Volume 2 is number 2 … right now on Amazon

Thanks, everyone! What an exciting Oscar Nomination Thursday for Reel Roy Reviews! Get your copy of the latest volume here.

 

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Thanks to Columbia City Post & Mail for coverage of Volume 2!

Thanks to the Columbia City Post and Mail for this coverage of the release of Reel Roy Reviews, Vol. 2: Keep ‘Em Coming – available now to order at Amazon: http://www.amazon.com/Reel-Roy-Reviews-Keep-Coming/dp/0692360433/ref=asap_bc?ie=UTF8

Post and Mail coverage of RRR2

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Volume 2 now available on Amazon – just ask my parents!

Reel Roy Reviews 2

Reel Roy Reviews 2

You can now purchase Reel Roy Reviews, Vol. 2: Keep ‘Em Coming!” on Amazon in whatever form you like (paperback, Kindle … well, that’s about it). Click here – please, click here – buy the d*mn thing. It’s good – I promise! :)

Wait … if you don’t believe me … just ask my parents. They are TOTALLY objective here …

Excellent – honest – fun – intelligent reviews! These reviews of current films and concerts are perfect pieces reflecting the state of entertainment and the amount of creativity, or lack of creativity, that is found in each endeavor. And unlike some reviewers who take themselves too seriously, Roy uses humor and good sense to make this book enjoyable and pure pleasure. Highly recommended. – Don Sexton

Night at the Museum

Night at the Museum

About time a genius emerged from our vast family tree…and here he is…brilliant, fair-minded, entertaining, and provocative. The other genius in our genealogy served as Harry Truman’s secretary…so it has indeed been awhile. Buy this book…volume II and enjoy the reverence for and keen judgment of the film industry…casts, characters, scripts, cinematography, special effects or lack of them, themes, and all delivered with authority and humor from an astute author and fun and witty critic! He is the best! Gene Siskel, move over!Susie Sexton

So, there you go! And if you can’t trust the parents of a shameless self-promoter like me, whom can you trust?

Legal News coverage: Law firm VP to publish second book of film and media critiques

Thanks to The Legal News for this coverage (click here for digital version) …

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“Keep ’em coming!” is something Roy Sexton’s readers have said frequently over the past dozen months since the release of his first book of film reviews, Reel Roy Reviews: Keepin’ it Real.

000_0007Sexton, a resident of Saline/Ann Arbor, started out penning saucy missives about the latest Hollywood blockbusters at his blog www.reelroyreviews.com, but lately he has been writing more about theatrical productions, concerts, and other live musical performances, as well as conducting the occasional interview.

In his latest book Reel Roy Reviews, Vol. 2: Keep ‘Em Coming!, Roy reviews Sting’s new musical The Last Ship, offers musings on shows by Lady Gaga, Cher, Randy Newman, and Katy Perry; and has written one of the snarkiest pieces you will ever read about a Transformers film.

hindbaugh__me__edna__don_and_roy_0005Open Books Technical Editor Kelly Huddleston observes, “Honest, humorous, witty, delightfully snarky… Sexton’s approach to movie, concert, music, and theatre reviews rivals that of legendary Gene Siskel. If you loved the first volume, then you are sure to enjoy Volume 2: Keep ‘Em Coming.”

Fellow author Tom Joyce (The Freak Foundation Operative’s Report) adds, “The guy’s obviously a hardcore film geek, who’s seen a ton of movies and has a good sense of what makes a quality film. But there’s an element of populism to his approach that I see lacking in a lot of film reviewers. He understands that sometimes you’re just not in the mood for a transcendent redefinition of the cinematic art form. Sometimes you just want a fun night at the movies. In other words, he doesn’t review like a serious student of cinema, so much as a regular person who just happens to really like movies. And, since that description fits me and — I’d venture to say — the vast majority of movie viewers that makes his reviews enormously engaging.”

Legal News RRR 2 Banner

Reel Roy Reviews, Vol. 1: Keepin’ It Real was released on the Open Books (www.open-bks.com) imprint in February 2014, and this second volume is available for pre-order now (print edition and digital downloads distributing mid-January 2015). Both volumes will also be available on Amazon, iTunes, and Nook. The books can be found in Southeast Michigan at Dearborn’s Green Brain Comics and Ann Arbor’s Bookbound and Common Language book stores.

animals_and_us_0010In the second volume’s introduction, Sexton writes, “As my blog rolls into another year of entertainment, rife with comic book adaptations, sequels, Oscar bait, arena shows, and theatrical productions big and small, sometimes I wonder if I am choking the life right from this hobby of mine. Can you imagine if every time you saw a film that your OCD tendencies forced you to rush home, throw some quippy hoo-ha on the internet, and wait eagerly for 3.5 comments to appear? Ah, well, it’s still too much fun to stop now—anticipate Volume THREE Roy’s Movie Migraine shortly.”

