Borrowers @ The Carmel Outdoor Forest Theater.

The Borrowers @ The Carmel Out-Door Theater

Based on a well known series of books for children by Mary Norton, “The Borrowers” saw its’ most recent adaptation (Arrietta) by the Studio Ghibli brand of family friendly anime features. It’s now being brought to the musical stage after a storied history; made available in the shows program.  It seems a long journey that spans decades and involves the recent passing of the shows composer.  The book was written by and the show directed by Walt deFaria, whose passion for the material stretches back to the 1970's. This is also the first play to be performed at the venue since the Outdoor Forest Theater’s closure back in 2013.

The basic premise of the story surrounds a small family of “Borrowers” who live beneath the floor boards of an English home in the country. Pod, his wife, and their daughter; Arrietta. They’re a tight knit family but they haven’t had any contact with others of their kind in a very long while. They live off the human residents of the home, “borrowing” random household items for their own use. They must remain hidden from human eyes or else risk “Emigration” to the outside world.

Jared Warren Hussey commands a strong lead as the family Patriarch. His vocals remain strong throughout the show and his mannerisms are perfect to the character he plays- cautious, a little mischievous, and always looking out for his family. He hones a character that is charismatic, likeable, and always on point from the first moment he steps on stage in the opening number. Gracie Moore Poletti stars opposite, a nurturing maternal figure who counters Pods caution with encouragement. And Gracie Balistreri features as the curious Arrietta, whose desire to visit the “Outside world” may bring her family to ruin. With long flowing curls that seem to catch in the wind, Baliesteri prances across the stage with active enthusiasm and captures the imagination of children everywhere.

But no story exists without their antagonists- and in this case, the upstairs Humans get some of the juicest tunes and most elaborate comedy in the show. Played  to the hilt by stage veterans (and real life partners) Phylis and Mitch Davis; the two residents of the home have taken in a young boy from London and it may only be a matter of time until one of them sneaks more than a glancing peak at the little creatures in the floor. To say anything more may spoil a few pleasant suprises, but the upstairs neighbors do receive a visit from three local men with positions of some importance.

The play is good family entertainment and should, no doubt, make it to your list of things to do these next several weekends.

4 out of 5.

We Are Still Here... thoughts. Fucking A!

We Are Still Here

Currently streaming on Netflix, “We Are Still Here” is one of those hidden gem films that fucking brings it. Seriously, I walked in with eyes wide open and I expected yet another carbon-copy “haunted house” film despite hearing all the good things about it being a love letter to Fulci and those old 70’s Italian Horror films of the time. Yeah, right- I figured we’d get an eye gouging scene and a few “vintage” cars with some “grindhouse” color saturation and I was okay with all that- I dig those kinds of movies. But the truth of the matter is that every advertisement, every trailer, every little bit I’m seeing in advance of this film is making me think “Conjuring” or “Annabelle” and I put this one on the back burner for the past couple of months before finally biting the bullet to check it out. I’m a little glutted out on “Haunted House” flicks and this one didn’t really look at all that special.

I should not have waited.

Barbara Crampton takes the lead as a mother who is mourning the loss of her teenage son. She and her husband purchase a house and things start to get a little weird- the basement is too warm, there’s an odd smell, and she can’t shake the feeling that her sons’ spirit is still with her. Things move in the wee hours of the night and there are noises- oh, it’s kind of spooky and all of that stuff and we even get a nice little background on the house from a creepy neighbor. And then shit goes down- and when it goes, it fucking GOES! Because this isn’t a creeping crawling ghost situation- this is a tortured spirits who will physically tear people apart situation when we see some honest to goodness CREATURES crawling up from the shadows of the house.

And then things get worse.

The term “Love letter to Fulci” has been used so many times by so many other reviewers that it’s kind of become a cliché at this point. And this film is all of that- no doubt about it. But there’s something else about this project- there’s an laser focus to the horror that Fulci often blurred with his dialogue and plotting. This movie heads straight on and leaves just enough for audience interpretation. The gore is cranked up by quite a bit, though we never do seem to get the expected “eye-ball trauma” that I expected. Blood flows and the “creatures” are impressive to behold- their eyes bearing a resemblance to those seen in The Beyond while the rest of them is just unnerving to watch.

