The show, originally conceived by Cameron Mackintosh (Phantom of the Opera, Les Miserables), celebrates the music of Tom Lehrer, a comic misanthrope who makes Lewis Black and Jon Stewart seem like Mr. Rogers and Spongebob Squarepants.
Gen X knows him best as having written the songs for Electric Company (“Silent E”) but he also wrote a number of satirical songs in the 50s and 60s for shows like That Was The Week That Was, The Frost Report, and The Steve Allen Show as well as his own concert performances.
Lehrer observed, “I know it’s very bad form to quote one’s own reviews, but there is something the New York Times said about me [in 1958], that I have always treasured: ‘Mr. Lehrer’s muse [is] not fettered by such inhibiting factors as taste.“
Along with yours truly, the show features talented pals Laura Sagolla, Brent Stansfield, and Matt Cameron and is directed by Lauren London with music direction from Rebecca Biber and choreography by Victoria Gilbert. You can check out all of Lehrer’s music at his YouTube channel here.
Enjoy this interview of my mom author Susie Duncan Sexton on lovely Patty Hunter’s Fort Wayne-based talk show Patty’s Page. My mom is a riot, candidly and graciously discussing the experiences of growing up in small-town Columbia City, the high and lows and the delights and frustrations of writing her columns and books, her love of animals and movies and fun, the importance of always keeping an open mind, and many more wide-ranging topics.
Let’s Be Cops is a throwback to a simpler, sunnier, dumber movie era … and that is not necessarily a bad thing. There was a time, not that long ago, when the summer movie season was not so populated with postmodern irony and self-aware/self-important superheroes. Rather, it was an unyielding series of big, silly, high concept buddy flicks like Shanghai Noon or Bad Boys. (This summer’s 22 Jump Street is the exception that proves the rule.)
Let’s Be Cops has neither the wit nor the budget of any of those films, but it is like their not-so-bright cousin: pleasant and nice to hang out with at the family reunion, but ultimately rather forgettable.
Ryan O’Malley (New Girl‘s Jake Johnson) and Justin Miller (Happy Endings‘ Damon Wayans, Jr.) are two friends/roommates who move to Los Angeles to find their dreams after college (Purdue University no less, though both drive cars with Columbus, Ohio license plates – do the filmmakers not know where Purdue is?). These partners in arrested development have hit their 30s and are at a financial/social/life dead end. Think Romy & Michelle’s High School Reunion without the whimsy … or the Post-Its.
Their upcoming college reunion for some reason is a masquerade ball (WTF?) which O’Malley mistakenly believes means a costume party. Miller, a video game designer who is developing one based on real-life experiences of policemen, just happens to have two authentic police uniforms in their apartment. So, of course, they wear these costumes to the party, à la Elle Woods’ cringe-worthy bunny outfit in Legally Blonde. Embarrassment ensues when these boys in blue are faced with college classmates bedecked in evening gowns, tuxedoes, and glittery commedia dell’arte masks (again, WTF?).
The cheekiness finally kicks in when the boys, dejected and mortified by their reunion experience and still wearing their cop gear, wander the streets of L.A. and suddenly realize every passer-by regards them with fear, adoration, respect, or some combination thereof.
Expectedly, the power goes to their heads, and O’Malley starts to take it all too seriously, embroiling them both in a gang bust of some clichéd, B-movie Russian mobsters who are harassing the local pizzeria. (‘Cause of course that’s what Russian mobsters in L.A. would do.)
The film has potential to say something interesting about the abuse of power we see among some uniformed officials – certainly (and sadly) a timely concept. What kind of folks are drawn to this profession in the first place. Is this career-choice motivated by noble intent or a power trip or both? The movie’s script isn’t sharp enough to tackle that concept, which, if explored, could have taken this slight though entertaining film to more interestingly satiric comic levels.
However, the movie is fun. That is pretty much all it has set out to be, and that is just fine, aided and abetted as it is by a well-rounded cast. Any time Rob Riggle shows up (though he seems consigned now and forever to play police officers or gym teachers), you know you’re in good hands. Andy Garcia (!) of all people also makes an appearance, as does James D’Arcy, better than he should have been, saddled with the part of a Russian thug whose primary character trait is chewing (and spitting) gum. Key & Peele‘s Keegan-Michael Key, playing to his broad comic wheelhouse, is a hoot as a wide-eyed, childlike gangbanger.