Sexton, son of Don and Susie Sexton, grew up in Columbia City, Indiana. His mother (www.susieduncansexton.com) is also a published author, whose two essay collections Secrets of an Old Typewriter and More Secrets of an Old Typewriter, are published by Open Books.

Roy earned his Bachelor’s degree from Wabash College in 1995 and is a 1997 graduate of The Ohio State University, where he earned his Master’s degree in Theatre. In 2007, Roy graduated with his MBA from the University of Michigan. He is a graduate of Leadership Detroit, is a governor-appointed member of the Michigan Council of Labor and Economic Growth and was appointed to the Michigan Mortgage Lenders Association Board of Governors in 2012. He is currently participating in the Ann Arbor/Ypsilanti Chamber of Commerce’s yearlong Leadership A2Y program, and he is an active member of the Legal Marketing Association.

animals_and_us_0003Roy has been involved on the following nonprofit boards and committees: First Step, Michigan Quality Council, National MS Society, ASPCA, Wabash College Southeast Michigan Alumni Association, Penny Seats Theatre Company and the Spotlight Players. Sexton is Senior Vice President of Corporate Affairs for Trott Law, P.C., a Farmington Hills, Michigan-based real estate law firm.

Prior to joining Trott, Roy spent 10 years in various planning and communications roles at Oakwood Healthcare System, serving as the Corporate Director of Strategic Communications and Planning. In this role he led a staff of 20 marketing professionals and developed the strategic direction for the $1 billion health care system.

wedding_of_susie___don_0005Sexton has been an active participant in the local theatre scene for nearly twenty years, having appeared in a number of productions. Sexton most recently performed in The Penny Seats’ sold out run of the Tom Lehrer cabaret Tomfoolery at Conor O’Neill’s in Ann Arbor. Prior to that, Sexton had the lead role in Ann Arbor’s Penny Seats production of the Neil Simon/Cy Coleman/Carolyn Leigh musical Little Me, playing seven different characters. He is a co-founder of the theatre company. He was featured as Professor Callahan in Legally Blonde the Musical at Farmington Players, and he played Georg Nowack in She Loves Me with The Penny Seats. He has also appeared in Goodnight Desdemona (Good Morning Juliet), What Corbin Knew, Oklahoma!, The Pajama Game, Company, Bells are Ringing, Rags, Side by Side by Sondheim, The Taming of the Shrew, Fiddler on the Roof, The Fantasticks, The Merry Wives of Windsor, Ah, Wilderness!, God’s Country, The American Clock, As You Like It, Tartuffe, The Battle of Shallowford, Trout, and The Merchant of Venice. He is also an active cabaret performer.

Sexton comments, “Thanks to all those people out there who support with their time, their money, their attention popular art in all its varied forms. Now go see something fun and tell all your friends about it! That’s the best kind of reviewing in the world.”

“But just because they think differently, that doesn’t mean that they do not think.” Exodus: Gods and Kings, Into the Woods, Annie, Big Eyes, and The Imitation Game

Description: Film poster; Source: Wikipedia [linked]; Portion used: Film poster only; Low resolution? Sufficient resolution for illustration, but considerably lower resolution than original. Other information: Intellectual property by film studio. Non-free media use rationales: Non-free media use rationale - Article/review; Purpose of use: Used for purposes of critical commentary and illustration in an educational article about the film. The poster is used as the primary means of visual identification of this article topic. Replaceable? Protected by copyright, therefore a free use alternative won't exist.

[Image Source: Wikipedia]

“But just because they think differently, that doesn’t mean that they do not think.”

So says British wartime mathematician (and accidental spy) Alan Turing (as portrayed in The Imitation Game with comic grace and heartbreaking nuance by Benedict Cumberbatch) to a police detective investigating Turing on indecency charges during the post-war years.