While Crampton carries the heart of the picture, Andrew Sensenig’s performance as her husband “Paul” keeps the audience grounded with his skepticism. Of all the characters, Paul seems the most sensible and the most direct in facing their problems. Larry Fessenden delivers an incredible performance as family friend, Jacob. Just wait until the two men are left by their lonesome as the ladies take a ride into town and be prepared for the creep levels to reach critical mass.

This movie seriously kicked my ass and I literally watched until the credits stopped rolling.

5 out of 5.

Review: WARCRAFT!

WARCRAFT

Orcs and Humans have been locked in an eternal war for thousands of years on the planet of Azeroth. This endless struggle between the Horde and the Alliance is the main storyline behind the hit On-line community game, “World of Warcraft”. And this fantasy film depicts the very beginning of this conflict as Orcs from the Horde are led to the world of Azeroth through a portal from their own dying world- warbands attack human settlements and draw the military force of a noble king (Dominic Cooper, known for playing Howard Stark in Captain America and currently appearing in AMC’s “Preacher” adaptation) in a desperate bid for survival and dominance.

This is a beautiful film, first off; CGI-rendered Orcs and monsters look pretty good while sharing the screen with very human actors and the action is intense and brutal. While never quite as gritty as The Lord of the Rings trilogy, it’s a good film in its’ own right and delivers the goods on a story with intriguing heroes, despicable villains, and a conflict with no easy answers. No one walks away with clean hands or complete understanding- both sides make mistakes and both sides make their stands. Travis Fimmel stars as Anduin Lothar, a high ranking knight in service to his King. Paula Patton is Garona, a half-orc slave of the Horde whose capture by Anduin opens new avenues of strategy and understanding of the Orc armies. Toby Kebbell is Durotan, a proud Orc chieftain who chafes beneath the yoke of dark Shaman, Gul’dan (Daniel Wu).  But stealing the show, as is his norm, is Ben Foster as the Human Guardian Wizard Medivh.

Fans of the game will see some of their usual haunts realized while others may come away a little disappointed by the lack of racial diversity in the film- Dwarves and Elves (generic and not the usual character classes of “Night” or “Blood” as seen in the game itself) seem almost an afterthought with only the barest glimpse of Trolls in the Horde. Most of the action takes place in the one continent where the Alliance holds sway, but there’s still a lack of variety- but it may have been the best choice in order for the film to remain focused on the primary conflict between Alliance and Horde.

People unfamiliar with the video game shouldn’t struggle to understand the basics of the world being presented- it’s no more confusing or disorientating than Lord of the Rings, for example. But the film also doesn’t waste time to explain the magic, the political hierarchy, or who the individual players are- they let the story do it and the viewer simply needs to exercise some patience when wondering if a certain issue may be explained.

This is high fantasy and is only the smallest of steps below Lord of the Rings- almost too small to bear mentioning, but I am certain some people will compare the two and find this film to be lacking in some comparisons. It’s still a worthy addition to the Fantasy genre and an exciting popcorn muncher for the summer season.

4 out of 5.

Green Room & Captain America: Civil War -

“Green Room”

This is one of the most suspenseful, taut, and intense films I have seen in the past two years. Jeremy Saunier delivers one of the most realistic horror films to come down the pike and he does it without resorting to cheap scares, supernatural artifices, or a faceless killer. This is about human drama taken to an extreme- the violence is sudden and gory, the emotions are real and intense, and there’s no such thing as a one-dimensional character no matter what you may think of the players involved. This is what horror should be- it should defy the cookie cutter definitions often placed on the genre and it should terrify us. It should dig in deep and do very bad things to our brains.

The “Ain’t Rights” are a touring punk band living out of a van as they wind up some tour dates promoting their latest vinyl album- because these are “true” punks, living the lifestyle and refusing to “sell out” with social media or downloads and being everything “punk” is supposed to be about. When their most recent gig cancels, they wind up picking up an extra gig a little out of the way in a backwoods “skinhead” bar. They’re not entirely in their element and the danger signs are all there, especially when they open up with a Dead Kennedy’s cover designed to antagonize their audience. But the band kind of wins some respect and the skinheads start moshing to the rest of their set- and the band is getting cleared out so the headliner can take the Green Room. They just forgot their cell phone, so a quick little run inside-

And that’s when things go to hell real quickly. As witnesses to a murder scene, the band is quarantined to the Green Room once again and the Nazi’s are stuck trying to figure out the best way to get rid of them without drawing attention to the bar. Tensions escalate quickly as the band gets a certain measure of control- but they’re trapped and the Skinheads surround them and it’s only a matter of time until something gives.