The leads (Johnson and Wayans) have great, sparkling chemistry. Johnson, who seems like the love-child of Owen Wilson and Mark Ruffalo, is scruffy and charming in all his sweaty desperation to be somebody. Wayans, as his (somewhat) straight-arrow friend, shows surprising range, given the circumstances. He finds more notes to play than actually exist in the thin script, wringing comic gold as a neurotic fish-out-of-water, who is neither as neurotic nor as out of his depths as he initially seems.
Even its artless title is a giveaway that Let’s Be Cops is not taking itself terribly seriously. For all intents and purposes, this zippy trifle is two hours of two little boys playing dress-up in the backyard. Once the high (low) concept rumbles to life, the narrative is an entertaining perp walk to its inevitable credit sequence blooper reel.
Nina Kaur (thanks to fellow Farmington PlayerAmy Lauter for connecting us!) asked me to contribute a guest blog entry to her fun and interesting blog Thirty Something Years in Ninaland. Here’s what she wrote about me – “Every Monday I will have a guest blogger. Today I am featuring a wonderful Movie Reviewer named Roy Sexton. He is witty, charming and great critic! Enjoy reading about his journey!” Wow! Thanks, Nina! Click here for the original post on her blog.
By yours truly …
Movies have always been an important part of my life.
I like to read books (more accurately comic books these days, as I seem to now have the attention span of a tsetse fly), and I adore music. Television is fine, and I’ve spent many hours traipsing the boards of theatres across the Midwest. But movies transport me.
I love the fact that a film is an encapsulated medium. Whether 90 minutes or three hours, a movie tells one story – beginning, middle, and end – introducing you to new friends and enemies and locales in an efficiently designed delivery mechanism. With a good film, you get the experience of reading a novel (whether or not the film is in fact based on any work of literature) in a highly compressed fashion.
Your brain leaves your body for a bit, you take a mini-vacation to places you might not otherwise ever see, and you return to your regularly scheduled life a bit changed, perhaps enlightened, and hopefully re-energized.
I stop reading email, answering calls, or monitoring social media…and just blessedly check out…for a bit.
My parents cultivated appreciation for the arts by filling our home with movies and music and books and love. I’ve groused in the past about wanting, as a child, to play with my Star Wars action figures in the solitude of my toy-lined room and being forced instead to sit in our den with my parents and watch some creaky B&W classic movie on Fort Wayne’s Channel 55. And I am so grateful now for that.
My appreciation for classic cinema resulted from these years basking in the glow of our old RCA color TV. And when we could finally afford a VCR and could now watch any movie of our choosing, I was already hooked on the story-telling of vintage movies with their requisite arch wit, dramatic stakes, whimsical joys, and belief that anything was possible.
However, not everything was high art in our house. The advent of HBO in the early 80s and its repetitive showings of whatever junk Hollywood had most recently cranked out shaped my tastes for better or worse as well. I’m a sucker for the movie train wreck – the more star-studded, over-budget, under-written, and garish the better. Some of my most beloved films are among the most notoriously awful of all time: Xanadu, Sgt. Pepper’s Lonely Hearts Club Band, The Wiz, Popeye, Flash Gordon. The Black Hole, Raggedy Ann and Andy’s Musical Adventure, Willy Wonka and the Chocolate Factory, Return to Oz, Battle Beyond the Stars, Krull, The Neverending Story, and so on.
If it was a flop and it was shown ad nauseum one mid-afternoon following another on HBO in the 1980s, then I fell in love with it. Like self-imposed water torture on my nascent aesthetic.
As time went by and I stomped through my high school and college know-it-all years (some might argue I’m still stuck in them), I learned from both my parents and some wonderful teachers the tools of critique and criticism. What is the intent of the piece? What is the context for its creation? How effective is its structure, composition, impact? Where did it go awry or where did it cross over into something classic?
It’s all highly subjective and a bit arrogant, I suppose, but I can’t help it. I’m entertained by the act of analysis.