Turing offers this hypothesis in revelation, not over his sexuality per se, but to this even deeper secret: that he, through his divination of modern computing, broke Nazi codes that provided crucial intelligence for the allies to win the war. His theorem on diversity of thought processes is offered when he is asked, “Do machines think?” Yet, his conclusion above applies to his life, or for that matter to any life, lived on the margins.

Buddha 1

My parents with Buddha

The film’s central hypothesis is that those who are most overlooked (if not reviled) become those who bring the change we most need. And this mantra applies in some part to every film I saw this holiday break, from Ridley Scott’s sword-and-sandals-and-Bible-verse epic Exodus: Gods and Kings to Rob Marshall’s long-gestating adaptation of Stephen Sondheim tuner Into the Woods to Tim Burton’s almost-but-not-quite-there kitsch docudrama Big Eyes to, yes, even Will Gluck’s unnecessary yet surprisingly pleasant reinvention of that cloying chestnut Annie. (In the thirty years it took us to get one cinematic Into the Woods, we’ve had three versions of Annie … but I digress.)

“Is it always ‘or’? Is it never ‘and’?”

Night at the Museum 2

My parents with Ben Stiller

So sings The Baker’s Wife (portrayed with lilting restraint by an ever-impressive Emily Blunt) at a penultimate moment in the swirling, spiky postmodern fairy tale pastiche that is Into the Woods. Her character, literally defined by name as a possession (Baker’s Wife) finally claims one moment in life for herself, and the exhilaration and the horror of this gender-fried crossroads quite literally leads her off a cliff.

Paddington

Me and Paddington

 

 

 

 

“Is it always ‘or’? Is it never ‘and’?” Amen. Each successive Christmas holiday reminds me of this in no uncertain terms. This festive season arrives faster and faster every year, in a sh*t-storm of commercialized mania and accelerated/accumulated guilt. Like Dickens’ Scrooge, I feel the calendar pages ripping away as I age mercilessly with each card I write or present I wrap in mindless tradition. Quite literally, in fact. My birthday and my parents’ wedding anniversary are plunked smack in the middle of Christmas and New Year’s – the special, silly times of card games and Old Saint Nick seem to recede ever more into the rear-view mirror, as gray hairs dot my scalp, my waist ever expands, and my knees crackle and creak.

Annie 2

The cast of Annie … and my folks!

One of the seasonal traditions that still holds charm for me and for my family is going to the movies, escaping into the darkness of the cineplex, our faces lit only by the glow of a movie screen, as we lose ourselves in the fictional lives of twenty foot people, exploring their cinematic metaphors for the pain of our real lives, as they are indifferent to the din of our popcorn chomping.

 

(Someone in cyberspace just looked up from their computer/iPad/iPhone/whatever and said, “This isn’t a review? What is this??” Nope, it’s a blog – my blog - and I’m writing about the films I saw this week through the present state of my heart. Get over it. I would argue that’s how most of us view movies – not through clever analyses of cinematography or semiotics but by how films make us feel.)

We were blessed with a banquet of great choices at the movie house this year, and these flicks made up, in part, for the inexorable sadness of seeing another year slip past.

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[Image Source: Wikipedia]

If time and temperament allow, I might write in more detail someday about one or all of these, but, for the nonce, I’m going to just jot out quick thumbnail reviews of each. These were the kinds of Leonard Maltin-esque blurbs I posted on Facebook a few years ago that prompted people to ask me to start a blog in the first place. It feels right to exercise (exorcise?) those muscles again …

Exodus: Gods and Kings is a return to triumphant form for director Ridley Scott. People have dismissed the film as ponderous and pedantic, but, they are missing the point. Biblical stories are richest and at their most compelling when told from a humanistic/historical perspective. That’s not blasphemy, you ring-dings – that’s inspiration. Christian Bale’s everyman-Moses is a believable portrait of a man at odds with himself and with a society he has outgrown. The narrative of Moses’ uncertain certainty that a new future and a new legacy must be paved for his children and his children’s children is subtly, deliberately told (or as subtle as a CGI-filled spectacle with skies that rain frogs can be). Joel Edgerton (his unfortunate resemblance to Nancy‘s Sluggo notwithstanding) as Ramesses is a fine match for Bale, telegraphing beautifully the earnest indignation of a king whose kingdom evaporates beneath his spray-tanned feet. The film’s key misstep is casting John Turturro and Sigourney Weaver as the Pharaoh and his Queen. WTF?!? I giggled every time the duo popped a kohl-rimmed eye onscreen. I’m a fan of color-blind casting – and that goes both ways – so I don’t buy into any of the controversy surrounding this film … but those two just stuck out like sore, overpaid Hollywood thumbs in an otherwise entertaining epic.

