“Perfect. We’ll make a killer of you yet.” The Favourite and Vice

“Beware the quiet man.” – proverb that opens the film Vice

Oh, this special and lovely historical moment we are currently surviving, with volatile, temperamental, ill-informed leadership surrounded by hangers-on who benefit more from chaos than peace. You’d think we’d learn from the mistakes of our forebears. Hell, you’d think we’d learn from the mistakes of a decade-or-so ago. Nope. Nada. Nyet.

Blessed be when Hollywood gets something right, and did they ever with the one-two punch of The Favourite and Vice. In essence, these fact-based films tell two versions of the same tale: a sweet-natured autocrat (The Restoration-era’s Queen Anne and post-9/11 President George W. Bush, respectively) whose ineptitude is compensated for/manipulated by courtesans (Sarah Churchill and Abigail Hill and Dick and Lynne Cheney, also respectively) whose Machiavellian desires for power belie a self-satisfied surety that their intentions are noble (even when the outcomes are clearly suspect).

[Image Source: Wikipedia]

Both flicks embrace a surreal cinematic visual and aural language as well (in The Favourite, fish-eye lens cinematography, discordant musical queues, and what appears to be hip-hop choreography; in Vice, fourth-wall busting asides, Shakespearean soliloquies, and omniscient narrators) to make abundantly clear that The Favourite and Vice are intended as allegorical cautionary tales for a present-day society that has utterly run off the rails.

“The word is about, there’s something evolving; whatever may come, the world keeps revolving. They say the next big thing is here, that the revolution’s near, but to me it seems quite clear, that it’s all just a little bit of history repeating.” – Shirley Bassey and Propellerheads, “History Repeating.”

[Image Source: Wikipedia]

“Perfect. We’ll make a killer of you yet.” – Sarah Churchill/Lady Marlboro (Rachel Weisz) in The Favourite

The Favourite. So well-acted  and so damn visceral. You can practically smell the powdered wigs … and copious amounts of onscreen vomit. That said, the three leads – Olivia Colman (oh, she’s a freaking lead!), Emma Stone (La La Land, Birdman), and Rachel Weisz (best I’ve EVER liked her) – tear up the screen in a post-feminist, 18th-century-period-piece take-down of patriarchy …working from a twenty-year-old (!) script by Deborah Davis. If there ever was a movie that showed the hell women go through (and sometimes put each other through) when they darn well know how the world SHOULD be run (and nobody will listen), this is it.

[Image Source: Wikipedia]

Director Yorgos Lanthimos stages an insular and haunting court where palace intrigue is as cruel as it is serendipitous. Lady Marlboro (Weisz) rules the palace and Queen Anne’s (Colman’s) heart with kid-gloved fists, a dominatrix with a heart of gold who manages the day-to-day royal operations as a means toward ultimately setting foreign policy and other matters of state.

[Image Source: Wikipedia]

Into this delicate spider-web wanders Marlboro’s wide-eyed cousin Abigail (Stone), whose guilelessness is as phony as the rouge on her cheeks. I won’t spoil the fun, but the wit and wisdom in the performances and in the script and the sheer lack of vanity throughout are unlike anything we’ve seen onscreen in quite a while.

And Nicholas Hoult (X-Men: First Class) holds his own with this remarkable trio as Robert Harley, a parliamentarian who finds himself the happy beneficiary of the political blow-back from this unlikeliest of love triangles.

“I’m still the lady I was. In my heart.” – Abigail Hill (Emma Stone) in The Favourite

I wasn’t a huge fan of Adam McKay’s previous biodramedy The Big Short (which just tried too damn hard and was too cute by half for my tastes), but I LOVE its follow-up Vice. A little Macbeth, a bit of Richard III, a smidge of Hee Haw, and a smattering of Mad Magazine.

[Image Source: Wikipedia]

Christian Bale (American Hustle, The Dark Knight) and Amy Adams (Big Eyes, Man of Steel) are perfection as Dick and Lynne Cheney, the calculating, power-hungry duo at the center of a decades-old political machine that prizes cash over humanity. But the film is never cruel, offering a kind of grudging appreciation for the audacity of their unified if calloused accomplishment.

[Image Source: Wikipedia]

The supporting cast is pretty damn excellent as well with dynamic character turns by Sam Rockwell (Three Billboards) as George W. Bush, Steve Carell (Beautiful Boy) as Donald Rumsfeld, and Tyler Perry (Madea) as Colin Powell. The Cheney family is rounded out by American Horror Story mainstays Alison Pill and Lily Rabe as Mary and Liz Cheney. Naomi Watts (Insurgent) and Alfred Molina (The Front Runner) pop up in delightful, blink-and-you’ll-miss-them cameos as Jiminy-Cricket-esque commentators (a FOX News anchor and a snooty steakhouse waiter, respectively) on the Shakespearean intrigue that is afoot.

“I will not lie, and THAT is love.” – Sarah Churchill/Lady Marlboro (Rachel Weisz) in The Favourite

 

[Image Source: Wikipedia]

It may seem a strange recommendation to suggest that you should spend your remaining holiday free-time with such a dubious cast of characters … but you should. Both films are not only crackerjack, award-caliber entertainments, but they are essential viewing as collective warning against repeating the sins of both the distant and the immediate past. Don’t miss either film, and, if you’re truly feeling ambitious, and perhaps a bit masochistic, take them in as a double-feature.

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Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital).

In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon 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.

“I’m a blunt instrument, and I’m damn good at it.” Mary Poppins Returns, Bumblebee, and Aquaman

For the past few years now, Disney and Lucasfilm have had a lock on the holiday blockbuster season with a little, revived franchise named Star Wars. Alas, the wheels fell of that wagon when the underrated, under-performing origin story Solo debuted in theatres this May with a thud, and there was no end-of-year galactic adventure to follow.