In more recent years, Facebook gave me an outlet to connect with my inner-Ebert. I started posting status statements summarizing in glib, condensed fashion my take on whatever flick we had just enjoyed … or endured. My kind-hearted and patient partner John has suffered through a lot of movies over the years, many he enjoyed … and even more he did not.
At wonderful Jim and Lyn’s beautiful wedding
We still bicker about his departure from Moulin Rouge after twenty minutes with nary an explanation. I found him after the movie in the lobby reading a newspaper – I don’t know what is more telling: that he was too kind to want to ruin the movie for me by alerting me how much he hated it, or the fact that I stayed to the end without checking on his safety and security!
My friends and colleagues enjoyed these little “squibs” I posted on social media. I suppose I was aspiring to capture the grace and insight of Leonard Maltin’s “micro reviews” that I consumed voraciously as a child every January when we bought his latest edition. (The paper on those early volumes was always of some strange newspaper-esque stock prone to smudging and was pulpily aromatic. I will never forget that musty, fabulous smell.)
John always asks plaintively, “Didn’t they know this movie was bad when they were making it?!”
Perhaps I keep trying to solve that riddle, with the false confidence that my $10 movie ticket entitles me to a shot at armchair quarterbacking. Perhaps the failed actor in me is still trying to reclaim some artistic glory. Or perhaps I’m just a wise-ass with too many opinions and without the good sense to keep them respectfully to myself.
My pals told me, “Set up a blog. Capture these Facebook reviews for future reference. They’re great; they’re fun! Blah blah blah.” I have to admit that eventually my ego got the better of me, and, one late night, I explored the wonders that WordPress holds (albeit not that many) and set up ReelRoyReviews as a diary of sorts, detailing my adventures in the cinema.
Here’s the funny thing. Nobody read them. Nobody. At least for quite a while.
Well, that’s not entirely true. My mom was an avid reader and supporter and was always the first to offer an encouraging comment: “My son writes the best reviews and everyone should love them.” So there!
But you know what? Something interesting happened along the way. I stopped caring and just started writing for myself. And I started having fun. And people started reading.
Life is way too short (and exasperating) to get too intense about entertainment, so I try to take a light and conversational approach with my reviews. And I try to respect that (for the most part) these are show business professionals putting (ideally) their best feet forward and that they are human beings with hearts and souls and feelings. I hope I never seem cruel. I don’t mean to be. These writings are off-the-cuff and journal-style and come from as positive a place as I can muster.
Approach everything and everyone honestly and with positive intent and offer candid feedback with an open heart and as much kindness as possible.
Please check out my latest reviews here … Dawn of the Planet of the Apes, Transformers: Age of Extinction, Edge of Tomorrow, 22 Jump Street, The Fault in our Stars, and Tammy and more …
Melissa McCarthy’s latest comedic opus Tammy is like a crass redneck cousin to Barbra Streisand’s/Seth Rogen’s similarly themed The Guilt Trip. That may seem like a slam. It’s not. I enjoyed both movies, flawed though they are, particularly given that exceptional performers can sell the thinnest of scripts.
Where McCarthy stumbles a bit more, however, is that she helped write the slight script for her starrer. Ouch.
What other movies are in Tammy‘s DNA? If Nebraska and McCarthy’s own Identity Thief had a cinematic baby, it wouldn’t be that far afield from Tammy, which depicts a shaggy dog heroine (McCarthy, natch) on the lam with her bewigged and besotted (as in drunk) granny (Susan Sarandon!). Heck, throw in a touch of Sarandon’s own twenty-five-year-old summer blockbuster Thelma and Louise for good measure.
Tammy’s life is a mess. She nearly totals her jalopy when she hits a deer on the way to her crappy fast food job. (In one of the movie’s more touching moments, Tammy lays down on the highway, gets face-to-snout with the deer, and talks the little fellow back into sprightly, white-tailed-scampering-across-a-field life. I liked that part. A lot.)
Tammy gets fired from said crappy job for being late (because of the deer miracle), throws ketchup packets at her now-erstwhile boss (McCarthy’s real-life husband and the film’s director Ben Falcone), comes home early to discover her hubby (a suitably golf-caddy skeezy Nat Faxon) serving a romantic dinner to her neighbor (Toni Collette, wasted here), and runs home (two doors down) to her mother (Allison Janney, dependably ringing gold from nothing).