Anton Yelchin headlines the protagonists and delivers the best performance I’ve so far seen in his young career. He’s a confused young man who doesn’t know how much danger he really is in- and when blood is shed, we know that absolutely no one is safe in this film. Patrick Stewart gives a chilling performance as the leader of the Skinheads, a cool and collected businessman who seems more concerned with the dangers of a possible fire hazard than he does with the well being of any individual. He doesn’t waste time twirling a mustache in this film- everything he does has a purpose and he truly has a sense of the dangers facing him and his group.

But truly standing out in his performance is Macon Blair. The long time Saunier collaborator delivers one of the most nuanced performances as the bar manager. He’s a man who believes in “the Cause” but experiences the conflict of his actions with his humanity. The responsibility for much of the films experiences rest on his shoulder- he makes several early calls that will ultimately lead everyone down a dark rabbit hole and he’s faced with the consequences of those calls.

Don’t expect to feel good while watching this film- don’t expect that you will walk out of the theater cheering or high fiving one another. You’ll be stunned, horrified, a little confused, and maybe worn ragged by the experience. And that’s what a horror film is supposed to do.

5 out of 5.See this in the theaters before it leaves!!!

Captain America: Civil War

The American political climate is tense and fevered and very dangerous. And the story of Civil War reflects the very same climate we are currently faced with- the idea of liberty vs. security and what it means to the individual as opposed to the group. There is an idea that the needs of the many outweigh the needs of the few- so when the Avengers are faced with the consequences for their heroism, each member of the team must make a difficult choice. Do they comply with oversight regulations or are they going to be the ones who make the decisions for themselves?

The choice is easy for Tony Stark- whose character arc from the first film is a series of glimpses in to the repercussions of his inventions and the violence it has brought to the world. He needs to make it right and if there’s some sort of oversight, that will relieve him of a sense of responsibility. And he urges the other members of the Avengers to sign the same Accord- but Steven Rogers, Captain America, tells Stark that the same oversight that may feel better about having the Avengers under control might send the Avengers on missions where the team doesn’t feel it’s needed. They may refuse to send the Avengers where they are needed. Rogers realizes that signing the Accord removes his choice- and he refuses to comply.

That alone is an interesting premise for the film- but the stakes are increased when a desperate Zemo uses the split in order to enact a long devised plan based on the information available from the first several films of the Marvel Universe. He has a way to trigger the Winter Soldier, he has access to information that will implicate the Soldier in a terrible crime, and he has the unwitting help of several World Governments to keep our heroes on the run or divided.

Look, we get a lot of guest appearances throughout the film- nearly all the Avengers show up, we get Ant-Man fresh off his own successful venture, we get a brand new Spiderman all set to debut in his next feature film, and we get The Black Panther as he gets set to pounce on his own film debut with Marvel’s next wave in 2017. But the film boils down to six characters who will be long affected by the consequences of this war- Iron Man, Captain America, Black Panther, The Winter Soldier, and Zemo. These are the people most heavily involved and revelations peel back the layers of respect and friendship between Stark and Rogers, exposing divided loyalties and personal animosity never truly seen. Zemo is a brilliant, patient, and methodical villain. The Winter Soldier (Bucky) is a man who is clearly suffering from years of abuse and brain washing- and The Black Panther is a man driven by vengeance but open to the idea of justice.

4 out of 5.

Songs for a New World @ Paper Wing Theatre

“Songs of a New World”

Bold.

No, seriously, that’s the first word I thought of when I tried to sit here and figure out where to begin- “Songs for a New World” is a seriously ballsy show that takes a bunch of risks where it could have chosen to play much safer. Director Noah Reeves dresses his stage in newspaper print from top to bottom with only four major pieces of furniture to tell the small tales that make up the whole of the show- it’s minimalism that carries a bold statement- it’s small but it’s everything. It’s and the newsprint reflects the vastness of what the show wants to accomplish. And when the music begins, we are immediately struck with the next risky venture- the cast moves forward without the aid of microphones.

And it caught me off guard.