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[Image Source: Wikipedia]

Into the Woods is a perfectly manicured Hollywood treatment of the beloved Stephen Sondheim musical. It isn’t as hermetically sealed as the wonderful yet claustrophobic Sweeney Todd, but it does suffer from a similar staginess. Director Rob Marshall can’t quite shake the stiffness of his TV-movie origins as he takes his spectacular cast from live locales to sound stages and back again. Fortunately, he has stacked the deck with a cast to die for. Nearly everyone (with the exception of a wan Johnny Depp as the wolf) rocks it – notably the aforementioned Blunt as well as Chris Pine as Prince Charming, Tracey Ullman as Jack’s Mother, Anna Kendrick as Cinderella, and, of course (!), Meryl Streep as feminist-whirlwind-in-blue-haired-mischief as The Witch. Go for the spectacle but stay for her climactic number “Last Midnight,” which she delivers as a kind of last word tour de force on the B.S. that is Freudian mother-bashing.

Description: Film poster; Source: Wikipedia [linked]; Portion used: Film poster only; Low resolution? Sufficient resolution for illustration, but considerably lower resolution than original. Other information: Intellectual property by film studio. Non-free media use rationales: Non-free media use rationale - Article/review; Purpose of use: Used for purposes of critical commentary and illustration in an educational article about the film. The poster is used as the primary means of visual identification of this article topic. Replaceable? Protected by copyright, therefore a free use alternative won't exist.

[Image Source: Wikipedia]

Annie is getting a lot of venom it doesn’t deserve. Folks, it’s not a very good musical to begin with. The 1982 John Huston movie is a bloated, abysmal mess. The 1999 Disney TV movie sequel (yes, directed by Rob Marshall – go figure) is an improvement because, like Into the Woods, they cast the darned thing correctly…but the show is just clunky in its bones. So I, unlike many of my Gen X peers, didn’t sweat it that Jay-Z and Will Smith and Jada Pinkett Smith decided to produce a reinvented “modern” Annie. (Jay-Z scored a genius hip-hop hit over a decade ago when he sampled the treacly “Hard Knock Life” and turned that song on its square head.) With that said, I enjoyed this latest take on the trice-told tale (not counting the various direct-to-video sequels). Yes, the movie suffers from a kiddie-movie dumbing down of its game stars Jamie Foxx, Cameron Diaz, Rose Byrne, and Quvenzhane Wallis. If I saw one more spit-take with a mouthful of food from one of them I was going to scream – not funny … never funny … no one in real life ever. does. that. Stop it, Hollywood. Regardless, the Sia-produced remixes on the classic tunes offer a fun refresh (at least to my Tomorrow-beleaguered ear), and I, for one, enjoyed Diaz’ albeit-hammy-but-grounded Miss Hannigan. (Sorry, I am not a fan of Carol Burnett’s sloppy slurring take on the character in the original film. Another note to Hollywood: fake, floppy drunkenness? Stop it. Not funny.)

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[Image Source: Wikipedia]

Big Eyes? I think we all can agree those forlorn waifs with the saucer eyes are a pop culture trend best forgotten. However, the idea of mining America’s en masse lemming-like attraction to bad taste as a metaphor for cultural atrophy? THAT I can support. Alas, Tim Burton only gets us part of the way. Amy Adams does a credible job as the questionably talented but unquestionably victimized artist Margaret Keane. Unfortunately, the script imports some shallow truisms of Atomic Age misogyny from a very special episode of Mad Men, and Burton lets Christoph Waltz as Margaret’s megalomaniacal hubby Walter chew the scenery into balsa wood splinters. (Waltz becomes more of a Looney Tunes character every day.) Always delightful Terence Stamp gets all the film’s best lines as a New York Times art critic simultaneously horrified, bemused, and validated by America’s collective tackiness. The film has a chance to say some powerful things about creativity and gender and the crush of patriarchal economics … but it just implies them.

Movie 1

Me.