Sarandon’s character, who lives in Tammy’s mom’s spare bedroom, already has a suitcase packed and can’t wait to provide the ancient Cadillac and limited funds ($6700) necessary for her and her granddaughter to skedaddle from small-town life and go see the spectacle that is Niagara Falls.
Just like The Guilt Trip (where Streisand’s character wanted nothing more than to see the Grand Canyon), all manner of comic disruptions keep Sarandon’s and McCarthy’s characters from their destination. Like Rogen and Streisand, Sarandon and McCarthy also end up in a barbecue restaurant where Sarandon meets cute with a potential beau (Gary Cole, playing it rather subtle for once). Unlike The Guilt Trip, Tammy heads in a decidedly cruder direction, involving Cole and Sarandon and the backseat of that decrepit Cadillac. Ewww.
(The fact that I’m giving point/counterpoint between two failed comedies released within 18 months of each other is indicative of two things: 1) my relative lack of taste and 2) the fact that Hollywood really has no new ideas. It could be worse. I could be reviewing Transformers.)
Tammy is entertaining. I laughed heartily at McCarthy’s antics (just as I did during The Heat or Bridesmaids). I also found myself moved by her ability to telegraph so pointedly the hurt of someone who lives on the margins, either by choice or happenstance. McCarthy can inhabit a character like no other. Problem is it’s the same character, and, while I like and can relate to this person she plays (and her penchant for wearing Crocs), I’d like to meet someone else … soon.
Sarandon is a hoot, particularly in her early scenes, also offering us a caustic comic portrait of someone who refuses to be consigned to the periphery. Her performance is derailed mostly by the script,which turns her into a Golden Girls sexpot for no discernible reason at the midway point.
Kathy Bates sparkles as Sarandon’s pet food store magnate/lesbian cousin (yeah, it’s that kind of movie) who lives in one of those beachfront homes that only exist in Hollywoodland. She gives Tammy and her grandma a warm meal, a roof over the heads, and one fabulous July 4th wingding. Despite the improbability of Bates’ surroundings, she grounds the movie just as it seems likely to run right off the rails, as Bates beautifully walks that fine line between satire and heartache that has been her specialty since Misery.
Mark Duplass (Zero Dark Thirty) is also a source of warmth as Tammy’s suitor Bobby, cursed as he is to babysit his philandering father (Cole). The quiet scenes between McCarthy and Duplass are when the film is at its finest (not unlike those charming moments between Kristen Wiig and Chris O’Dowd in the aforementioned Bridesmaids). All the cartoonish chaos stops for a moment, and two believably broken souls connect as kindred spirits.
That is the movie I hoped to see tonight. Maybe next time, McCarthy. I believe in you.
[NOTE: I've been suffering from a wicked cold this entire holiday weekend, and this movie was viewed as a late-afternoon matinee while I was all hopped up on DayQuil. Take all preceding advice with a huge grain of salt.]
There is no question I like my movies silly. Silly but smart and self-aware.
Similarly, I like my Channing Tatum silly. Silly but smart and self-aware.
22 Jump Street delivers on both expectations in spades.
When a beautiful person – like Tatum or, say, Jon Hamm or Charlize Theron – can let their freak flag fly, shed vanity, and just be a big goof, I find that endlessly appealing. Tatum, with his James-Dean-on-steroids pout and lunkhead-with-sparkle charm, hit an unexpected comedic home run with the cinematic adaptation of 21 Jump Street in 2012. And that left-field success is (quite literally) repeated with 2014’s sequel.
Tatum’s partner in (fighting) crime Jonah Hill is the perfect match in his sheer opposite-ness. When we first met their characters “Jenko” (Tatum) and “Schmidt” (Hill) in 21 Jump Street, comic gold was spun from their playing against type. Tatum was the loose-limbed Looney Tune, and Hill was his (sort of) straight man. (Imagine Bud Abbott in Lou Costello’s body.)
