Plus, enjoy these videos of numbers from the final dress rehearsal of “Life is a Cabaret” – click to view. Thanks, Lia, for capturing! You can also view as a continuous playlist here – more videos will be added as available.
Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital).
Enjoy this video coverage of our upcoming cabaret performance: https://youtu.be/B5HoWBkM3wU – the Canton Chamber sure did a lovely job covering our event. Cabaret producer/director Denise Staffeld is exceptional, isn’t she? As is music director Kevin Robert Ryan – and, yes, you get to hear me sing in this clip. (And, to my animal loving friends, I have nothing to do with that coyote commercial in the middle of this, nor am I particularly thrilled with the guidance it offers toward the end.) Tix for Feb 7 are going fast! Click here.
A live musical fundraiser featuring Broadway tunes. Hosted by Relay for Life in partnership with Women’s Life Society Chapter 827, Chicks for Charity. Enjoy delicious desserts & a Cold Stone Creamery Ice Cream Bar; while bidding on the Silent Auction. Cash Bar will also be available. Join us with residents of Canton, Plymouth and surrounding communities to kick-off the annual fund-raising season. All proceeds and donations will benefit the American Cancer Society’s Relay For Life of Canton and Plymouth to attack cancer from every angle. Be entertained at ‘Life is a Cabaret’ while attacking cancer. Relay For Life of Canton and Plymouth is May 19, 2018 in Heritage Park, Canton. Relay for Life is a team fundraising event where team members take turns walking around the pond in Heritage Park. A complementary luncheon for Cancer Survivors is also held during the event. Relay is the signature fundraising event of the American Cancer Society. Reception 6pm-7pm. Performance 7pm-9pm.
Tickets: Online or visit or call the theater 10am-2pm Monday-Friday. 734-394-5300 ext 3. PLEASE LEAVE A MESSAGE. CALLS WILL BE RETURNED WITHIN 24 HOURS OR WEEKEND CALLS BY END OF DAY MONDAY. All ages must have a ticket. No refunds or exchanges.
I, Tonya is a troubling film … and not for just the obvious reasons. Yes, director Craig Gillespie’s take on the Tonya Harding/Nancy Kerrigan scandal does a good job highlighting America’s obsessive and misogynistic need to pit women against one another, regardless the tragic outcomes that may result. Yes, Steve Rogers’ script addresses the notion that competitive ice skating is a sport that often favors artifice over reality, faux-elegance over athleticism. The film nails the tragic economic disparity in this country that can toxify and curdle unfulfilled and unrecognized raw talent into resentment, rage, and unbridled violence.
Yet, it’s the film’s tone that I found most unsettling. There is probably no other way to go than “dark comedy” for an insane and still-somewhat-unresolved story like this: one skater from the “wrong side of the tracks” and one skater with a perceived “princess complex,” surrounded by a band of male idiots who thought it would be a nifty idea to turn the lead-up to the 1994 Winter Olympics (with an eventful stop at Detroit’s Cobo Hall) into a road-show Goodfellas as performed by the cast of Green Acres.
[Image Source: Wikipedia]
The cast is beyond reproach. Deserving Golden Globe winner Allison Janney (Spy, Tammy, The Help) dazzles and horrifies as Tonya’s “mommie dearest” LaVona whose intentions may be noble but whose approach to child rearing is two shades to the right of the Marquis de Sade. Sebastian Stan (Captain America: Winter Soldier, Logan Lucky) is perhaps a bit too pretty but nonetheless gives us a hauntingly comic portrayal of an abusive milquetoast in Jeff Gillooly. Ethereally engaging Julianne Nicholson (August: Osage County) is suitably and allegorically icy as Tonya’s coach.
Of course, Margot Robbie (Suicide Squad, Wolf of Wall Street) rocks the title role. Robbie is an absolute firecracker of a performer, and, while exceptional as Harding, I’m not sure we’ve yet seen that one landmark career-making turn from her. I’m certain it’s on the horizon, but I, Tonya in its entirety doesn’t quite rise to the commitment of what Robbie is doing here.
I also admit that, while Robbie gets Harding’s swagger and little-girl-lost qualities just so, she doesn’t quite have the look. I, like most of America, have wearied of Amy Adams, but watching a documentary of Harding following the film, it was clear that Adams is more of a doppelganger for the troubled athlete.
