I pcked Fandango 5 for two reasons: first it seemed to have real "Cavalier attitude" (like Puss in Boots") and second, in a weird sense, it is the fifth movie connected to the Shrek franchise Yes, tenuous as usual, but it's all I've got--now on with the review!
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Any franchise, be it books, TV or movies, eventually turns to crap if it goes long enough. The Shrek series "jumped the shark" at Number Three (too bad they felt the need to make a fourth one). That, coupled with uninspiring previews, didn't make me want to see the Puss In Boots. Boy was I surprised when I actually got in to see the movie. This may not be the best movie of 2011 but it certainly the best animated feature of the year (and Kung Fu Panda 2 was pretty darn good).
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Puss In Boots is supposed to be set in Spain (according to the missus at least) but to me it looks a lot more like the American Southwest. The plot could be lifted from any classic Western movie--with a plenty of modern twists to keep it fresh. Antonio Banderas lends his voice to the title character yet again and gleefully mines every Latino stereotype and cultural cliche (and does it with such aplomb that you can't find it offensive). Thankfully, Puss is the only character that transitions from the other Shrek movies. A few "fairy tale" characters--Humpty Alexander Dumpty (Zach Galifiakankis) and Jack and Jill (turned into a Hillbilly Outlaw married couple voiced by Billy Bob Thornton and Amy Sedaris) but the rest of the movie is populated by new characters. The most notable of these is Kitty Softpaws (Salma Hayak) who is the perfect foil and romantic interest and foil for Puss.
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The movie finally gives us the origin story for Puss and tells the story of a heist involving the Goose That Laid the Golden Eggs. (Sadly, there aren't even any plot points to pick apart.) (Trust me--it plays way better than it reads.) The art is nothing short of gorgeous and the animation is perfectly done. (Robyn and I saw Puss In Boots in 2D but found ourselves wishing we'd shelled out the extra bucks for the 3D version.) I didn't recognize any of the music but it was beautifully played. This is the sort of movie that is fun for the entire family: you don't need to be a kid to see and enjoy it.
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FINAL GRADE: A+
Today I will be reviewing the remake of Footloose. I picked Celebration Bouquet as the fractal "cookie" mainly because there wasn't an obvious choice that jumped out and me and the movie pretty much ends with a prom. Yes, the link is, at best, tenuous but in this case it's all I've got.
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Movie remakes are a long-standing Hollywood tradition--I'm not sure why. Usually the real "greats" (titles like Gone With The Wind or The Wizard of Oz--two oldies but goodies) seldom get tagged. Footloose did well enough the first time out (and the soundtrack album sold very well) but didn't do so well as a Broadway musical. I'm not sure why they felt the need for a movie remake: maybe the Producers were looking for something they could do on the cheap--at least that's what the end result looks like.
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Fans of the original version of Footloose are going to find a lot to like about the re-make. The plot gets a bit of an expansion but a lot of the current version is a shot-for-shot copy of the original--same dialog, same camera angles--I wouldn't be surprised to find out even the same clothing was used. Several songs from the original make the transition (some in their original versions--some new, but frankly weaker, versions). At least the new version offers us a glimpse of why the town of Bomont (moved from the Midwest to the Deep South--and the folks in the South obviously can't spell Beaumont!) and that helped answer a few questions. Some might find the language a bit rough: I know I was certainly surprised to see how much they got away with and still managing a PG-13 rating (but the "F Bomb" was never dropped.). There are more holes in the plot than a good Swiss Cheese so folks like me will have points to pick at. All that being said, this is a pretty standard musical at heart so you can forgive that.
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Kenny Wermald gets the role Kevin Bacon role and manages to carry off the Boston accent (at least most of the time). He's a good dancer and he manages to (mostly) commit to the role: (I only saw him grimacing a few times). Juliane Hough gets the role "Preacher's Kid" Ariel: we already know she can move--thanks to all those years on Dancing With The Stars--but who knew she could cuss like a sailor so convincingly? Dennis Quaid--a real Southerner (unlike John Lithgow in the original)--gets the thankless role as the town Minister. New character Ray McKinnon adds a sens of verisimilitude in his role as Ren's Uncle Wes. The rest of the cast does the best they can with their sketchily-drawn, black-and-white cardboard roles--and who knew so many of these kids were such darn good dancers?
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Footloose is a complete, check-your-bran-at-the-door, sit-back-and-relax movie. Taken for what it is (a "new wave" movie musical) the movie is pretty good. Yes, you can complain about the too-many copycat scenes but it's fun to see how they manage to bring so many things get translated from the old to the new version. If you're going to hate on it for what it isn't you probably wouldn't go see the movie in the first place.