Into this December’s “let’s thumb our noses at Oscar bait” box office breach rushed Warner Brothers’/DC’s Aquaman, Paramount’s Transformers prequel Bumblebee, and Disney’s own Mary Poppins Returns. By some strange twist of fate, the fish king roundly beat the giant robot and the buttoned-up British nanny in ticket sales in their collective first weekend of release.

I am certain that all of these popcorn epics will clean up, though, in the gray and dreary vacation days following Christmas, as they each bring a great deal of heart, just enough ingenuity, and a comforting if lightly derivative familiarity.

[Image Source: Wikipedia]

“Still. Today or never. That’s my motto.” – Mary Poppins (Emily Blunt) in Mary Poppins Returns

Mary Poppins Returns is, yes, practically perfect. Predictable and formulaic? Mayhaps. But it doesn’t matter. You’ll laugh and cry, occasionally scratch your head … at times all three simultaneously. You’ll love it nonetheless … in great part due to Emily Blunt’s bonkers, measured, heartfelt commitment to the title role.

[Image Source: Wikipedia]

Not dissimilar to Disney’s decades-later reboot Star Wars: The Force Awakens, Mary Poppins Returns feels like a subtle remix on the original film’s greatest hits.

The screenplay by David Magee dutifully follows the same story beats as Julie Andrews’ flick – for example:

  • a crabby dad (little Michael Banks, portrayed poignantly by Ben Whishaw, all grown-up and repeating the sins of his father, but in a mopey/angsty widower way);

    [Image Source: Wikipedia]

  • a politically woke sister (Emily Mortimer’s Jane Banks, the sunniest class warrior you’ll ever see, taking the place of Glynis Johns’ suffragette Mrs. Banks);
  • some lost soul children who need to rediscover the joys of imagination;
  • a no-good banker (Colin Firth, all sleazy charm as nothing says holiday kids movie like the threat of foreclosure!);

    [Image Source: Wikipedia]

  • a winking-wise lamplighter instead of a chimney sweep (Lin-Manuel Miranda being slightly less insufferable and overeager than usual … and, yes, he raps, sort of … once);
  • and a finale that swaps out balloons for kites, and throws in Angela Lansbury for good measure … in case you’d forgotten about Mary Poppins‘ knock-off Bedknobs and Broomsticks.

The score by Marc Shaiman (Hairspray) is perfectly fine, but follows a similar path as the script, presenting new numbers that evoke the overly familiar tunes of yore and serving similar narrative purposes. “Spoonful of Sugar” becomes “Can You Imagine That?” to get the ornery kids to embrace bathtime. “A Cover is Not the Book” (the best number in the new film) is an animated fantasia a la “Supercalifragilisticexpialidocious.” “Trip a Little Light Fantastic” is an ode to the unappreciated lamplighters (who even do some BMX- style bicycle tricks?!?), not unlike “Step in Time.” And so on.

[Image Source: Wikipedia]

Rob Marshall’s direction (Into the WoodsNineChicago) is effective, if workmanlike, evoking the past film through iconography, color palette, choreography, and overall composition. Mary Poppins Returns doesn’t wow as much as it sedates the viewer, and the film never quite escapes the physical confines of the sound-stages upon which it was obviously filmed.

In the end, though, this is Blunt’s show, and she is an absolute pip. I could watch her read the phone book as Mary Poppins, with a knowing glance here, an arched eyebrow there, and a master plan to make all of us decent again. And that is why we all need a movie (and a damn nanny) like Mary Poppins Returns.

“The darkest nights produce the brightest stars.” – Memo (Jorge Lendeborg, Jr.) in Bumblebee

If you’d told me the tone-deaf, garish, migraine-inducing, jingoistic Transformers film franchise would eventually yield one of the sweetest, warmest, funniest, family-friendliest “girl-and-her-[robot]-dog” coming-of-age yarns since, say, the Paddington movies, I’d have sold you my vintage Hasbro figures for $1. But here we are. Bumblebee, the sixth (!) installment in this series, jettisons director Michael Bay (praise be!), adds nuanced and charming leading lady Hailee Steinfeld, and delivers a lovely cinematic homage to simpler sci-fi allegories of the Spielbergian 80s.

[Image Source: Wikipedia]

Travis Knight, Oscar-nominated director of Kubo and the Two Strings, picks up the reins from Bay, working from an almost pastoral (!) script by Christina Hodson that wisely puts human/robot emotion and familial interaction before special effects and mind-numbing battle sequences (although there are still about two or three too many of those).

[Image Source: Wikipedia]

Borrowing liberally from producer Steven Spielberg’s own E.T. (and at this point, that’s just fine), the plot relates Autobot warrior Bumblebee’s arrival on earth, circa 1987. Within moments, the big, yellow, bug-eyed ‘bot finds himself used and abused by the American military (sparkling John Cena, wryly channeling every “shoot first, ask later” cinematic armed forces cliche). Bumblebee is eventually, inadvertently rescued from a junkyard by a plucky, sweet teenage girl Charlie Watson (Steinfeld) looking to rediscover the love of her deceased father at the bottom of a bin of used auto parts. Unsung Pamela Adlon is harried brilliance as Charlie’s befuddled and exasperated mother Sally.

[Image Source: Wikipedia]

Steinfeld is still coasting a bit on her stellar Edge of Seventeen performance as a misunderstood adolescent with a dazzling heart of gold buried under a sullen, surly, glowering pout. I guess this is her niche, for now, and it works to great effect in Bumblebee as well.