“Songs For a New World” is a musical piece of performance art where the cast (2 men, 2 women) take on various roles representing people who have come to a moment of decision in their lives. Whether it comes to love, finance, liberty, war, or the dreams of a High School Basketball player; each of the characters represented are caught in a moment in their lives where one decision could mean the world. And the vocal pieces here are difficult, with challenging pitches and word play. And all four performers step on the stage without the aid of a microphone so these pieces need to be loud in the near 80 seat capacity theater- they need to sing loudly enough to match the accompaniment. They need to project their voices so everyone can hear them- and as I sat near the back of the theater, I was immediately aware of the challenge facing these performers.

And it works.

The four actors had chemistry with one another and there was a sense of support for one another as they represented the many tales being told- each of them remained present in the moment, even if they were not the focus of attention. I was really impressed with these performances and these vocalists.

4 out of 5.

Hardcore Henry and Dawn of Justice.

Hardcore Henry

BOOM!!! Inspired by “first-person” shooter video games, this film is bad ass!

So the movie starts and the audience is seeing everything from the point of view of an eponymous “Henry”, a tattooed man who lost his arm, his leg, and much of his features in some unknown battle with a villain we are guaranteed to meet early on. He’s given cybernetic replacements by a wife he can’t remember and things immediately go to hell when the villain makes his entrance, forcing Henry to flee before certain procedures can be completed. And away we go!

“Crank” fans will probably see a lot of similarities between the two films as “Henry” subs for Statham’s Chev Chelios and is partly sent on the run and sent on a mission of vengeance when he has to rescue his wife from the Villain (who has telekinetic powers of some sort) and help his only friend in all of the mess, Jimmy. The movie is almost all non-stop action and all told from the point of view of the audience- so there’s quite a bit of shaky-cam work, but it all makes sense with regard to the narrative of the film.

Oh, and then there’s the grue factor- this film gets downright bloody and nasty with what it delivers. Heads exploding, bodies cut into pieces, knives through hands, and more than small fair share of other exploitation moments.

Hardcore Henry is a solid 4 out of 5.

Batman V. Superman: Dawn of Justice

I don’t hate Zack Snyder.

In point of fact, I really enjoy Snyder’s body of work on the whole and I think he has a very unique and expressive visual style. I think he approaches material with an eye for detail and a mind toward exploring a number of themes; individuality, fighting despite the odds, and perseverance. He’s a director who took the source material from the Watchmen and actually had the cajones to insert a rebuttal to the nihilism of Moore’s original work near the end. He took an opportunity to explore a passion project that was, essentially, a remake of “One Flew Over The Cuckoo’s Nest” and dressed it up as a fantasy adventure with “Sucker Punch”. And so I was incredibly eager to see his rendition of Superman with “Man of Steel”- and I was overwhelmed with the disappointment of it. Still, I had some hope- I saw stirrings of the Superman I wanted to see in Henry Cavill and I just knew that Snyder had a good superhero film in him- but then I saw the trailer for “BvS: Dawn of Justice” and all hope seems dashed to the wind. The reviews poured in- nothing really good in the echo chamber, but I knew I had to see the film for myself. Some friends liked the film- there had to be something worthwhile here?

Right?

Green Lantern wasn’t the worst film I had ever seen but it was largely panned… surely this couldn’t be that bad?

And it’s not- it really isn’t as bad as people are claiming, but there are things that don’t work and there is definitely a “fan edit” on the way. Someone is going to cut the useless “dream” material- someone is going to cut about thirty minutes from this two and a half-hour slog in order to deliver a more concise narrative that tells a much more direct story. It’s just unfortunate that this person was not Zack Snyder and it wasn’t Warner Bros. and it wasn’t anyone who will really count when all is said and done.

The GOOD:

Ben Affleck is great as Batman. To be honest, the script seems to be written with the events of Batman Begins and The Dark Knight in mind- moments from both films are lightly referenced in dialogue and a 20 year history is blatantly spelled out as Alfred interacts with Bruce in casual conversation.  The Dark Knight Rises, however, seems to not have been made during the first draft of this script and so there are no references… which is good, because I don’t think that was a good end to Nolan’s “trilogy”.