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FINAL GRADE: B
Picking fractal "cookies" for my posts can sometimes be a difficult thing but luckily sometimes something just jumps right out at me--like in this case. I chose Dragon Scales for today's post because it's green (like the eponymous Shrek) and because there's a dragon in both the image and the show. So, now that you've got the dirt on with the review!
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Shrek has an interesting history: it began life as an 18 page children's book that was mostly pictures and got expanded into a full-length motion picture (thanks to Mike Myers and Dreamworks SKG). Owing to such successes as Beauty and the Beast and The Lion King it wasn't long until Producers decided to bring Shrek to the Broadway stage. Shrek didn't run as long as the other two shows I just mentioned but it is perfect for a long National Tour and an even longer life in Regional Theater. You might well ask--how could they turn a big animated movie into a stage play? Turns out--pretty well for the most part.
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The plot is simple enough for the kiddies to follow but there are enough jokes to please the adults and everything moves quickly enough that nobody really has time to lose interest. Those expecting highbrow theater are doomed to be disappointed by Shrek (but they probably didn't see the movie on which the show is based). Shrek is vulgar without being obscene: the good news is that parents won't have to try to explain to their kids. The songs generally are splightly and pleasant to listen to--even though I found myself forgetting them even as I was listening. The sets, while no where near as complex as the animated backgrounds of the movie but they are more than adequate to do the job. Likewise the lighting and costumes are more than up to the challenge as is the music played by the nine-piece band (large for a show).
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Lukas Poost, in the title role, doesn't try to do a Mike Myer immitation--and to my mind that's all to the good. He does manage a consistant accent (although it's not Scottish) and he manages to run all the gamut of emotions the role requires. He also has a big and quite pleasant voice for his singing. Liz Shivener as Princess Fiona has a voice and acting ability up to snuff with her partner and I couldn't find a fault in her performance. Andre Jorden (Donkey) has a great soulful voice for his songs: he lacks the manic physicality of the animated character but he still manages to do well with what he's given. Merrit David Janes as the villains dwarf Lord Farquahd deserves note, not only for his acting and strong voice but also for managing to pull off virtually his entire performance ON HIS KNEES! (You try doing that for eight shows a week for months on end and see how wracked-up YOU get!) The dragon doesn't breathe fire but the massive puppet (controlled by four people) looks pretty impressive on stage. The chorus all have multiple roles and they are all up to the task.
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Shrek is hardly great theater but it sure is good fun for the entire family. This is the kind of show the entire family can enjoy together and it's especially good for those who don't attend theater with any regularity. Go see it if you get the chance.
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FINAL GRADE: A
Today's "fractal cookie" is Daisy Blue. I chose it for a couple of reasons: first it seems like it might be a good name for one of the Characters in Oklahoma done by Performance Riverside (the show I'll be reviewing), Second, it seems like it might be a quilt design from that era or maybe one of those blue plates so popular back then. OK, maybe it's not that much of a reason but its all I've got. So--on with the review!
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Oklahoma is a truly "classic" of the American stage. The accessible plot, relatable characters, tuneful melodies (that stick in your head long after you've left the theater) and ease of production mean this show will be produced again and again and again. (Sadly, it also means that folks like me will SEE it again and again and again!) There's not a lot of room to "re-invent" the show (since reinventing Oklahoma is a lot like trying to re-invent the wheel: there is simply no room for improvement.) Because of this, if you've seen the show as many times as I have (seven or eight--in versions from the latest National Tour to small Community Theater productions) it begins to lose some of it's magic. For a production to truly fly it really needs to be completely first class and, this being Performance Riverside, you know there's going to be some problems.
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I can't fault the Lighting, Set Design or Costumes in the show and, for once the sound mix at the Landis Performing Arts Center wasn't a muddy mess. The choral work and dance sequences were first rate so that was another plus. Musically, the stage band was first rate (as always) but I found it a bit heavy in the brass and woodwinds: I could have done with a second keyboard to fill out the piano and strings to give an even fuller sound but I guess you can't have everything.
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Bryan Vickery (as Curly) is convincing in his role and he has a magnificent singing voice. (I think he's classically trained.) If there is any criticism of his role is that Vickery may be just a bit "too" perfect in his part and that he only has two volumes--loud and ear-splitting. (That being said, I'm not sure if the guy just has a really big voice or if he was simply over mic-ed.) Emily Lopez (as Laurie) is a charming ingenue with a voice that matches Vickery's in timber perfectly. Chelsea Emma Franko doesn't provide any revelations as Ado Annie but she's believable in her role. Casey Garritano's Will Parker uncomfortable reminded me of Austin from The A List New York but there's no denying the boy can dance! Performance Riverside veteran Patricia Scarborough gives a creditable Aunt Eller. I'd like to have seen a bit more oil and ethnicity from Travis Lincoln Cox in the role of Ali Hakim but maybe the Director was trying to be sensitive. Paul Kehler (Jud Fry) has a beautiful bass voice but doesn't bring the menace and his dark shadings are no more than medium gray. The guy comes off about as scary as a Teddy Bear. Jason Wesley Green as Andrew Carnes lacks the "big" voice of the leads and it shows on stage. Still, he gets the best "insert" in the show (from, of all places, The Monkees!) so props to him.