[Image Source: Wikipedia]
And that brings me back to the film’s tone: a bit Coen Brothers (Raising Arizona, Fargo), a bit Gus Van Sant (To Die For), and a heaping helping of postmodern cynicism, but not nearly enough heart. The tragic circumstances of Harding’s upbringing are bandied about as cutesy one-liners, and the choreographed sequences of domestic abuse (Harding’s mother and husband both dish out brutal beatings on the poor soul) are almost treated like musical interludes. Even the heartbreaking yet admittedly hilarious lament from Robbie’s Harding that “I get hit every day, but Nancy Kerrigan gets hit once, and the whole world sh*ts!” comes off more like a punchline than an authentic assessment of America’s trivialization of violence toward women.
[Image Source: Wikipedia]
Perhaps I am overly sensitive in this moment of “#MeToo/#TimesUp. Perhaps I have seen too often how insidious and destructive the evil-that-men-do can be to the self-esteem and self-worth of women. Perhaps I just thought I, Tonya was trying to have its cake and eat it too -painting Harding as this heartbreaking misunderstood ice queen Icarus while lobbing spitballs at the back of her head, just in case America wasn’t quite ready to forgive her yet.
As Janney’s LaVona intones in one of the many “mockumentary” style interviews sprinkled throughout the film, “She [Tonya] skated better when she was enraged.” The film gives us an ugly, bruising, arguably self-indulgent depiction of why Harding should be and was enraged, but it is never quite brave enough to offer her much sympathy or redemption. That may be the saddest crime of all.
Had a great time Saturday, January 14 with these crazy kids celebrating the launch of pal Rebecca Biber’s first book of poetry Technical Solace from Fifth Avenue Press. [Photos by Rebecca Winder here.] Enjoyed playing Johnny Carson to Rebecca for the reading/Q&A at lovely Megan and Peter Blackshear’s exceptional store Bookbound in Ann Arbor. Thanks to a great crowd including Rebecca Winder, Rachel Biber, Barry Cutler, Beth Kennedy, Toby Tieger, Russ Schwartz, Peggy Lee, Steven Wilson, John Mola, and more. You can purchase the book at Bookbound or via Amazon. Click here. Ann Arbor District Library’s Pulp reviews the event here.
Latest Talk of the Town Whitley County “Old Type Writer” column by my mom Susie Sexton … is actually by me this month: my review of Greatest Showman. Thanks to publisher Jennifer Zartman Romano; proud to support my mom’s longstanding contributions there. ❤️ Excerpt: “This may seem a quaint notion, but sometimes it’s nice to have a movie that is simply affirming and joyous and a celebration of what can be best in the human spirit. That is The Greatest Showman’s raison d’etre. The subject of PT Barnum’s now-controversial life may seem an unlikely vehicle for such a film, but that is indeed what we have with Hugh Jackman’s latest. I absolutely loved this movie.” Click here.
[Musical director Kevin Robert Ryan and Sexton – photo by Denise Staffeld]
Thanks, Jennifer Zartman Romano and Talk of the Town Whitley County, for running this announcement! Whitley County native Roy Sexton is among the cast of “Life is A Cabaret,” a live musical theatre fundraiser for the American Cancer Society. The performance is planned for February 7, 2018, at 7 p.m. in Canton, Michigan at Canton Village Theater. The live musical fundraiser will feature Broadway tunes. The event is hosted by Relay for Life in partnership with Women’s Life Society Chapter 827, Chicks for Charity. Attendees will enjoy delicious desserts from a Cold Stone Creamery ice cream bar while bidding on the silent auction. A cash bar will also be available. All proceeds and donations will benefit the American Cancer Society’s Relay For Life of Canton and Plymouth, MI to attack cancer from every angle. Tickets are $22. For ticketing information, click here or call 734-394-5300 ext 3. If there is no answer, leave a message and your call will be returned within 24 hours.
Avengers: Age of Ultron is all you might hope it should be. And that’s part of its problem.
I feel in writing this review that I may as well be discussing a plate of really fabulous spaghetti: so much tasty sameness, so many empty carbs, no discernible beginning/middle/end, satisfying a craving that I didn’t know I had, leaving me a bit bloated … and yet I will happily eat it again after my sense-memory has recovered.
Joss Whedon, beloved Buffy the Vampire Slayer architect and director of the first Avengers, returns to helm this sequel. This will be blasphemy to some of my geek brethren, but Whedon is no auteur. (I hold out hope that Captain America: The Winter Soldier directors The Russo Brothers will be the ones who finally deliver The Godfather of superhero genre flicks. Christopher Nolan’s The Dark Knight was close but a bit too pompously high-falutin’ for my tastes.) Whedon carries an episodic TV sensibility to his film projects. And that’s ok, but, once you’re aware that he seems to work in 28-minute long “beats,” you start to feel the clock ticking.