And back to The Imitation Game, in some respects the strongest of this overall decent pack of films. Cumberbatch, like those saucer-eyed waifs, lets his peepers do most of the talking. His Alan Turing is insufferably arrogant yet heartbreakingly winsome. The ache of his difference, his left-field intelligence, his sheer other-ness is conveyed through those haunted, limpid orbs of his. Keira Knightly (who usually makes me want to throw myself through a plate-glass window) is full of restrained charm. She is the counterpoint to Turing’s existence: another outsider – this time for her gender – whose outsized intelligence is marginalized and pooh-poohed, until these two spectacular oddballs find one another … and save the world. The script is thin at times (confusing at others), but Cumberbatch and Knightly make a crackerjack pair. Their final scene together is both tender and shattering.

Movie 4

End scene.

Any of my snark aside, all of these films are worth visiting and revisiting. The holidays are always a time of reflection, and the movies can be an important and therapeutic part of that process. We’ve got a week until we ring in 2015, so go spend some time in far off lands or heightened realities and see what they open in your own heart. More from Into the Woods

“Someone is on your side. Someone else is not. While we’re seeing our side, maybe we forgot. They are not alone. No one is alone.”

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Reel Roy Reviews is now a book! Thanks to BroadwayWorld for this coverage – click here to view. In addition to online ordering at Amazon or from the publisher Open Books, the book currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

Just when you thought it was safe to go back in the bookstore … bam, the sequel!

RRR2 CoverJust when you thought it was safe to go back in the bookstore … bam, the sequel! Reel Roy Reviews, Volume 2 coming January 2015 – here’s the announcement from the publisher:

“Keep ‘em coming!” is something Roy Sexton’s fans have said frequently over the past dozen months since the release of his first book of film reviews, Reel Roy Reviews: Keepin’ It Real.

Roy started out penning saucy missives about the latest Hollywood blockbusters, but lately he has been writing more about theatrical productions, concerts, and other live musical performances, as well as conducting the occasional interview.

In his latest book Roy reviews Sting’s new musical The Last Ship, offers musings on shows by Lady Gaga, Cher, Randy Newman, and Katy Perry; and has written one of the snarkiest pieces you will ever read about a Transformers film!

RRR2 Headshotkid_stuff_0002Fellow author Tom Joyce writes, “The guy’s obviously a hardcore film geek, who’s seen a ton of movies and has a good sense of what makes a quality film. But there’s an element of populism to his approach that I see lacking in a lot of film reviewers. He understands that sometimes you’re just not in the mood for a transcendent redefinition of the cinematic art form. Sometimes you just want a fun night at the movies. In other words, he doesn’t review like a serious student of cinema, so much as a regular person who just happens to really like movies. And, since that description fits me and — I’d venture to say — the vast majority of movie viewers that makes his reviews enormously engaging.”

Lucy Jif for Banner

About the book: http://www.open-bks.com/library/moderns/reel-roy-reviews-2/about-book.html

About the author: http://www.open-bks.com/library/moderns/reel-roy-reviews-2/about-author.html

Pre-order: http://www.open-bks.com/library/moderns/reel-roy-reviews-2/buy-book.html

 

 

 

And enjoy this video of my mother Susie Duncan Sexton and me on The Kevin Storm Show, discussing animal rights, theatre, culture, and more … and if you’ve ever wondered what radio people do while their on-air guests are talking, now you know! Definitely some unintentionally ironic comedy here …

The Penny Seats! 2015! Nothing BUT trouble!

Penny SeatsThis video is really adorable – and I can say that without any vanity (yet perhaps a little bit of pride) because, though I am a happy member of this intrepid troupe, I did not  have anything to do with the video’s artistic creation! (You will see some pics of me below though – ah, vanity!) Happy December!

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Hi friends, this is our one big chance to raise funds for our 2015 Summer Season.  And this year, it’s twice as exciting as it’s ever been.  Why?  Watch here

Help us achieve our dream! 
Two shows, six whole weeks,
at West Park this Summer.

 

ElektraAfter five years of steady growth and our 2014 season ending with a tremendous sold-out run, we ask for your help as we achieve a long-awaited dream:  in Summer 2015, our fifth year at Ann Arbor’s West Park, The Penny Seats will present two full-scale, professional shows at the park, for nine performances each, over six weeks.

Tomfoolery

 

This will double our summer residency, and at last build us into the summer repertory company we set out to be. In five years we have enjoyed enthusiastic and growing support from the community.  We’re proud and excited, and we have many to thank.  Since day one, our funding model has been simple:

raise every season’s funds in advance, and don’t spend what you can’t raise.