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I do have to give kudos to the entire cast for one thing: no matter how little energy they got back from the audience (and the Sunday Matinee crowd was DEAD!) they never flagged. As a former Actor I can't tell you how difficult it is to keep the energy flowing to an audience that isn't giving anything back. Hooray for their professionalism! Thank you all for trying so hard in what had to be a difficult situation. Kudos also to show Director and interim Producing Artistic Director Matt Neves for keeping his pre-show announcements short and sweet. I'm sorry to see Rey O'Day leave the position but she did have a tendancy to go on and one. If Neves keeps the position I hope he keeps the pre-show patter just like he did for this show.
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As a show Oklahoma might not be the best vehicle for a sour old critic like me but for the casual theater-goer this production would be 2 1/2 hours of utter delight. Check it out if you want to see some nice theater in the Inland Empire.
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FINAL GRADE: C (for sour old critics) A- (everyone else)
I was looking for an image that was red, black and white (like the Five Guys Burgers And Fries colors) but I could only find one image that I'd used a bunch of times. So I chose Squared Arabic 35 because of its gold coloring. (Crowns are gold and this post IS about the new "Burger King"...) Now that you have the scoop on with the review!
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Several years ago (then-Candidate) Barack Obama caused a bit of a local controversy when hesaid that Five Guys made the best burger. A lot of locals (including some News Anchors) were incensed that he would disrespect local chain In-N-Out Burger. Of course at that point Five Guys had most (if not all) of their franchises east of the Mississippi. Well now, Five Guys Burgers And Fries had made its way to the West Coast in a BIG way and, agree or disagree with Obama's policies the Prez knows his burgers! I can say, as a burger connoisseur, that Five Guys completely blows away In-N-Out.
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Five Guys Burgers And Fries takes the hamburger back to basics. The restaurant has a minimum menu including hamburgers in two sizes (with or without American Cheese and Bacon), hot dogs, a grilled cheese sandwich and veggie sandwich. You can also get fries in two sizes (made without trans fats but plenty of salt). Burgers come with a host of toppings (all free except for the bacon and cheese). Unlike In and Out there's no "secret menu" that you can order from to get special products. Everything is made AFTER you order then packed in foil and sent out to you in double-quick time. (If there's a long long it may take a bit to place your order and get your food.) The burgers are quite wet but you can't make a better burger at home.
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The restaurant posts justifiably rave reviews all over the red-and-white tiled walls. One commented that the place had "all the ambiance of a clean bathroom (which is oh so true). The tiled walls, concrete floor and metal ceiling make the place incredibly noisy but at least the metal chairs and table are reasonably comfortable. Still, I could have done without the sterilization-volume classic rock soundtrack courtesy of SiriusXM. Even with all this there's still no better place to mac a meal (provided if all you are looking for is a hamburger and french fries).
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FINAL GRADE: A++
I think the title of this review pretty much explains why I chose Faded Blue as today's fractal cookie. Now, on with the review of the National Tour of West Side Story.
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On the surface West Side Story looks like it can't miss. The script re-sets Romeo and Juliet in 1950s New York City with the star-crossed lovers as members of rival groups. Leonard Bernstein provides the mid-century moderne score full of hip, jazzy flare and Broadway legend Stephen Sondheim got his first big break providing the lyrics. The show can best be described as "iconic" (and "iconic" means there's a lot of room to fall). The music, of all it's beauty, is tricky and requires first class performers. Bad acting can turn the show into an unintended caricature. Is the latest professional offering of West Side Story bad? No, but the production is not without its problems.
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Chief among those problems are leads Kyle Harris and Ali Ewoldt. Harris has the right look but his nasal singing and vibrato that can best be described as "unrestrained" ruins a lot of his solos. Worse he has a tendency to go flat on his big notes. Ewoldt has an awesome soprano voice but her Puerto Rican accent sounds like some sort of bad mockery rather than sincere imitation. (OK, maybe I'm just over-sensitive here--but accents are a big thing to me--and this one wasn't so great.) Still, she made you believe her performance. She has one of the best moments in the entire show with the "Diva battle" in I Feel Pretty. (Go see the production if you want to see what I'm talking about.) Sadly, Ewoldt and Harris don't blend that well and they should be seamless.
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The rest of the cast are fine singers and dancers and they all play their parts well. Of course, having seen West Side Story more times than I'd care to remember I've finally come to realize that besides leading characters Tony and Maria--NOBODY is that likable with the exception of minor character Doc the Drugstore Owner who vainly tries to show the characters a better way. As for the rest of the characters they are just sad--and NOT in a good way. In addition, the more times times I see the show the harder it is for me to suspend my disbelief: yes it's "musical" logical but sometimes even musical logic stretches the bounds of verisimilitude.