[Image Source: Wikipedia]

Two broken souls – in this case pubescent and robotic – heal one another by giving voice to the underdog and by waving a Breakfast Club fist in the face of institutional repression. I dug it. And the exquisitely curated soundtrack of late FM 80s hits adds an unexpected and refreshing layer of musical-comedy-esque commentary to a movie about giant robots taking over our planet.

“I’m a blunt instrument and I’m damn good at it.” Arthur Curry (Jason Momoa) in Aquaman

I enjoyed Aquaman a lot, but could have used about 30 minutes less of blurry aquatic battles and about ten minutes more of authentic wit. Nonetheless, this is a visually stunning film that never takes itself too seriously and with the wisdom to assemble a world-class cast. Throw The Once and Future King, Black Panther, Tron, Flash Gordon, Jewel of the Nile, Krull, Thor, Big Trouble in Little China, Hamlet, and Lord of the Rings into a Mad Libs blender and you yield this wonderfully loony pic.

[Image Source: Wikipedia]

Momoa is nothing but utterly charming in interviews. A great actor? Meh. But a star? Absolutely. That said, he looks great, but I couldn’t help feeling like some of his best lines likely landed on the cutting room floor to make way for more CGI soldiers riding giant seahorses. That’s a shame. The best parts of this film are the human parts. Nicole Kidman deserves a medal for making the Splash-meets-Terminator opening sequence of her Atlantean queen meeting cute with a Maine lighthouse keeper (Temuera Morrison), playing house, and popping out a half-breed sea-prince baby not only palatable, but poignant and downright thrilling.

[Image Source: Wikipedia]

Taken at a superficial level, the plot is almost identical to Black Panther‘s. Two beefy men square off to rule a hidden, technologically advanced kingdom with the “bad guy” claiming his rule will right the wrongs of the outside world (in Black Panther, it was racial divide, and, in Aquaman it is pollution and global warming). Black Panther has more nuance in its conflict and thereby the stakes are higher.

Aquaman telegraphs its punches, so it is quite obvious from the minute Aquaman’s/Arthur Curry’s half-brother Orm (a dolphin-sleek Patrick Wilson) enters the screen that he is basically a nogoodnik, regardless his sweet speeches about keeping the seven seas free of man-made detritus. He’d like to buy the world a Coke, as long as you keep the plastic six-rings, than you very much. But, with Aquaman, the fun is in the journey, not necessarily the destination. And Wilson is terrific, by the way.

[Image Source: Wikipedia]

Director James Wan (Furious 7, Insidious) takes his sweet time getting us to Arthur’s inevitable victory over and acceptance by both land and sea. The visuals are sumptuous, even if the running time is gluttonous. There are moments of true wonder – any time Momoa communes with the creatures of the deep, for instance – and, on the balance, the film is a joy for those who have hoped DC could really start having fun with their characters.

[Image Source: Wikipedia]

The pitch perfect Wonder Woman seems less like an anomaly now and more like the beginning of a new, humane, inclusive direction for DC’s movies. I’ll consider my 2.5 hours watching Aquaman an investment in that future.

[Image Source: Wikipedia]

So, in 2018, we traded one time-worn, bloated Star Wars entry for three heartfelt, loving, and, at times, inspiring homages to other past fantasy hits. I think that’s a decent, if safely unimaginative, return.

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Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital).

In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon 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.

My mom Susie Duncan Sexton published in Metro Detroit’s “What’s in a Name?” anthology

So proud of my mom Susie Duncan Sexton (www.susieduncansexton.com)!

Just in time for the holidays, the “What’s in a Name?” collection from the Dearborn Public Library is now available on Amazon.com!

“Hoosier author Susie Sexton’s essay ‘WAIT! PRIOR TO TOSSING ME INTO A WEATHERED HATBOX…READ ME FIRST’ has been published in the latest Henry Ford Centennial Library ‘Big Read’ anthology What’s In A Name? The book is available for purchase on Amazon. Sexton’s work was published in the organization’s prior two ‘Big Read’ collections Call of the Wild Dearborn: Animal Tales (also providing the photographic cover art) and Dreaming Dreams No Mortal Ever Dared to Dream Before.”

Purchase here.

Read BroadwayWorld’s coverage of Susie, her work, and this publication here: https://www.broadwayworld.com/detroit/article/Author-Susie-Duncan-Sexton-Published-In-Dearborn-Public-Librarys-Whats-In-A-Name-Anthology-20180427

“Because genius is not enough. It takes courage to change people’s hearts.” The Green Book and Spider-Man: Into the Spider-Verse

[Image Source: Wikipedia]

[Image Source: Wikipedia]

[Image Source: Wikipedia]

Family is what you make it. Two holiday film offerings – seemingly disparate as can be – explore that notion with nuance, surprising gravitas, and humor to spare.

The Green Book is pretty darn magnificent. Just when you think you’re getting another magical Hollywood-cures-racism retro-tear-jerking fantasy, the film subtly indicts the prejudices that plague us all, without avoiding the fact that we have some grade-A hateful jackholes in our country who need to be taken down a notch … or eight. Viggo Mortensen runs just shy of coming off like a Hanna-Barbera character, but he is nonetheless lovably/adorably brilliant in one of his broadest roles to date. Moonlight‘s Mahershala Ali is brittle, haunted, wry, and superb, and they make a heckuva duo. Oh, and the film still manages some retro-tear-jerking holiday magic too.

