backdrop of theatre posters (with titles like” The Mediocre Musical Stage Version of the Mediocre Movie”, “Song You Already Know”, and, maybe my fave “White Couple Arguing About Marriage”). Ouch, but so deserved! As scathing as that scene is, there’s also a lovely “love letter” to “stage show-biz” in the big number “Sunday” which showcases a dizzying array of true “Broadway Legends” (“look there’s….and there’s…”). Such infectious joyous moments help offset the sense of loss we get from the real story. The tunes don’t sugarcoat the reality, instead they give more focus on the fights and friendships. So, what happens when Miranda meets Larson? It’s an explosion of cinematic delight that follows the TICK, TICK…BOOM!

3.5 Out of 4

TICK, TICK…BOOM! is now playing in select theatres and begins streaming exclusively on Netflix beginning Friday, November 19, 2021

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

EVERYBODY’S TALKING ABOUT JAIMIE (2021) – Review

Max Harwood and Sarah Lancashire star in EVERYBODY’S TALKING ABOUT JAMIE

Well, just about all the public schools should be back in operation, or at least still mixing “in-person” and “at-home virtual” learning by now. So, what better time for a breezy musical story set in a high school, though it’s “across the pond”? Aside from being a time for education, many young folks are breaking through their teen personas to become their true “adult selves”. And that’s where much of the dramatic conflict in this tale begins. This saga’s subject is, well, more than a bit flamboyant, at least for this small working-class town. Ah, but he’s proud and fairly loud, which accounts for why EVERYBODY’S TALKING ABOUT JAIMIE.

And that “talking point” is a high school senior Jaime New (Max Harwood), who lives in a modest duplex with his single “mum”, the hard-working, self-sacrificing, always encouraging Margaret (Sarah Lancashire). Jaimie happily awakens near dawn to deliver newspapers all around his Sheffield neighborhood in order to finance his passions. It seems that after “coming out of the closet’, he now wants to stock it with eye-popping fashions, particularly a pair of sparkly high heels. Once at school, Jaimie checks in with best pal Pritti Pasha (Lauren Patel) a shy, smart Muslim girl who is his biggest fan. But on the opposite end is the bullying jock Dean Paxton (Samuel Bottomley) who, along with his jeering “crew”, is quick with a “slam”. And he’s given lots of “fuel” in Ms. Hedge’s (Sharon Horgan) class when she asks Jaimie about his future goals. After much prodding from Pritti, he proclaims that he’s going to be a famous “drag queen”. Later that day, Margaret and her best pal, the frisky Ray (Shobna Gulati) throw him a big backyard birthday party where he receives a card with cash from his estranged dad (“faked by mum). Jaimie, again with the “push” from Pritti, takes his birthday bucks into a quiet fashion shop owned by a former drag entertainer named Hugo Battersby (Richard E. Grant). After regaling Jaimie with stories and home videos of his glory 1980s days, Hugo takes the lad under his glittery wing and relates the tricks, and “tucks’, of the “trade’. It’s decided that Jaimie will debut his “drag diva” character at a big show at the local “rec center”. But can he pull it off as he “suits up”? And how will this impact his last few weeks of high school, especially the big prom dance that’s the fun finale for the semester?

Harwood has all the necessary energy, along with spunk and sass, in the film’s title role. Yes, he’s great in all the big dizzy musical numbers, but he also brings a quiet empathy to the more somber sequences. it also helps that he’s able to make us still root for Jaimie even as dives into self-absorbed prima donna tantrums as he disregards his fervent cheerleaders in pursuit of his big goal. One of those big boosters is his mum, played with warmth and some real pathos by Lancashire. The script often puts Margaret on the sidelines, but Lancashire speaks volumes with her sad, tear-filling eyes as the housekeeper shunted by the spotlight. Luckily she’s not merely in Jaimie’s corner thanks to her lovely friendship with Ray, played with a sunny, flirty wink by the engaging Gulati. She never seems to be flaunting her romantic romps in Margaret’s face, but rather wants to inspire her to quit living through her son and ‘get out there”. Besides mum, the other big Jaimie fan is Pritti who Patel plays as more than a BFF. She conveys a real longing to break out of her family’s cultural stereotypes and establish herself in the school social system. Plus there’s that adoring look she gives her pal, telling us that her heart will have to be patient, and wait for someone’s that not a platonic crush.The cast is anchored by two screen vets, First, there’s the always terrific Horgan who handles the complex character of the main teacher, Ms. Hedge. She wants to be nurturing to Jaimie, but doesn’t wish to indulge his whims, but rather prepare him for the tough world out there (and she’s frustrated as every kids thinks they’re headed for stardom). the big scene stealer is Grant who exudes the right mix of snark and warmth as Jaimie’s sequined “Yoda”, who’s annoyed by his generational ignorance, but invigorated by the kid’s wide-eyed enthusiasm. He helps Jaimie, while the lad pulls him out of a nostagic quagmire.

First-time feature director Jonathan Butterell gives the whole first act of the film a nice, candy-colored shine as it bounces from Jaimie’s home to the raucous high school. The source materials’ stage roots are hidden by the terrific camerawork and authentic locations. Unfortunately only a couple of the songs stick while most have a forgettable fizz of wall-to-wall pop preciousness touting the wonders of the title hero. Plus the choreography and editing are exhaustingly frenetic with the high school classes engaged in very complex synchronized moves as the close-ups bounce from one wildly gyrating group to another. Plus the film has a third act lag as the big conflict arises from Jaimie’s pettiness (again, he’s not always in the right). But kudos to screenwriters Tom MacRae and Dan Gillespie Sells for not treating us to an ending full of universal acceptance, as some folks will remain steadfastly intolerant. And extra points for the archival footage of the real Jaimie over the end credits. It’s a nice bit of fluffy fantasy with an interesting twist on the “big school dance” subgenre of teen flicks. A good time will be had, though at awards time I’m not certain that EVERYBODY’s TALKING ABOUT JAIMIE, still.

2.5 Out of 4

EVERYBODY’S TALKING ABOUT JAIMIE streams exclusively on Amazon Prime beginning on Friday, September 17, 2021