Wisely, the formula carries over in the now-franchise’s latest installment. Rather than posing as high school students to break up a drug ring, however, cops Jenko and Schmidt go to (wait for it) college to break up a drug ring. The very meta film, directed by Phil Lord and Christopher Miller (on a satirical roll following February’s blockbuster The Lego Movie), gives us one, yes, self-aware joke after another, ridiculing Hollywood’s tendency to bloat and distort what was once witty originality in the crass desire to mint money from one unnecessary sequel after another.
You know you’re in good hands when the redoubtable Rob Riggle reappears from the first film, continuing to crack wise on how the “boys” look like 40-year-olds and shamelessly ridiculing Schmidt’s whiny sycophancy.
Other standouts in the cast include Jillian Bell as sardonic (and just plain hysterically mean) college dorm devil “Mercedes;” Wyatt Russell (son of Goldie Hawn and Kurt Russell) as a golden-haired, puka-shell-necklace-wearing frat/football bro “Zook;” and Ice Cube (as cantankerous “Captain Dickson”) who has somehow managed to turn his rage-against-any-machine 90s persona into wry, whip-smart comic firepower.
The plot is admittedly inconsequential. The film starts nowhere and ends in the same place – pretty much all by design. However, if you want to see two good-hearted, happy-as-clams performers (Tatum and Hill) decimate a college campus while careening about in a go-cart decorated like a football helmet or skewer all the tried-and-true spring break Where the Boys Are cliches or offer zany subtle-as-a-sledgehammer critique of America’s ongoing puritanical dance with homophobia, then this is the movie for you. And for me.
(And be sure to stay through the credits. Some of the free-wheeling-est jokes are made as the filmmakers propose about 30 more Jump Street films that could keep the team of Tatum and Hill in business for decades.)
P.S. Thanks to my mom – author and columnist – Susie Duncan Sexton for allowing me to guest-write her ‘Old Type Writer’ column this month on Jennifer Zartman Romano’s ‘Talk of the Town.’ You can check out our tribute to Tony Award-winning actress Laura Benanti here.
My mom’s latest Homeward Angle column is actually written by yours truly – as she notes here …
“I’m turning my column this month over to my kid Roy ‘Inky’ Sexton (www.reelroyreviews.com). I was so taken by the message in this review he did of a movie I absolutely loved – Million Dollar Arm – that I wanted to share it with you. The concepts of appreciation and of kindness, of living in the moment and of acknowledging the contributions of others are so crucial, no matter your background or philosophy. I hope you enjoy reading this as much as I did! … and I am Don Draper’s and Jerry Van Dyke’s love child, I figured out! You can read his original post here.“
[Image Source: Wikipedia]
Below is the scanned copy of the column … enjoy! Find out more about my mom, her books, columns, and other writing at www.susieduncansexton.com – I’m very proud of her!
For those of you in the Fort Wayne, Indiana-area, save the date as she filmed an episode of the “Patty’s Page” talk show with wonderful Patty Hunter. The show will air Saturday, June 7, 5:30 pm and Sunday, June 8, 9:30 am on 55 (comcast) and 25 (frontier). For those not in Northeast Indiana, the show will also be posted by Patty on YouTube shortly following the broadcast.
Here’s an excerpt from the column: “No one can play an admirable cad quite like Hamm, and, as noted above, he is subtle perfection, no easy feat in a Disney summer blockbuster. His transformation from a machine who views his fellow man as ‘investments’ to someone who appreciates the heart and soul, fears and hopes intrinsic in us all is more inspiring than any slow-mo, symphonic-scored baseball-pitching at the film’s conclusion.”
Facebook is fun! As some of my colleagues might tell you, I fought social media tooth and nail about five years ago, but now I can’t imagine a world without it. It breaks down barriers, opens minds, and disseminates interesting information like no other channel.
My pal Nick Sweet, a crime novelist born in England and now living in Spain, tagged me in a blog chain and asked me to answer the following questions. You can read his original post here.
But me being me … I can’t just do what I’m told. So I’m going to intersperse my answers with pages from another one of the “reviews” I wrote in my toddler years – this time about an episode of my beloved Captain Kangaroo. In fact, I adored the show so much I have my own autographed photo of Bob Keeshan as the Captain. (And you can check out Baby Roy’s take on The Bullfighter and the Ladyhere – thanks to my mom for saving these whimsical pages from my youth.)