[Image Source: Wikipedia]

[Image Source: Wikipedia]

There is a strange sub-genre in well-meaning, liberal Hollywood: the crowd-pleasingly simple-minded, amber-hued “let’s overcome racism together in two hours” flick (The Help, Hidden Figures, The Blind Side, Driving Miss Daisy, on and on). There can be a tone-deaf, self-satisfied entitlement to the “white savior” trope in these films, and that is just as off-putting as the nasty institutional racism these movies overtly critique. I’m not sure Green Book, directed by Dumb and Dumber‘s Peter Farrelly of all people, entirely avoids this trap, but the performances of Mortensen and Mahershala (not to mention perpetually underrated Linda Cardellini as Mortensen’s stoic-but-free-thinking wife) raise the film’s profile significantly from Hallmark Hall of Fame pap to something more vibrant and compelling.

Depicting real-life jazz and classical pianist Don Shirley and his chauffeur/hired muscle Frank Vallelonga as they tour the Deep South in 1962 and encounter one well-heeled bigot after another, The Green Book draws its name from a guide that helped African-American motorists of the era tour the country with as little aggravation as the era would allow. Reportedly, Shirley and Vallelonga would eventually become lifelong friends, but that is the kind of factoid that becomes increasingly debated as a biographical film like this grows in popularity and collects more end-of-year trophies. So, who knows?

[Image Source: Wikipedia]

As for the film’s central thesis, it is summarized in this comment by a member of The Don Shirley Trio when asked why Shirley would take them all below the Mason-Dixon Line in the first place: “Because genius is not enough. It takes courage to change people’s hearts.” It’s the kind of line that sounds like it was penned expressly for the daily horoscopes, but in the context of Mortensen and Mahershala’s exceptional dynamic (not to mention today’s strange days), it takes on a heart-wrenching profundity.

[Image Source: Wikipedia]

Spider-Man: Into the Spider-Verse is unlike any superhero film nor any animated film I’ve seen: inventive, whimsical, poignant, heartfelt, transporting, kinetic, inclusive, unashamedly odd, surreal, and funny as hell … a true comic book brought to life in the best possible ways. And, perhaps surprisingly, it is the superior film to the awards-baiting Green Book where issues of race, gender, identity, and inclusion are concerned.

[Image Source: Wikipedia]

Rife with the delightfully irreverent influence of producers/screenwriters Phil Lord and Christopher Miller (The LEGO Movie, 21 Jump Street), Spider-Verse introduces its audience to a new Spider-Man in the form of Afro-Latino Miles Morales whose ethnicity isn’t a gimmick or a plot point but just part and parcel to his character, that is, in addition to him being a teenager, a science prodigy, an artist, and a music lover. How about that?

[Image Source: Wikipedia]

After a multiversal quantum physics experiment gone awry, Miles finds himself surrounded by a Benetton ad’s worth of fellow Spider-people: neo-feminist Gwen Stacy/Spider-Woman (notably not “girl”), silver-haired ass-kicking Aunt May (cheekily voiced by Lily Tomlin), Untouchables-throwback Spider-Noir (another fun voice cameo, this time by Nicholas Cage), paunchy and midlife-crisis’d Peter B. Parker/Spider-Man, Japanese robotics expert Peni Parker and her sidekick SP//dr, and (for us animal nuts) an anthropomorphic pig Peter Porker / Spider-Ham. Miles’ mission – in addition to navigating his newfound super powers and his loving-but-demanding parents who want him to focus on nothing but his science academy studies – is to help these Spider Buddies save the world and return to their respective parallel Earths. A bit like The Wizard of Oz, in reverse, but with super villains and web shooters.

The movie has a visual language unlike anything seen in computer animation before, photo realistic yet simultaneously comic book flat: a bit Andy Warhol, a touch Roy Lichtenstein, a smidge Warren Beatty’s Dick Tracy, yet wholly original, breathtaking, and dreamlike. The film’s comic timing borrows liberally from Looney Tunes, Tom & Jerry, Pink Panther, and Tex Avery, while the narrative grounds itself in the polyglot humanity of modern day NYC. It’s an exceptional piece of pop art, and effortlessly leverages the best of superhero egalitarian metaphor to give the middle finger to MAGA nationalism. I can’t wait to see it again.

[Image Source: Wikipedia]

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Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon 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.

“The Other Two Degrees.” 98 Degrees Return to Motor City Casino’s Sound Board for “At Christmas” Redux

My favorite moment of last night’s 98 Degrees “At Christmas” show at MotorCity Casino Hotel’s Sound Board (which was a fab continuation of last year’s holiday concert) occurred when their handler dubbed John and me “the other two degrees” after snapping the above pic. I’ll take that!

We also got to meet IRL superfan Kelly, heretofore only a Twitter pal. She is an absolute doll, and we loved chatting with her during the pre-show activities. And we caught up with my former colleague Sam and met his lovely wife Courtney who is a lifelong fan but had never had a chance to see the group live. 98 Degrees bringing the world together!

This year’s show is a continuation of last year’s “At Christmas,” which had a more nuanced and varied approach than this year’s offering. It’s a shame they cut last year’s highlight cover of Joni Mitchell’s chilling “River.” Conversely, I don’t ever need to hear “Rockin’ Around the Christmas Tree” in this lifetime again.

Nonetheless, the boys continue to have a ball at this career mid-point, loose and fluid and fun. Imagine if the third string of your high school football team suddenly gave up sports for the glee club. If you catch the show, splurge for the VIP meet and greet. The boys’ mic check and Q&A are authentic, frisky and kind-hearted, and the photo op interaction reveals how grateful and down-to-earth these dudes are.

Review of last year’s show here: https://reelroyreviews.com/2017/12/18/boy-bands-who-dance-make-more-money-98-degrees-let-it-snow-concert-at-detroits-sound-board-plus-the-barn-christmas-cabaret-blaine-fowler-and-christmas-story-live/

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon 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.