What Corbin Knew

 

 

Goodnight DesdemonaWe rely on donations and grants for 100% of our season budget.  We don’t count on ticket sales, so we can keep prices very low.  We want to be the best theatrical value in town, delivering top-quality theatre at bargain prices.  That’s where you come in.

She Loves Me

Little MeOur goal is ambitious:  to achieve our dream this year, we need to pay two sets of royalties, two times the rent for West Park and rehearsal space, and, most importantly, we need the proper funds to pay the dedicated Michigan artists at the center of it all.  Can you help?

 

 

Helping out is easy, and it comes with some great perks, including 2 free tickets to all our shows for a $100 donation!  So please, this year, help us achieve what we set out to do.  Let’s give Ann Arbor a fabulous, top-quality summer theatre festival in the park. Donate today.  Thanks.

 

 

 

 

 

 

The Penny Seats are:

Staff:
Lauren London, President
Sean Murphy, Technical Director
J.P. Hitesman, Marketing Director

Board of Directors:
Bridget Bly, Treasurer
Matthew Cameron, Chair
Kelly Cameron
Victoria Gilbert
Zachary N. London, Secretary
Laura Sagolla, Vice Chair

All photos by Dawn Kaczmar 

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Penny Seats
Copyright © 2014 The Penny Seats Theatre Company, All rights reserved.Our mailing address is:

The Penny Seats Theatre Company

2720 White Oak Dr.

Ann Arbor, MI 48103

Add us to your address book

Are you satisfied with your care? That’ll do, Bay. That’ll do. Big Hero 6

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[Image Source: Wikipedia]

When I heard that Disney was going to start mining its ownership of Marvel for future animated properties, I admit my blood (unnecessarily) ran to ice water. This corporate marriage of Mouse House and House of Ideas has yielded a remarkable run of quirky and thrilling and poignant live-action cinematic blockbusters, rife with whimsy and adventure. However, the idea of Spider-Man potentially swinging his way through a princess fairytale musical extravaganza gave me pause.

I should’ve known better. These guys aren’t messing around.

Big Hero 6, Disney Animation’s latest offering, based on an obscure Marvel comic about teenagers saving the world in some indeterminate polyglot future world, absolutely sparkles. I was a lone-dissenting voice in my distaste for Frozen, and, while I enjoyed Wreck-It Ralph, I thought it got rather lazy in its final act. However, Big Hero 6 is perfection.

This latest addition to the Disney canon has its feet planted firmly in the superhero genre, and, while comfortably familiar (it is Disney/Marvel after all), it takes the conceit to new humanistic heights. The tried-and-true Disney themes of family and acceptance and kindness and altruism and championing the underdog are all gloriously on display, but they are infused with a hyper-charged cheekiness that we typically only see over at corporate cousin Pixar.

The story relates the life of two loving brothers, who having lost their parents, now live with their aunt (voiced warmly by Maya Rudolph) above a bakery in San Fransokyo. One can only presume at some point in the near future, the Pacific Ocean dries up, with Tokyo and San Francisco inevitably meeting “urban spawl cute” somewhere in the middle. Or something.

Older brother Tadashi is a robotics expert at the local university, and his younger brother, Hiro, equally bright, aspires to join him. They are surrounded by a colorful and sweet group of friends, a United Colors of Benetton with brains and self-awareness. These are misfits for our modern age, open-hearted kids who embrace their intelligence, see the world as a playground of opportunity, and wear the term “nerd “as a badge of honor.

It wouldn’t be a Disney movie, if there were not some tragic death that prompts the narrative to action. Someday someone needs to write a thesis on that inherent dark heart in all the Disney “magic.” Tadashi and his beloved professor Callaghan (voiced perfectly by the always dependable James Cromwell) disappear in a tragic accident, and Hiro and his pals must band together to solve the mystery (and thereby overcome their heartache … paging Joseph Campbell).

And, like any Disney or Marvel film, we are introduced to an instantly unforgettable character – the kind of character who should have absolutely no appeal but who, though the power of design, voice, and script, somehow enters the halls of classic animated sidekicks the moment he steps on screen.

Before his disappearance, Tadashi had invented a medical robot named Baymax, a large squishy creature, one part marshmallow, one part Michelin Man, and one part unadulterated love. Baymax lives to heal, having been designed as a one-stop walking/talking urgent care facility, and his life’s work becomes the central metaphor throughout the entire film … in a way, rather ingeniously undermining the genre. So many of these movies use violence to bring peace, but in Baymax’s case,  his very design (and every intention) is to use peace and love to end violence and heartache.