Part of my task as assigned by Nick is also to “pay it forward” and acknowledge some bloggers that I love – please check out their work …
My mom Susie Duncan Sexton’s fabulous free-thinking blog about animals, culture, empathy, and understanding here.
Lovely Kat Kelly Heinzelman’s thoughts on family, friends, and baseball at RedSoxLady35.
Gabriel Diego Valdez’ careful analysis of film, culture, and social politics at Basil Mariner Chase.
And my fellow thespian JP Hitesman’s energetic romp through local theatre offerings at Theatrical Buddha Man.
All five blogs are engaging and challenging and informative and rich – written by kind and thoughtful souls, hoping for a better, kinder world.
And here are my answers to Nick’s questions …
What am I working on?
What am I not working on? Between my daily life as a legal marketer, communicator, and strategic planner and my “free time” writing this blog, getting the word out about the Reel Roy Reviews book, proudly promoting my mom’s marvelous output as an author and a columnist and an animal rights activist, trying to be a good friend and family member, sharing a loving home and minding two nutty mutts, keeping up with my weekly comic book addiction, acting in and supporting local theatrical efforts, going to concerts and movies and plays, buying an ungodly amount of cds and dvds, and on and on, I’m not sure which end is up most days!
How does my work differ from others in its genre?
Stealing this from the press release about the book … “I try to respect that (for the most part) these are show business professionals putting (ideally) their best feet forward and that they are human beings with hearts and souls and feelings. I hope I never seem cruel. I don’t mean to be. These writings are off-the-cuff and journal-style and come from as positive a place as I can muster….Approach everything and everyone honestly and with positive intent and offer candid feedback with an open heart and as much kindness as possible.”
Why do I write what I do?
Also stealing from the release (lord, I’m lazy today) … “Film is an encapsulated medium. Whether 90 minutes or three hours, a movie tells one story-beginning, middle, and end-introducing you to new friends, enemies, and locales in an efficiently designed delivery mechanism. With a good film, I feel you get the experience of reading a novel (whether or not the film is in fact based on any work of literature) in a highly compressed fashion. … In the best movie-going experience, your brain leaves your body for a bit, you take a mini-vacation to places you might not otherwise ever see, and you return to your regularly scheduled life a bit changed, perhaps enlightened, and hopefully re-energized.”
How does your writing process work?
John laughs that he thinks I write my reviews as we’re still in the parking lot of the theatre. There is some truth to that. I’ve always been annoyingly analytical while watching a movie or a play or a concert – what choices were made, why, what do they say about the artist or about our culture? So all of that stuff is swirling in my head, and I quite literally have to purge it when I get home, or I lose track of the ideas and find myself on the cranky side. So, the minute we walk in the house, I grab the laptop, head upstairs, plunk myself on the bed, and exorcise these crazy thoughts.
Neighbors – the new movie starring Seth Rogen and Zac Efron – made me uncomfortable. I don’t mean that it was a bad film, but it sure as heck made me uneasy for its 90 minute running time.
This is both credit and critique.
The awful things the characters do to each other are unpredictable and mean and escalate with nightmarish abandon. It’s just that this is not my idea of a fun Saturday night at the movies.
I love me some outre comedies – from Bad Santa to Bridesmaids to this year’s Bad Words – and Neighbors, directed by Nicholas Stoller (writer of the last two Muppets movies!?), is as crass and crude as they come … but mostly the flick just managed to set my teeth on edge with not nearly enough laugh out loud moments.
Whereas the other aforementioned films use their gross out gags in service to the story (and to illustrate the renegade qualities of relatable characters who live in the margins), Neighbors seems to follow the rhythms of a horror movie, seeking to shock and awe rather than to humanize.
The high/low-concept relates the trauma of a young, hipster, entitled couple who move into a precious arts-and-crafts bungalow only to find their new neighbors arrive in a haze of 24/7 fraternity bacchanalia. We all know this couple, portrayed by Rogen (doing that same adenoidal foghorn thing he always does) and Rose Byrne (one of the best things in the spiky enterprise) – a pair of suburban survivalists who overuse words like “awesome,” who brag about their use of recreational drugs while obsessing about the latest Baby Bjorn-parenting-r-us techniques, and who sport t-shirts emblazoned with ironic Gen X catch phrases.