A night at the opera: Tipping Point’s production of A Comedy of Tenors

Originally published at EncoreMichigan here

“Dying is easy, but comedy is hard” goes the old mantra, hyperbolically detailing the degree of difficulty for making an audience laugh. That said, it probably should be modified to read: “Dying is easy, comedy is hard, and farce is impossible.” Whether you love farce or not (I sorta don’t), it requires the crack timing of a Swiss clock, the physicality of a gymnast, and the rapid-fire delivery of a machine gun.

Fortunately, for those in the opening night audience of Tipping Point’s latest A Comedy of Tenors, farce is one of the company’s super powers.

The piece, a sequel to Ken Ludwig’s Lend Me A Tenor, details the chaotic hours before an operatic concert of three (maybe four) tenors in 1930s Paris. As the performance hangs in the balance from the tempestuous machinations of a set of male divas (toxic masculinity in its absurdist reality), producer Saunders (a hellzapoppin’ human stress-ball performance by company mainstay Dave Davies) flips every lever, ethical and otherwise, so that the show can go on.

As you can imagine, many doors are slammed as the cast romps about Monika Essen’s creamy-fine French Moderne set (someone be sure to reinforce all those floor joists for the duration of the run!). Costuming by Suzanne Young is period-perfect, ultra-tailored gorgeousness. And with Midwesterners trying their hands at a world’s atlas worth of dialects (high and low country Italian, Brooklynite, Russian), dialect coach Christopher Corporandy has his work cut out for him … and succeeds with “it’s a small world after all” aplomb. Able lighting and sound design, effortlessly transitioning the action from hotel suite to arena stage and back again, are provided by Neil Koivu and Julia Garlotte respectively.

The cast is on the balance terrific. As opera superstar Tito, the emotional vortex of this comic storm, Richard Marlatt is clearly having a ball, and, pun intended, never misses a note. I won’t spoil the first-act surprise, but he has to work double-time and applies a refreshing amount of nuance to differentiate the contrasting moments he has to play. He is aided and abetted by the ever-fabulous Sarab Kamoo as his long-suffering, take-no-prisoners wife Maria.

Joe Zarrow brings a lovable accessibility to production assistant turned singing sensation Max, and Nick Yocum sparkles as young matinee idol sensation Carlos. Tito and Maria’s Hollywood hopeful daughter Mimi could be a thankless role, bringing more narrative complication than character definition, but Hope Shangle nicely blends the hot-headed charm and earnest pragmatism of her stage parents. Last but certainly not least, Melynee Saunders Warren is a Molotov cocktail tossed into the play’s second act as a Russian chanteuse whose unrequited love for Tito escalates the mania to a fever pitch. She is sheer slinky stage magic.

The script is more sitcom than art, and that’s just fine. The opening night audience was enrapt by the crackerjack performances. Directed with military precision by Angie Kane Ferrante (assistant direction by Mary Conley), this top-of-their-game cast elevates the material and delivers a fine and fun evening of escapist entertainment. And, heaven knows, we all could use that. A frisky holiday offering from the always exceptional Tipping Point.

Tipping Point Theatre presents Ken Ludwig’s A Comedy of Tenors Thursdays through Sundays, November 15 through December 23. Previews November 15 and 16 include talkbacks the producing artistic director James R. Kuhl and director Angie Ferrante. Tickets are $26. Senior citizens 62 and older: $2 off per ticket; groups of 15 or more: $3 off per ticket for all performances, excluding previews and opening night. This may be combined with the senior discount. All tickets are available online at http://www.TippingPointTheatre.com.

Click here for show days, times and details.

Thanks, David Liebrecht of Heartland Home Health & Hospice, for the nice shout out at the 57 minute mark here on Mark S. Lee’s “Small Talk” program. And to Brenda Zawacki Meller of Meller Marketing for alerting me! Always a fun and informative show.

Plus, Blaire Miller, CCM, MBA of Hunter Group, Sheilah Clay and Linda Little MBA, RN, CCM of Neighborhood Service Organization – NSO, Bob Lambert of Detroit Foundation Hotel, and Paula Christian Kliger, PhD of Psychological Assets Pc.

Listen to Small Talk with Mark S. Lee – November 18th, 2018 by Lee Group #np on #SoundCloud

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Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon 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.

“Secrets are like margarine.” A Simple Favor and White Boy Rick

simple favor
[Image Source: Wikipedia]

 

We wear the mask that grins and lies,

It hides our cheeks and shades our eyes,—

This debt we pay to human guile;

With torn and bleeding hearts we smile,

And mouth with myriad subtleties.

– “We Wear the Mask,” Paul Laurence Dunbar

 

“Secrets are like margarine. Easy to spread but bad for the heart.” – Stephanie Smothers (Anna Kendrick), A Simple Favor

“What can I say? I’m a glass-half-full kind of guy.” – Rick Wershe, Sr. (Matthew McConaughey), White Boy Rick

 

White-Boy-Rick-movie-poster

[Image Source: Wikipedia]

Ah, American hustle and the dark truth of the Horatio Alger myth: you can be anything you want to be in America and have as much success as you can stand as long as you deny your true nature and, arguably, your humanity. If there is a through line in A Simple Favor and White Boy Rick, this weekend’s two big “fall films” (movies that lean into Oscar season and don’t star an alien Predator), it is that very truism and the resultant deception and self-loathing that accompanies it.

 

A Simple Favor is stylishly directed by Paul Feig, whose previous efforts Bridesmaids, The Heat, Ghostbusters, and Spy demonstrated a sure-handed understanding that women are, you know, people too. Based on a novel by Darcey Bell (think Postman Always Rings Twice author James M. Cain writing for The CW), Feig gleefully pulls a Brian DePalma (minus the gory misogyny) in an unrelenting homage to some of suspense cinema’s greatest hits: Vertigo, Charade, Diabolique (actually name-checked by one of the characters), Gaslight, and, yes, Cain’s Double Indemnity, and probably a dozen more I’m forgetting. Blessedly, Feig embraces the black comedy of it all, and the film is less Paul Verhoeven’s Basic Instinct and more Mel Brooks-spoofs-Gone Girl.