The film is most enjoyable in its first half, as it establishes the relationships among these thoughtfully drawn characters. It is a rich and diverse cast, and I applaud that the filmmakers are able to offer us nuance and depth for each and every member of the cast in the film’s lean 90-minute running time (with nary a fart joke to be had).

The film also looks gorgeous. As I said, it quite literally sparkles. I don’t know that I have ever seen an animated film, to this date, in our computer-generated era, that is so immersive and so beautiful and so fluid. It is a treat to watch, and likely will benefit from repeated viewings.

AND, don’t miss the lovely animated short that precedes it, Feast (from the same team that crafted the glorious Paperman) – an affectionate ode to animal rescue, the joys of food, and the ability of one little dog to bring a family together.

One of Baymax’s signature lines is the query, “Are you satisfied with your care?” Indeed, this evening at the movies fit the bill. That’ll do, Bay. That’ll do.

________________________

Reel Roy Reviews is now a book! Thanks to BroadwayWorld for this coverage – click here to view. In addition to online ordering at Amazon or from the publisher Open Books, the book currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

Tomfoolery Sells Out Every Show. Encore Date Added!

Roy Sexton (Reel Roy Reviews):

Another great night of Tomfoolery – sold out – and hardly any tix left for November 9! Thanks to Diane Hill, Naz Edwards, Rich Geary, Kelly Little, Jim Lynch, Melynee Weber, Nina and Bob Schwartz, Jason Ringholz for coming this week and to anyone I missed! I’m spent! Read more below…

Originally posted on The Penny Seats:

Guys. Can you believe it?  Our little show, Tomfoolery, sold out Every Single Performance at Conor O’Neill’s this month. Every single one!  How thrilling!  We filled the restaurant.  We sang our hearts out.  We even got to talk about it on the radio.  The phone rang off the hook all month, and we’ve been overwhelmed with support and warm fuzzy goodness.

Which brings us to this:  Due to high demand, we added one additional performance: Sunday, November 9th. Same time, same place, same everything.  Just on a Sunday.  Audience members can purchase tickets for the dinner-and-show package for just $20, or for the show only, for $10. Click here to buy tickets, or just call us at (734) 926-5346.

We were thrilled at the reception this got, from patrons and critics alike. See this awesome review for Encore Michigan by Martin F. Kohn!  And Ann Arbor Observer columnist…

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“In fact, they should ‘be prepared’ to spend every week at Conor O’Nell’s. I’m expecting a long, long run …” Additional performance date added for Penny Seats’ Tomfoolery (Sunday, November 9)

Irish Ballad (Photo by Victoria Gilbert)

Irish Ballad (Photo by Victoria Gilbert)

Through the month of October, The Penny Seats enjoyed a sold-out run of the musical revue Tomfoolery, celebrating the words and music of satirist, mathematician, and cult favorite, Tom Lehrer, at Ann Arbor’s Conor O’Neill’s Irish Pub and Restaurant, 318 South Main Street, Ann Arbor. The two companies have partnered to offer this cabaret-style show, with dinner seatings available starting around 6:00 pm, and performances at 8:00pm. Due to high demand, an additional performance date has been added: November 9. Audience members can purchase tickets for the dinner-and-show package for just $20, or for the show only, for $10. Advance tickets (which are encouraged) are available online at www.pennyseats.org or by phone at (734) 926-5346.

Silent E  (Photo by Victoria Gilbert)

Silent E (Photo by Victoria Gilbert)

Featured performers are Ann Arborites Matt Cameron, Laura Sagolla and R. Brent Stansfield, and Roy Sexton of Saline. Lauren London (of Ann Arbor) directs the show, with musical direction and accompaniment by Rebecca Biber (also of Ann Arbor). Victoria Gilbert (of Ypsilanti) oversees choreography, and Stephen Hankes (of Ann Arbor) designed the set and will stage manage the show.

Poisoning Pigeons in the Park  (Photo by Victoria Gilbert)

Poisoning Pigeons in the Park (Photo by Victoria Gilbert)

In his review for Encore Michigan, Martin F. Kohn writes, “A spirited four-person cast and piano accompanist have a ball with such Lehrer favorites as ‘Be Prepared’ (‘Don’t solicit for your sister, that’s not nice/ Unless you get a good percentage of the price’), ‘The Masochism Tango’ (‘You can raise welts/ Like nobody else’), ‘The Vatican Rag’ (‘Ave Maria/ Gee it’s good to see ya’) and ‘The Irish Ballad’ (‘She weighted her brother down with stones/ Rickety-tickety-tin…/And sent him off to Davy Jones’). … Matt Cameron, Laura Sagolla, Roy Sexton and Brent Stansfield are lusty singers whose appreciation for the material is fully evident. … Director Lauren London has added inspired props and bits of business to many of the numbers.”