On the other hand, the frat boys, led by alpha wolf Efron and his charming chief lieutenant Dave Franco (James’ brother) are uber-millennials for whom the challenges of college seem to consist of how, who, where, and when to plan their next drug-fueled, techno-soundtracked, social media-documented rager. Sitcom-esque conflict ensues.
Do Byrne’s and Rogen’s characters just want a little peace-and-quiet for their baby daughter or are they caught in a disastrous spiral of trying to stay relevant and “hot” in the eyes of a youth culture that devours its own for breakfast?
There is a potent social commentary buried somewhere in this film, and it glimmers periodically – in the bureaucratic tomfoolery of Lisa Kudrow’s gonzo dean of students whose chief desire is to avoid bad PR and to keep her well-paying university gig or in the dissipated pretty boy bullying of Efron, a dim bulb freaked out that his prince-of-the-campus days are rapidly drawing to a close.
Ultimately, Neighbors captures a sweaty bad dream for those of us caught between our fraternity days and our mortgage-paying mid-life. But it’s chief accomplishment will be in shifting the rudderless career of Efron from bland all-American heartthrob (a role that never quite suited him) to comically creepy, beautiful sociopath. This turn fits him like a glove. Here’s hoping he gets another chance to explore this newfound niche. Goodbye, High SchoolMusical‘s Troy Bolton. And good riddance.
With references to forgotten Broadway musicals and even more forgotten films (Buckaroo Banzai or Time Bandits, anyone?), analysis of my ongoing “war” with the Cher-army, many funny asides, boffo binge-book-buying by all in attendance, and a whole lot of zany fun, yesterday’s book signing/singing event was a hit!
With Peter Blackshear [Photo by Don Sexton]
Magic to do [Photo by Don Sexton]
[Image Source: Wikipedia]
Songs were sung: “Corner of the Sky” from Pippin, “Pure Imagination” from Willy Wonka and the Chocolate Factory, “Send in the Clowns” from A Little Night Music, “My Funny Valentine” from Pal Joey, and “This is the Life” from Golden Boy.
Film musings were read: both entries from the book on the beautiful black and white comic weepie Penny Serenade – one by my mom, author and columnist Susie Duncan Sexton and one by yours truly.
And we got to catch up with some wonderful, kind, supportive friends (photos here)…
[Photo by Megan Blackshear]
With accompanist Rebecca Biber [Photo by Don Sexton]
John Mola, Susie and Don Sexton, Sean Murphy, Jim Lynch, Melynee Weber, Lauren M. London and the London kids, Angie Choe and Sean and kids, Matthew Theunick, Zaida Hernandez, Karen Southworth, Beth Kennedy, Jenna Jacota Anderson, Sarah Rauen, Marjorie and Patricia Lesko.
Thanks to Rebecca Biber for the wonderful accompaniment and witticisms. And thanks again to Bookbound and Peter Blackshear and Megan Andrews Blackshear (and Chester!) for hosting such a fun event.
[Thanks to BroadwayWorld for this coverage - click here to view.]
With actress Sarah Rauen [Photo by Megan Blackshear]
[Image Source: Wikipedia]
Here is Bookbound’s write-up:
“Bookbound (1729 Plymouth Road, Ann Arbor) hosted local community theater actor, blogger, and author Roy Sexton for an afternoon of laughs and music. He read from his new book of cheeky movie reviews, Reel Roy Reviews, and entertained with movie themes and show tunes with Rebecca Biber accompanying.”
[Image Source: Wikipedia]
Finally, what an honor and a privilege for us to be included in dear and talented and beautiful Beth Kennedy’s fantastic blog I Didn’t Have My Glasses On.
Here’s a quote: “there were so many sextons, so little time……and i was so happy to be a part of it all, and in awe of the heartfelt and mutual support shared by all.” We love you, Beth! Read the rest by clicking here.
ReelRoyReviews is officially launched, y’all! Time for me to collapse…