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[Image Source: Wikipedia]

For her work in this film, Anna Kendrick now and forever will be my hero as her performance drives a stake into the heart of the insufferable DIY, cupcake-baking, Pinterest-stalking mommy vlogger (that’s vlogger with a “v” … as in “video blogger”). Her Stephanie Smothers is a hoot, one bad PTA meeting away from a nervous breakdown – a young widow whose  fixation on “home and hearth” may belie a darker (trashier) past.

 

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[Image Source: Wikipedia]

Into Stephanie’s life breezes fellow elementary school mom Emily Nelson, an icy Hitchcock blonde in divine Lauren Bacall-pantsuits. Blake Lively reminds viewers she’s more than “Ryan Reynolds’ wife” in a crackpot performance that is one part Carole Lombard, one part Veronica Lake, and one part Barbara Stanwyck … that is if those women were showboating, day-drinking, pansexual PR executives addicted to painkillers and stainless steel appliances. Oh, and she’s got secrets too … some doozies.

 

Emily and Stephanie meet cute in the rain, picking their sons up from school, and strike up the unlikeliest of friendships. The best parts of the movie are watching these two circle each other, realizing their respective “hustles” are as artificial as the day is long. Pretty soon, Emily disappears Gone Girl-style, and hunky husband Sean Townsend (Crazy Rich Asians‘ Henry Golding who is suddenly everywhere) is the chief culprit, which is compounded when he and Stephanie strike up a romance.

simple couch

[Image Source: Wikipedia]

I won’t spoil the twists and turns as they come fast and furious, but Feig and his stars have a ball indulging in and skewering the excesses of the genre. A fabulous supporting cast of pros like Jean Smart, Linda Cardellini, Rupert Friend, and Andrew Rannells all deliver zippy character turns. By the final twenty minutes, I will admit, I began to sour on the improbability of it all as the film veers into farcical War of the Roses territory. Nonetheless, for Lively’s gonzo performance alone, the film is essential viewing.

 

Across the aisle from A Simple Favor‘s flawless Dwell Magazine production design is the rough and tumble scruffiness of White Boy Rick, set in the nadir of Mayor Coleman Young’s mid-80s Detroit when the entire city looked like the back lot of a Mad Max movie and stopping to grab a Slurpee at 7-Eleven was a death-defying act.

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[Image Source: Wikipedia]

Based on the true story of Rick Wershe, Jr., the longest serving juvenile drug offender in the history of Michigan, White Boy Rick details Wershe’s descent into crime, his ascent as both FBI-informant and drug kingpin, and his eventual arrest and conviction. Along the way, Wershe (a haunting Richie Merritt) and his gun-smuggling papa (McConaughey in one of his best and most understated performances) meet a host of dodgy characters from the mean streets of the Motor City and in the mayoral Manoogian Mansion. (Legends Piper Laurie and Bruce Dern pop up as McConaughey’s parents – they are dynamite, and the biggest crime is that they don’t get more screen time.)

 

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[Image Source: Wikipedia]

Jennifer Jason Leigh is pretty much Jennifer Jason Leigh (which is fine) as an FBI agent using the boy to infiltrate the Detroit drug scene, and Brian Tyree Henry spins gold from his underwritten part as a Detroit cop in on the deal.

 

Director Yann Demange does an exceptional job capturing the sheer ugliness of this hardscrabble place and time without ever condescending to the moment nor its denizens. These characters are people who view the “land of opportunity” through a fun-house mirror where the only choices for financial stability are felonious. I will admit that I found the film’s point-of-view regarding its central figure problematically slippery. Are we to sympathize with him and his failings? Is he some kind of martyr figure? What does the film mean to imply about race in these circumstances? I’m at sea about the answers to these questions, and that leaves me just shy of fully supporting the film. White Boy Rick is well-done with a crackerjack cast, but I walk away with a bit of unease about what it is ultimately trying to say about race and class distinctions in America.

Matthew McConaughey (Finalized);Richie Merritt (Finalized)

[Image Source: Wikipedia]

Regardless, both A Simple Favor and White Boy Rick (especially taken together) do an exceptional job holding a cinematic lens to the artifice of “success” in America: its false promise of fulfillment, its ephemeral nature, and its intrinsic heartache.

 

Why should the world be over-wise,

In counting all our tears and sighs?

Nay, let them only see us, while

       We wear the mask.

 

We smile, but, O great Christ, our cries

To thee from tortured souls arise.

We sing, but oh the clay is vile

Beneath our feet, and long the mile;

But let the world dream otherwise,

       We wear the mask!

– “We Wear the Mask,” Paul Laurence Dunbar

 

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Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon 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.

“We don’t grow children like that here.” The Ringwald’s production of The Laramie Project – plus, quick notes on Crazy Rich Asians, Blaine Fowler’s America, and yours truly being interviewed on Freeman Means Business

Laramie Project review originally published by Encore Michigan here.

[Image Source: The Ringwald’s Facebook page]

The Ringwald Theatre’s 2018-19 season opener The Laramie Project is not a production that needs to be reviewed. It is a production that needs to be viewed. It is a production that essentially illustrates (beyond question) that the most impactful theatre requires very little: words, voice, people, movement. Storytelling in its truest form. As an audience member, I haven’t cried like I did opening night of Laramie Project in years (if ever).