Gal Gadot literally SHINES on screen in the role of Diana Prince (AKA: Wonder Woman) and I was really looking forward to her appearance later on in the events. Disappointing as the finale was, it was awesome to see Wonder Woman standing where she belongs in the DC iconography.

Henry Cavill works HARD to be Superman- and he has a few great moments.

The initial reason for Batman’s mistrust of Superman is compelling- the film opens on a note made very sour for many viewers of Man of Steel; specifically the dismissive loss of life that occurred during Zod and Superman’s battle above the Metropolis. Bruce investigates a way to take on the Man of Steel and Superman seems too aloof to confront on a social level- much less on the personal level in which Batman witnesses during that rampaging battle in the skies. This is a compelling story at its core… but more on that later.

THE BAD:

Lex Luthor. What?!?!! What was Eisenberg thinking throughout this performance? Honestly- my wife really enjoyed it and pointed out that he was a creepy, uncomfortable, and completely psychotic paranoid megalomaniac with delusions of grandeur- and that makes an awesome villain. It just doesn’t really make a Lex Luthor-type sociopath driven to destroy Superman. But never mind that-

Because there’s the freaking plot.

Here’s the thing- Batman doesn’t trust Superman, Luthor nudges them into a fight, and the two titans do battle. That’s simple- unfortunately, Batman isn’t really nudged by Luthor. Luthor somehow figures out the secret identities of both heroes and that revelation comes very late and without any degree of explanation. Batman, also, seems to be plagued by dreams of a “future” that may or may not come to pass- it includes an image of The Flash with a warning and an extended scene with minions of Darkseid ruling the barren post-apocalyptic wasteland of Earth. None of which has any sort of influence from Luthor or his supposed “machinations”… all leading to a huge battle that ultimately ends because Superman and Batman both have a mother named “Martha”.

I shit you not. And yes, that’s a spoiler that I gave without any degree of warning because I simply give no figs about it. They stop fighting because their mom has the same name and that stops Batman from striking the killing blow… and to his credit, Affleck is able to pull off the hesitancy in a believable manner but the damage is done. “Our moms are both named Martha!” I imagine two kids on a schoolyard claiming before they become the best of friends.

Stupid.

And then Luthor makes Doomsday. With Zod’s body.

And Superman is just plain DEPRESSING… can we get a single real Superman moment from one of these films? Please? Just one happy moment where he actually does rescue a cat rather than having Bruce mock such moments in casual dialogue? Please?!?!! Pretty please?!?!!!

5.5 out of 10.

Other Desert Cities- a bit of a rambling thought on this show.

So this is what I've been told and this is what is talked about in the play- while driving in to Palm Springs there is a sign that leads people toward the small community and another sign that leads to "Other Desert Cities"- There's something allegorical about the title, something of a hint in what we're about to see when we sit down for a night at Paper Wing Theatre. But the truth of the matter is that the road beyond is going to be uncertain and filled with certain expectations- And "expectations" were the order of the day when I sat down to watch and experience this play.

I make no secret with regard to my own political leanings- they are slightly right of center, I am registered as a Republican, and I lean with favor toward capitalism and somewhat traditional values. And I've made mention with regard to the nature of political messages in art- specifically, I've come to largely expect and accept that my views are often going to be vilified and exemplified by the worst archetypes and characterizations possible. And I walked into this play with the expectation that I would probably need to grind my teeth and bear it. So before you stop reading, let me tell you that my expectations were absolutely shattered, crumpled, and destroyed by the reality of what this play had to offer. And I hope you stay with me for the ride I'm about to take you on because I'm going to do without spoiling the play itself-

In Jon Robin Baitz Pulitzer nominated play; we're introduced to the Wyath's on Christmas Eve. Polly and Lyman are country club Conservatives and former "old guard" Hollywood society people. Lyman served as an Ambassador under the Reagan administration after a fairly successful career as an actor. Polly was a screenwriter who gave up her career during the cultural shift of the 60's. Their youngest son, Trip, is a television producer working on a Celebrity Courtroom-styled show and their eldest daughter, Brooke, is about to publish her second novel. Unbeknownst to the family, this is going to be a memoir about the family and their eldest son who had committed suicide several years earlier. And so, of course, the family secrets, resentments, and chaos all come tumbling out to threaten the love that actually holds this family together.