And, wowzers, does the clock tick with Ultron. With trailers (and the need to get there so early that you aren’t sitting on the front row gazing up Chris Hemsworth’s flaring Asgardian nostrils), your rear is in a theatre seat nearly three hours. The film is straining at the seams with just so much Marvel muchness that you wonder if a cleaner, clearer narrative had been focus-grouped into this orgiastic merchandising hydra by the good folks at Disney.
Regardless, the film offers much to delight both comic book loons like myself and the average Marvel moviegoer who doesn’t know Ant-Man from an ant, man. (Sorry.)
Whedon wisely knows that the audience for these cinematic beasts adores brightly-lit four-color action peppered with jazzy comic asides and a healthy dose of soap-opera-lite character beats. He also (with the help of super-producer Kevin Feige, who really should be in the movie marketing hall-of-fame at this point) realizes that the perfect ensemble, gifted with acting chops that exceed the material but with a keen sense of wit and gratitude to enjoy the ride anyway, turns a workmanlike summer blockbuster transcendent.
Mark Ruffalo continues to steal the show as beautiful loser Bruce Banner (Hulk), with just the right hint of Bill Bixby’s gloom married to his own shaggy twinkle. Scarlett Johansson (Natasha Romanoff/Black Widow) gives as good as she gets in her cat-and-mouse flirtation with Ruffalo, and, while I’m sure most of the audience was squirming/snoozing as they awaited the next CGI-encrusted battle sequence, I really enjoyed those quieter moments.
Similarly, Jeremy Renner (Clint Barton/Hawkeye), who came off as a glowering dullard in previous installments, really gets a chance to exercise his comedic action chops and soulful humanity. I won’t spoil the cinematically invented back-story they layer on Hawkeye, but this fanboy for one was a fan of the fairly significant change the filmmakers made from long-standing comic canon. Hawkeye suddenly becomes the heart and soul of a franchise that hitherto kept him far on the periphery.
The rest of the cast is solid and fun as expected. Chris Evans (Steve Rogers/Captain America), Hemsworth (Thor), and Robert Downey Jr. (Tony Stark/Iron Man) are frothy delights, offering as much banter this time as they do alpha-male action. Downey is blessedly restrained, offering a hint of unintentionally gleeful malice – an ominous note of what may yet come to the franchise. He is counter-balanced nicely by Evans who telegraphs the audience’s own mounting anxiety over a planet that is quickly becoming overstuffed with people/creatures/beings with too many abilities/too few ethics.
Newcomers include twins Wanda and Pietro Maximoff (Elizabeth Olsen and Aaron Taylor-Johnson, who weirdly enough played spouses in last year’s Godzilla reboot) and The Vision (Paul Bettany). They are all fine in rather under-written, slightly confusing roles. While it’s fun to see these Marvel legends in the flesh, they really weren’t necessary and detracted from the other characters we’ve come to know and love. This is the danger with all of these comic book movies – how do you keep the nerds (myself included) happy and sell lots of toys without devolving into carnival kitsch? The film skates a fine line and nearly goes over the edge.
Finally, though, this Marvel entry gets its villain so very right (not unlike the oily charisma of Tom Hiddleston’s Loki). Ultron, as voiced by slippery eel James Spader (I’m starting to wonder if Marvel films are where all smart aleck ex-Brat Packers go to die?), is frightening, ominous, charming, and essential. He intones early in the film, “How can humanity be saved if it doesn’t eeeeevooooolve.” (Darn right, brother – I need that needle-pointed on a pillow, stat).
Of course, robotic overlord that he is, Ultron – created by Stark himself as a means of creating “lasting peace” – asserts that the only logical way to create lasting peace is to render all of humanity extinct. Now there is an allegory for our fractious times. I won’t spoil the adventure on how he gets there (I’m not even totally sure I followed all the muddled machinations myself), but I got quite a perverse kick from Spader’s Ultron and his well-intentioned sociopathy.
(I should have never admitted that last bit, I suppose? Maybe Marvel will need someone to play the villain in their next summer opus? Sign me up!)
Go to Avengers: Age of Ultron for the Marvel-fied comfort food … but stay for the dark bon-bon (Spader) at the film’s anarchic core.
As all the Marvel movies go, my hands-down favorites feature Captain America. So I approached Captain America: The Winter Soldier with some trepidation that it wouldn’t live up to my expectations. How wrong I was.