 

At the end of act one, I was a puddle, with two acts to go, and, by the time the performance wrapped, I was red-eyed, gutted, mad-as-hell, and cautiously hopeful. It’s that good. I suppose some projection was involved on my part. I was roughly Matthew Shepard’s age when he was savagely brutalized and murdered. I grew up and attended college in Indiana, which, as Mike Pence’s political ascent will attest, is a state not unlike Wyoming – more Handmaid’s Tale than Moulin Rouge.

That notwithstanding, The Ringwald’s production of Laramie Project is a slow-burn powerhouse.

The play written by Moises Kaufman and members of the Tectonic Theater Project assembles first-person narratives from hundreds of interviews with Laramie townspeople, University of Wyoming faculty members, friends of Matthew’s, and the Tectonic Theater’s actors themselves. The narrative roughly follows this arc: defining Shepard’s humanity and upbringing, detailing the incidents of that tragic evening, and assessing its aftermath, all in the words of narrators both reliable and not. It is up to the audience to sort the wheat from the chaff and to make sense of a society where such irrational cruelty can occur. The approach is as journalistic as it is theatrical, and the topic is (sadly) as timely today as it was when the piece was written in 2000.

Director Brandy Joe Plambeck has assembled an empathetic, deep-feeling, yet commanding cast to perform dozens of roles: Joe Bailey, Greg Eldridge, Kelly Komlen, Sydney Lepora, Joel Mitchell, Taylor Morrow, Gretchen Schock, and Mike Suchyta. Rarely does this stellar group miss a beat, and Plambeck wisely eschews distractingly overt theatricality for a stripped down readers’ theatre approach. The emphasis is quite literally on the words on the page, and, as the details mount, both performers and audience are swept into a hurricane of emotion, of indignation, and of heartbreak.

As for those tears of mine? Well, Lepora and Bailey are the chief culprits, tasked to deliver some of the more devastating speeches and historical detail. They resist the temptation to indulge their characters’ raw emotions in a broad, selfish, “actorly” way. Rather, they quite realistically and subtly show their characters desperately trying (and failing) to stifle and contain their confusion, their anguish, their rage. And that damming of emotion, only to see the floodgates fail, is what cuts an audience to the quick.

Suchyta is quite effective as a series of “Wyoming” alpha men, from a star theatre student to a local bar owner to Shepard’s tormentors Aaron McKinney and Russell Henderson. Mitchell is a sparkplug, breathing bold strokes life into the play’s few comic moments as a surprisingly insightful cab driver, and Morrow does a fine job balancing characters both reprehensible (local “mean girls” who basically imply Shepard deserved his fate) and painfully noble (one of the very few out-and-proud lesbian faculty members at the University of Wyoming).

That said, I hate to single out any performances, because this is an ensemble show in the truest sense of the word, and everyone is excellent. Plambeck paces the show in a measured but never ponderous way. The costuming is minimal, stage directions and character names are read by Plambeck, and scene changes/location names are projected on the back wall of the space. This approach results in a production that places the emphasis squarely where it belongs – on the voices of the people who experienced this tragedy and on a nation that both evolved and devolved as a result. Don’t miss this production.

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[Image Source: Wikipedia]

“I’m so Chinese I’m an economics professor with lactose intolerance.” – Crazy Rich Asians

 

The other week we saw the film Crazy Rich Asians. Somehow life got in the way of me writing anything at length about the film, which is a shame because it is quite exceptional. Let me say this: while it was marketed as a wall-to-wall laugh riot a la Bridesmaids, it shares more with that film’s DNA than just riotous shenanigans.

Don’t get me wrong, Crazy Rich Asians has its fair share of zaniness, chiefly supplied by sparkling comedienne Awkwafina, but like Bridesmaids, that tomfoolery belies a gentler, sweeter, yet exceptionally subversive core. It’s been 20-some years since Hollywood produced a film starring an all-Asian cast (the far inferior Joy Luck Club), and the box office success of Crazy Rich Asians will hopefully inspire a bit of sea change where Asian representation in Tinseltown is concerned. Money matters (sadly).

Crazy Rich Asians is part fair tale fantasy, part light comedy, part soap opera, all heart. Luminous Constance Wu arrives a fully formed movie star as Rachel Wu, a whip-smart economics professor in New York whose life is turned upside down when she learns her longtime boyfriend Nick Young (a dashing Henry Golding) is in actuality Singapore real estate royalty. As Rachel runs the gauntlet of Henry’s wackadoo family members – including a sympathetically subtle turn by Michelle Yeoh as Henry’s fearful and controlling mother Eleanor – Wu reveals varied layers of heartache and resilience. It’s a thoughtful performance, understated and thereby likely to be unfairly overlooked come awards season, but nonetheless an exceptional depiction of female frustration and agency in this maddening modern era.

Catch this film while still in theaters or on home video shortly.

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[Yes, a window into my musical taste.]

Blaine Fowler’s AmericaMy friend Blaine Fowler is a brilliant, witty, and delightful radio DJ here in metro Detroit on WDVD 96.3 FM. His morning show is a top-rated listen in this market. He and his wife Colleen are also among the kindest people you’ll have the chance to meet with two lovely and successful children. But one of his greatest loves is music. I wrote a bit about his last iTunes album 49783 here.

 

His latest release America was just posted on iTunes and Amazon for download.The whole album is divine. More cohesive sonically and rawer lyrically than the prior one, with an almost “song cycle” effect and an evocative moodiness. I liked it very much. Highlights include “Love Is” (a trippy throwback to Prince at his Minneapolis peak), “Reach,” “Oval Beach,” and “Best Friend.” This is an impressive evolution, which is saying something as I very much enjoyed Blaine’s previous effort. Keep it up. And keep experimenting. My two cents.