Masochism Tango  (Photo by Victoria Gilbert)

Masochism Tango (Photo by Victoria Gilbert)

Fellow critic Davi Napoleon observes, “I suppose it’s kind of mean to tell you how much fun Tomfoolery is – they keep adding chairs to accommodate the crowds, but I doubt the room at Connor O’Neill’s will even have SRO for the next show. But really, it’s that much fun. … Maybe The Penny Seats can be talked into extending the run. … In fact, they should ‘be prepared’ to spend every week at Conor O’Nell’s. I’m expecting a long, long run …”

I Hold Your Hand in Mine  (Photo by Victoria Gilbert)

I Hold Your Hand in Mine (Photo by Victoria Gilbert)

With the announcement of the additional performance, music director Rebecca Biber notes, “I am excited for this encore show, as I never grow tired of the material. Lehrer is a master satirist, not only of cultural tropes and historical moments, but of music itself.   He will pair a romantic parlor waltz with ghoulish lyrics, or use a peppy march to skewer jingoism and lockstep thinking. He always picks his musical forms for maximum humor and maximum discomfiture, and that funny/squirmy quality keeps us performers as engaged as our audience.”

She's My Girl  (Photo by Victoria Gilbert)

She’s My Girl (Photo by Victoria Gilbert)

Cast member Brent Stansfield, a faculty member at the University of Michigan, echoes this sentiment, “The show combines all my favorite things in life: satire, science, jest, education, politics, math, irony, and of course music. Better yet, it does it in a smart, sassy, gleeful, and naughty way. The Penny Seats cast and crew is also smart, sassy, gleeful, and naughty and they bring an ocean of joy and verve to these songs. Best of all, ‘Tomfoolery’ is tailor-made for an Ann Arbor audience who, as I have now learned, can be relied upon to bring their own smarts, sass, glee, and naughtiness! Each show has been raucous and I have had so much fun performing in it.”

Folk Song Army  (Photo by Victoria Gilbert)

Folk Song Army (Photo by Victoria Gilbert)

Gonna Go Back to Dixie  (Photo by Victoria Gilbert)

Gonna Go Back to Dixie (Photo by Victoria Gilbert)

Director Lauren London, who was recently interviewed about the production alongside Conor O’Neill’s Caroline Kaganov for The Lucy Ann Lance Show, adds, “This show has been a pure delight, from the first rehearsal through every single performance. It plays to our strengths as a company and fits perfectly with the jovial tone at Conor O’Neill’s. It’s a comfortable, fabulously funny night, and we’re ecstatic that so many people want to experience it. This is one of those lightning-in-a-bottle moments for us. We couldn’t be happier with Conor’s as a partner, and I hope we have the chance to do this again, soon!”

We Will All Go Together  (Photo by Victoria Gilbert)

We Will All Go Together (Photo by Victoria Gilbert)

Stansfield concludes, “Tom Lehrer’s work is beloved for good reason. He’s a sharp intellectual with a gallows humor (much like some of my other heroes: Edward Gorey, Ambrose Bierce, George Romero, et alia) and his songs are at once titillatingly dark and eerily catchy. His wit is incisive but never derisive. It’s so easy to fall in love with these songs that performing them for people who have never heard them before is an honor as much as it is a pleasure. I’ve been so excited to work with The Penny Seats again. Every rehearsal has been full of playfulness and silliness, and our director, Lauren London, has managed to funnel all of that love and sweat directly into the show. It’s 90 minutes of frenetic romp, but after each performance I’ve felt like doing the whole thing again. Well, maybe after a cold pint of beer. We are performing it in one of Ann Arbor’s best pubs, after all.”

For more information, visit the group’s website, www.pennyseats.org, or call 734-926-5346.

Tomfoolery

Tomfoolery

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Reel Roy Reviews is now a book! Thanks to BroadwayWorld for this coverage – click here to view.

In addition to online ordering at Amazon or from the publisher Open Books, the book currently is being carried by Bookbound, Common Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan.

My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.