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On the plus side, the three-piece orchestra managed a remarkably full sound although I'd have preferred a bigger orchestra for a more-varied sound (this show was pretty heavy on the brass). The minimal (but not Minimalist) sets were effective as was the lighting design. The costumes were suitably 1950s and realistic enough: I found I could tell one group from another so that was a good thing.
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Sadly, I could have done without a lot of the "updates" to the show: a couple of songs had extensive lyrics in Spanish: if you knew the language or the show you were fine but if not you're lost. Likewise I really could have done without the symbolic rape scene near the end of Act Two (although it does give Anita a proper reason for betraying the young lovers). That being said, updates are going to be an inevitable part of the show and I suppose they could have gone much grittier and far nastier than some implied violence. (They could have littered the lyrics with "F-Bombs" for example.) Maybe I should be grateful for what I got.
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Now that has all been said I think it's only fair to report that my opinion is in the decided minority: the Orange County Performing Arts Centre was nearly sold out and most of them really seemed to enjoy the show. West Side Story has enough content to challenge the casual viewer without frustrating them. The show isn't a complete Air Biscuit so the audience can go away thinking they've actually SEEN something and had a worthwhile evening. Bitter old Critics like might might not love the show but the average theater-goer will find a lot to like.
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FINAL GRADE: B-
I'm not sure why I chose Ribbon Twist as today's fractal cookie: when I chose the image I had some idea that it would fit into the latest "tempest in a teapot" over at Dancing With The Stars but for the life of me I can't remember why I thought it would be important. Ah well--on with today's commentary...
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So Dancing With The Stars has announced the latest cast: I call this latest version the "Freaks and Geeks Edition". They departed a bit from the usual formula this time: there's nary a Disney Star (like Kyle Massey or Sabrina Bryant), mouthy black lady (like Niecey Nash or Wendy Williams) or a "WTF" guy (like Adam Corolla or Mike Catherwood). We do have the usual Professional Athletes (Ron Artest or is he Meta World Peace this week? and Hope Solo) a surfeit of Reality Stars this year (Kristin Cavalieri, Rob Kardashian and Carson Kresley). We also have several bunch of Faded Stars trying to raise their profiles (this time represented by Ricki Lake, China Phillips and David Arquette). The "out of left field" choices are "Tot Mom" nemesis Nancy Grace and Sonny and Cher's only child Chaz (formerly Chastity Bono). Oddly enough, it's Chaz Bono that's causing the most controversy.
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The inclusion of Bono has lots of conservative types threatening to boycott the show. Worse yet, some folks are even sending death threats!!! Come on people--death threats! Over THIS??? Do you guys really have that much free time? Honestly, I can't fathom this no matter how hard I try to wrap my head around it. I guess the feeling is that somehow having a transgendered individual in such a public setting will somehow encourage our children into "deviant" lifestyles. Of course nothing could be farther from the truth.
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Lets discount the fact that Chaz Bono is an out-of-shape (read fat) little person who is reportedly "rhythmically challenged" and he doesn't have much of a fan base. (The LGBT Community aren't going to vote for somebody simply because he's transgendered: they have too much taste for that.) Bono is likely to be voted off VERY EARLY. Itty bitties who happen to be watching the show (and there's a whole blog on THAT waiting to be written!) aren't likely to know what "transgendered" is--unless the parents make an issue of it! Children old enough to be aware of what that IS will already likely have had their opinions influenced by family and peers. The bottom line is--unless a child is ALREADY Gay, Lesbian or Transgendered it's going to have no effect on them whatsoever unless maybe their the idea that LGBTs aren't any different than other people. But we can't have that now, can we?
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On one level I suppose I can (sort of) understand why parents wouldn't want their children exposed to a dangerous lifestyle: that being said, I just don't see how that could have much of a negative effect on the little darlings if they weren't already leaning in that direction. Further, I can't see why ANYONE would feel the need to publish death threats against ANYONE. I mean, come on people, we don't live in Iran! I thought Americans respected the right for others to have different beliefs. I know that most of this is just smack-talking perpetrated by the anonymous nature of the Internet but it saddens me that the United States has come (or is it come back?) to this.
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In the end only time will tell how much the threatened boycott will have on Dancing With The Stars. Personally I doubt that there will be anything more than a very minor blip. Still, I'm sure that if the ratings DO take a major dive I'm sure DWTS will find some way to boot Bono. (I'm pretty confident there won't remotely be a need of that.) It's just too bad that those upset by the guy's presence won't use it to open a dialog or maybe re-examine their own prejudicess.
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'nuff said.