Director Koly McBride prefaces the show with a foreword on the program itself- in it she shares her relationship with the show itself. A trip to New York, a powerful piece, and something she couldn't see on her own stage. And then she experiences life in a way that fundamentally changes her and the show has a new light in her eye and she once again explores the material and finds something different and it takes root. And whether these changes provoked a spark of creative genius or if the material just felt so familiar to her or if she's just this damn good, McBride delivers a show that doesn't just cut the edge- it delves into deep dark places and it forces the viewer to ask questions of themselves and their own expectations. There's that word again.

Polly is the family's alpha-Mom; a no-nonsense, take charge, do the right thing Republican work horse who has devoted much of her life to the example set by her good friend, Nancy Reagan. To "control everything" and keep everything working in tip top shape. And her husband, Lyman- well, he's very comfortable with just living his life according to a script without too many messy things disrupting things the way he likes it. And I expected the usual onslaught of jokes regarding their politics- the skewering of their beliefs, their life, and who they were as people. I even expected (that word again) these characters to be treated as anything BUT people, to be honest- But that's not all there is.

Because while I've told you a little bit about the daughter, the son, and both parents; there is one more member of the Wyeth Family. Polly's alcoholic sister, Silda Grauman. Theresa Del Piero sweeps in as this amazingly provocative character; somewhat ephemeral as she rebukes her sisters politics, lifestyle, her lack of humanity, her severity, parenting skills, and a perceived betrayal of her  roots and the person she WAS. She throws her support behind Brooke's writing and offers a few choice words of encouragement here and there- all while suckling at the teet of generosity from a supposedly cold and vicious older sister. Because while I might have expected(!) the usual litany of left leaning political insults, I never imagined they'd come from such a deeply flawed and hypocritical character.

And that's where Carry Collier and Keith Decker step in as Polly and Lyman- two parents in the twilight years of their lives forced into a confrontation with their elder sons suicide and the memoirs of a daughter just coming out of a deep depression. The mother is severe- driven to care for and direct her family as much as possible, to keep everything moving, and to live life the way she sees fit. When there's trouble she is the first to step in and the first to act and she isn't going to bother being nice about it. Wyman is a consummate politician- he wants to avoid direct confrontation and largely sits back for the ride, happy to let people go their own way so long as he can continue to go his. Collier brings layers to her performance, saying so much more with a glance or a turn than most actors can say with a soliloquy. She knows how her family talks about her and she lets it roll off her back- she has a job to do and to hell with what people think of her for it. Keith Decker steps up with an air of nobility and pride that begs to remain unblemished- but when he eventually crumbles beneath the weight of his daughter's revelations, we see the humanity struggling deep within the man himself.

Mindy Whitfield delivers a stunning performance as Brooke- a manic depressive writer who has been haunted by the memory of her elder brother's suicide. A brother she idolized; he was a left leaning firebrand, a protester, a rebel, and a direct dichotomy to the rigid politics of her parents. And she comes home for the holidays with a huge bombshell- she tip toes around the idea, she evades, and she ultimately drops it with an "expectation" that ultimately leads to twists she never saw coming.

And when events spin to a fine puree, youngest son Trip is always there to play peacemaker to the family he loves despite their differences in opinion, politics, philosophies, or tastes. He doesn't want to waste their valuable time debating those things- he'd rather love and laugh and experience the joy of just BEING with his family.  He's also the most brutally honest character on the stage- he calls the bullshit as he sees it, he confronts the issue head on, and he offers sympathy when it's needed most. He ultimately loves his family and doesn't want to see it torn apart- and Taylor Landess delivers the finest performance I've ever seen in the years I've seen him work in community theater.

I told you that the order of the day was "expectations". If you think you know these characters, you're going to find out that people are not the stereotypes we imagine. If you think you're going to find an easy answer- you're going to find out that life isn't always so easy or gentle, nor is it anything close to "simple". Let me be blunt- FUCK the expectations! If you have them, forget them. If you think you know something, don't be surprised if it bites you on the ass with just how much you don't know.  This is, by far, one of the ten best shows I've ever seen in the years that I've been attending Paper Wing Shows and is yet another reminder that art can sometimes be a little painful and it can show us a reflection of ourselves that maybe we don't find so flattering. And that's not such an awful thing when you really think about it.

10 out of 10. "Other Desert Cities" continues to play at Paper Wing Theatre, check website for showtimes.