REVIEWS MOVIE REVIEW
THEATER REVIEW
BY DEBBIE BALDWIN
BY MARK BRETZ
This Is the End
King Lear
END OF DAZE RATING: 7 out of 10
W
E L L , I T ’S NOT Oscar season. Nothing makes that more apparent than the seemingly endless stream of end-ofthe-world action movies flooding theaters—the summer of 2013 boasts more than a dozen. If there is one thing movie-goers have known since Mel Brooks stepped onto the scene, it’s that when there is a genre trend in Hollywood, a spoof is not far behind. So, if you’re in the mood to laugh—and have had drinks with dinner—I give you This Is the End. Seth Rogen and his wannabe A-list posse are excited to attend a party at the home of Hollywood powerhouse James Franco. They arrive ready for an evening of drinks and celebrities…and that’s when the world begins to end. The film mocks everything from the fiery pits of hell to the lunacy of Hollywood stardom, and does it with wit and self-deprecating charm. The best part about the movie—and probably the only thing that matters—is that it’s actually funny. Screenwriter Rogen’s previous efforts, including The Watch and Pineapple Express, were sophomoric at best. This movie is quite an improvement. Rogen retains all the perverse, inane scatological content (so be warned), only this time, he adds something new: comedy.
Man of Steel
MEN AND SUPERMAN RATING: 7 out of 10
PHOTO COURTESY OF JOHN LAMB
M
OVIE FANS HAVE ALWAYS had a fascination with superheroes. For decades, we have suspended our disbelief while the web-slinger netted villains, the Dark Knight sped through Gotham, and the Man of Steel leapt tall buildings in a single bound. In the ‘90s, it was rumored that every single episode of Seinfeld—at Jerry’s insistence—had a visual or verbal reference to Superman. Everybody— and by everybody, I mean men between the ages of 18 and 36—loves superhero movies. And while this movie packs all the talent, special effects and gloss one would expect of a film with this budget and production team, something, unquestionably, is missing. Our story begins with a young Clark Kent realizing he’s different than the other kids. He comes to learn that he is not, shall we say, a local; and has abilities far beyond those of mortal men. OK, let me just stop here. If you don’t know the Superman saga, I can’t help you. This reboot has a few tweaks that serve the story well. (Spoiler Alert: If you ever wondered how Lois Lane couldn’t figure out who her spectacled coworker really was, problem solved.) Unfortunately, the movie lacks romance both in the broad and narrow sense of the word. In the broad sense, this film has none of the light-hearted, wink-and-a-smile aplomb we’ve come to associate with Superman. This movie is a darker, more introspective imagining focusing more on Superman’s character development than his one-liners. In the narrower sense of romance, the Superman-Lois Lane relationship lacks the spark and adrenaline bubbling over in every other aspect of the movie. Otherwise, the movie is stylish, entertaining, suspenseful and spectacular…oh and it’s also two hours and 28 minutes long. It would be nice to save the world and get the girl in less than two hours.
THE STORIES Lear, the elderly king of Britain, has decided to retire and to divide his kingdom among his three daughters. Elder daughters Goneril and Regan are overly effusive in expressing their love for Lear; but young Cordelia simply says that she dutifully loves him as a daughter should love a father. Angered by Cordelia’s low-key approach, Lear disinherits her. When his faithful lord, Kent, tries to reason with him, Lear banishes Kent from the kingdom. Edmund accuses Gloucester of aiding the disgraced Lear, while ordering that Lear and Cordelia be executed. Meanwhile, the recently widowed Regan vies for Edmund’s affections with Goneril, who views her own husband as a coward. Goneril poisons Regan, then commits suicide when she learns that Edmund has been killed in battle. The dying Edmund recants his execution order, but Lear arrives carrying the limp body of Cordelia and dies alongside her.
HIGHLIGHTS Lear is an epic work by Shakespeare that reflects human nature on a grand scale. St. Louis Actors’ Studio artistic director Milton Zoth has crafted a splendid gem of a production, thanks to a judiciously selected cast and some nifty technical work. At almost three hours, this truncated version of King Lear still is a considerable undertaking, but Zoth keeps the pace steady and the action clear and structured. The cast is most impressive, led by John Contini in the title role. Eric Dean White is excellent as the well-meaning Earl of Kent, while Justin Ivan Brown and Rusty Gunther offer superb contrast as Gloucester’s devoted son Edgar and the scheming, malevolent Edmund, respectively.
PLAY: King Lear COMPANY: St. Louis Actors’ Studio VENUE: Gaslight Theater, 358 N. Boyle Ave. DATES: June 21, 22, 23 TICKETS: $25-$30; 458-2978, 1-800-9822787 or ticketmaster. com RATING: A 4.5 on a scale of 1-to-5.
Meghan Maguire and Missy Heinemann are the epitome of calculated disdain as Goneril and Regan, respectively. Jessica Laney offers a smooth portrayal of the innately good Cordelia, while William Roth does well as the ill-fated Gloucester. Occasionally, the players rush through their lines a bit too quickly, which can heighten confusion following the intricate weavings of The Bard’s congested tale. Still, this version of King Lear is consistently engrossing and a marvel of economy that demonstrates how less can be more.
{LadueNews.com} JUNE 21, 2013
65