[Image Source: Wikipedia]
The first Captain America film did a lovely job borrowing nostalgic pixie dust from films like Dick Tracy and The Rocketeer, and director Joe Johnston grounded those proceedings in postmodern yet earnestly American messages of anti-bullying and of championing the underdog. The follow-up, directed by Anthony and Joe Russo, takes that Americana quilt-work and ups the ante, delving deep into the dark heart of post-millennial U.S. society.
In the years since September 11th, we have seen fear and anxiety chip away at the most American of values: tolerance and courage, freedom of thought and sincere kindness. The film attacks that dilemma square on, albeit with Marvel Studios’ now-trademark escapism, wit, and whiz bang effects.
I dare not spoil any of the twists and turns, and, while some have compared this sequel to 70s government conspiracy classics like Three Days of the Condor, it is more of a pulpy roller coaster ride than a tightly coiled potboiler. Regardless, it is smart and well done and expertly paced.
Chris Evans returns as Steve Rogers/Captain America, and, unlike his flippant work as another superhero Johnny Storm in The Fantastic Four series, he exudes a soulful sadness as a man quite literally out of his own time and depth. His heartache over an America that has strayed so far afield from his World War II-era “Greatest Generation” perspective is palpable.
The plot details the explosive corruption that runs through all levels of the S.H.I.E.L.D. organization – that CIA/Interpol-hybrid that has been a unifying element in all Marvel’s cinematic output. This sequel draws cleverly on thematic elements established in the first Captain America entry, specifically the Nazi villains’ monstrous notion that ethnic, spiritual, intellectual cleansing will bring about order in a chaotic world. Winter Soldier neatly turns that concept on its head, alluding to how some Americans today seem to share that same nefarious concept: that the only way to avoid anarchy, violence, and societal decay is to quite literally eliminate all those people who threaten “order” in their questioning of the powers-that-be.
Robert Redford is a fascinating and welcome addition to the Marvel Universe, playing Alexander Pierce, a Washington bureaucrat whose Machiavellian intentions are simultaneously noble and suspect. Bringing a nuance we don’t always get to see in these movies (with nary a glib moment), Redford telegraphs sincere, profound, and arguably misdirected concern for a world that he feels has gone totally off the rails. He is the kind of comic book heavy that only a steady diet of FoxNews and MSNBC could inspire.
The other supporting players, including Scarlett Johansson, Emily Van Camp, Cobie Smulders, Hayley Atwell, Frank Grillo, Samuel L. Jackson, Toby Jones, Jenny Agutter, and Anthony Mackie, rise to the material, providing gravitas and the occasional (much-needed) lighter moment (or two). Sebastian Stan as the titular Winter Soldier is a heaping helping of imposing glower, and he makes the most of a rather underwritten role (not unlike Tom Hardy’s Bane in Dark Knight Rises).
Unfortunately (and this is the only minor quibble I had with the film), the movie does little with the Winter Soldier’s fascinating, Terminator-meets-Manchurian Candidate back story. Hopefully, the inevitable third film will fill in those gaps.
Superhero flicks have, in aggregate, become an ever-expanding cinematic metaphor for the angst that blankets our planet – movies of note include Bryan Singer’s X-Men films (e.g. civil rights/tolerance), Christopher Nolan’s Dark Knight trilogy (e.g. class warfare, Orwellian nanny states), and now both Captain America entries. These films employ a kind of four-color funnies code with larger-than-life heroes and villains standing in for the mundane, insidious cruelties we enact daily.
Samuel L. Jackson notes at one point early in the film, “This is the world as it is … not how we’d like it to be” – nailing a haunting fear and sadness most of us over 40 grapple with daily. Not sure where the movie Marvel Universe goes from here as the studio’s architects are clearly picking poignancy and punch over popcorn and pizzazz. But I for one can’t wait to see what’s next.
Bonus! ( … apropos of nothing … )
This Thursday, April 10 at 7 pm, Common Language in Ann Arbor (317 Braun Ct.) will host a mixer. I will be signing books, and theatre colleagues from The Penny Seats (including Rachel Murphy, Lyn Weber, Rebecca Biber, Nick Oliverio, Barbara Bruno, and now John Mola) will offer interpretive readings of some of my wilder essays. Light refreshments will be provided. See you there! Nice coverage from Sarah Rigg and MLivehere.
Thanks to Ryan Roe and the Tough Pigs: Muppets Fans Who Grew Up website for this shout-out to Reel Roy Reviews and my review of Muppets Most Wanted. Be sure to check out the site – it’s a lot of fun!
Finally, enjoy this video interview of yours truly from last week’s Legal Marketing Association conference. Thanks to Lexblog and the Lexblog Network and Kevin McKeown for this opportunity!