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Freeman Means Business

This week, my friend and fellow legal marketer Susan Freeman interviewed me for her podcast. She writes, “Check out the latest great conversation about the life of a legal marketer from our ‘Peer Pod’ podcast featuring Roy Sexton, a real dynamo — and a reel dynamo too!” Click here or here.

“Be patient. Listen to those with experience in areas that are new or foreign to you. Don’t be afraid to be your authentic self. People WILL respond.” Thank you, Susan!

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Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon 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.

Re-Post: Kerr Russell Director of Marketing Roy Sexton to discuss the firm, legal marketing, nonprofits on “Small Talk with Mark S. Lee” (WXYT 1270, CBS Sports Radio, Radio.com)

Shared from my employer Kerr Russell’s website.

Kerr Russell Director of Marketing Roy Sexton [that’s me!] will be a guest on this week’s “Small Talk with Mark S. Lee” broadcast, scheduled to air Sunday, 9/2/18, 8-9am, EDT, on WXYT 1270, and streamed via radio.com (search 1270/Detroit). You can also download the Radio.com app and here’s a link: https://app.radio.com/wvK9HktXjP.

If you missed the “Small Talk with Mark S. Lee” broadcast, you can listen at the link: Aretha, game theory, legal marketing, and the power of women! https://leegroupinnovation.com/small-talk-with-mark-s-lee-september-2nd-2018/

“On this Labor Day weekend and as you’re sitting back, enjoying the day and preparing for the upcoming week, just sit back, relax and enjoy the conversation with the following guests: Pamela Dover, Senior Director, Comcast Business & Shahida Mausi, Right Productions & Chene Park; Bryanne Leeming, Founder & CEO, Unruly Studios; Roy Sexton, Kerr Russell; Kim Boudreau Smith, Inc., Entrepreneur & Author.”

Listen here: https://leegroupinnovation.com/small-talk-with-mark-s-lee-september-2nd-2018/

[Sexton is photographed with WWJ NewsRadio’s Lloyd Jackson – upper left – and Mark S. Lee – upper right. Photos by Kim Bourdreau Smith – lower left, another guest on this week’s program.]

Mark S. Lee is President & CEO, The LEE Group, an independent integrated marketing consulting firm focused on providing marketing, branding and communication solutions to clients.

He is the former Vice President of Brand Development and Marketing Communications at Florida Blue, Florida’s Blue Cross Blue Shield plan, where he was responsible for leading the company’s brand initiatives, marketing communications and the development and implementation of promotional programs focused on supporting strategic priorities.

Prior, Mr. Lee held senior-marketing leadership roles with nationally known companies across the country including, PepsiCo, The Auto Club Group (AAA), et. al.

His column turned blog, “Small Talk with Mark S. Lee”, appeared in the Michigan Chronicle for three years and now appears via blog for Crain’s Detroit Business.  It provides tips to businesses who are interested in growing their business and to individuals who aspire to become entrepreneurs.

Roy Sexton is responsible for leading Kerr Russell’s marketing, business development, communications, and strategic planning efforts.

He has nearly 20 years of experience in marketing, communications, business development, and strategic planning, having worked at Deloitte Consulting, Oakwood Healthcare (now Beaumont), Trott Law (formerly Trott & Trott), and St. Joseph Mercy Health System. He has been heavily involved regionally and nationally in the Legal Marketing Association as a board member, content expert, and presenter. He is treasurer-elect currently for the Legal Marketing Association’s Midwest Regional Board of Directors. He was named a Michigan Lawyers WeeklyUnsung Legal Hero” in 2018.

Michigan Lawyers Weekly’s profile of Director of Marketing Roy Sexton – “Unsung Legal Heroes” (page 12)

He earned his Bachelor’s degree from Wabash College, and holds two masters degrees: an MA in theatre from The Ohio State University and an MBA from the University of Michigan. He is a graduate of Leadership Detroit and Leadership A2Y, was 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 served as an at-large member of LMA’s Midwest Regional Board, served on the advisory committee for Strategies Magazine, and was a member of the Social Media SIG steering group. He 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. He currently sits on the boards of Ronald McDonald House Charities of Ann Arbor, Royal Starr Film Festival, Mosaic Youth Theatre of Detroit, and encoremichigan.com. He is a published author with two books Reel Roy Reviews, Volumes 1 & 2.

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Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon 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.

What are they thinking?! #WDVD 96.3 FM Detroit having me co-host Friday, August 10, 3-7 pm drive-time w/ #RobbyBridges

In the surreality that is my life, 96.3 WDVD’s Robby Bridges has asked me to be his guest-host for Friday’s show!! Rochelle Burk has made the wise decision to be somewhere far upstate at that time. So listen to my first and last shot at radio glory from 3-7:00 pm THIS Friday.

My mother Susie Sexton has suggested I try to model myself after Anderson Cooper. I fear I will be more like Carrot Top. … As my husband John Mola shakes his head and prays for daylight.

For those of you not in Southeast Michigan, you can tune in via online streaming here: http://www.963wdvd.com/on-air-robby-rochelle/

(I’m actually pretty geeked. Thanks, guys, for helping me win the nerd lottery. I love my WDVD family.)

Love the below text from my buddy Scott Rourke, who added, “It was the funniest thing; stopped me dead in my tracks; luckily, I was in a parking lot.”

And earlier tonight, I had fun with the Royal Starr Arts Institute Film Festival kids. I’d never had the escape room experience before. That was a blast – felt like Sherlock Holmes! Proud of the talent and heart of our volunteer directors for whom cinema is an absolute passion. Honored to support and celebrate their efforts as a board member. #escaperoom #presidentsbunker

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon 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.