by Shirley Lorraine

Hijinks on the High Seas at High Street

Batten down the hatches, the Navy has sailed into Moorpark. Based on the 1955 film starring Henry Fonda, James Cagney and Jack Lemmon, among other greats, the play Mister Roberts by Joshua Logan and Thomas Heggen brings a touch of nostalgia, chagrin, humor and poignancy to the High Street Arts Center stage.

The story centers around Lieutenant Douglas Roberts, a junior grade combat officer in charge of a fleet of bored sailors working a United States Navy cargo ship, the U.S.S. Reluctant, in the last few months of World War II. After months of providing supplies to other ships in remote areas of the Pacific Ocean with no relief, the crew has advanced cabin fever, entreating Roberts to secure some shore leave for them to let off steam.

Roberts tangles with his cantankerous Lieutenant Commander, Captain Morton, in efforts to grant the leave. Roberts is aided in his efforts by roommate Ensign Pulver and his good friend Doc, the ship’s medical officer. Through a series of shenanigans, leave is finally approved which results in total chaos for the entire crew. Throughout all this, Roberts tries repeatedly to gain transfer to see some actual battle.

The crucial role of Lt. Roberts is in the capable hands of R. Shane Bingham, who gives just the right combination of competent leadership and empathy for the crew’s plight. Captain Morton is played beautifully by Dale Alpert who displays a style quite reminiscent of James Cagney in the original role. The up and coming Ensign Frank Pulver is embodied by Patrick Rogers with a range of boyish enthusiasm. Phil Nemy settles into the role of Doc with confidence and control.

Olivia Heulitt carries herself well in the only female role – that of Lt. Ann Girard, who makes a brief appearance. The cast is filled out by a cadre of fit, youthful sailors eager to get off the ship to meet members of the opposite sex. Everyone in the cast is so lively and enthused, I fully expected them to break out into songs from the musical South Pacific any moment.

The well appointed U.S.S. Reluctant collaborated by set designer Scott Armstrong and director John Tedrick adds to the illusion. Sara Glauser pulled together the Navy uniforms to complete the picture.

Although clearly a “period” piece in language and attitude, it was easy to settle in with the primarily older crowd to relive some of the actions of the highly popular film and TV shows. One does have to keep in mind that this was a different time and unique situation which is presented in a light-hearted way. Many sighs of recognition were heard throughout, especially when it was announced that the war was over.

The High Street venue is always comfortable and welcoming. In addition to a full stage season, films are often presented as well as concerts and other special events. There is always something going on at the Arts Center. Settle in with some fresh popcorn and enjoy the show.

Mister Roberts continues through May 6 at the High Street Arts Center45 E. High Street, Moorpark. 805-529-8700 or www.HighStreetArtsCenter.com
Fridays and Saturdays, 8 p.m., Saturday and Sunday matinees at 2 p.m. $22, seniors, students and military $20. Reservations highly recommended.

A Quiet Place
Review: 3 Palm Trees out of 4

by Manuel Reynoso

A Quiet Place is a 2018 horror film directed by John Krasinski, written by Krasinski, Bryan Woods, and Scott Beck, based on a story by Woods and Beck. Starring John Krasinski, Emily Blunt, Millicent Simmons, and Noah Jupe.

With the sudden appearance of blind alien predators, A family must live life in complete silence, or else risk being hunted down by these creatures.

First with Get Out and now A Quiet Place, these horror movies really won me over by taking horror genre elements and effectively incorporating strong themes to compliment the horror film. A Quiet Place is as much of a horror film as it is a film about family. Every scare and every threatening moment is compounded by the theme of family. John Krasinski’s choice to highlight this and show actual developing relationships is why A Quiet Place succeeds. While some aspects of the film may feel rehashed or illogical, overall it was a fantastic horror with genuine scares and emotional payoffs.

John Krasinski’s directorial debut was definitely a success but at times a bit safe. A Quiet Place had a strong gimmick revolving around silence, but it felt like little more than a plot device than anything more impactful. The choice to include a traditional musical score was an understandable decision to make, but it left me feeling that it sort of downplayed the importance of silence in the film. While I wouldn’t say it was the wrong decision to make, it left me wanting more. However, Krasinski more than made up for it with his strong emphasis on the family and their relationship. Interactions between every character was distinct and created a believable family unit. It wasn’t just a film about surviving, but about protection and love.

Having a strong family unit would not have been possible without the talents of the cast. There was such great emphasis on everyone’s relationship to each other and the cast had the prowess to make it believable. The care taken in accurately representing ASL in this film wasn’t just an important step in making this family believable, but was also a tremendous step for disability representation in cinema. Millicent Simmon’s inclusion in the film was key to bringing this family to life, she brought an understanding of deafness that would have been impossible to bring to the film without her.

A Quiet Place succeeds in being a horror film by creating a world that just feels dangerous. The rules are simple, and consequences for breaking these rules are made painfully clear early in the movie. It takes this kind of set up to give the audience a strong enough suspension of disbelief. It’s when the film has small moments of internal inconsistency that it may take you out of the film. It really boils down to having a “try not to think about it too hard” mentality for some parts of the film. While admittedly not optimal, I do believe that it’s pretty minor and overall plot and premise of the film is put together well enough to enjoy.

Not being the kind of person to really enjoy horror films, I really believe a film like A Quiet Place highlights what other films have been missing. It’s not enough for me to feel scared because of what scary monster lurks in the dark, but it takes strong theming to make me feel scared for the person trapped there with it. That is what makes A Quiet Place the better horror movie. Theming is what makes even a pin drop enough of a scare to put me on the edge of my seat. Rated R 1h35m

Love, Simon
Review: 2.5 Palm Trees out of 4

by Manuel Reynoso

Love, Simon is a 2018 American romantic comedy-drama film directed by Greg Berlanti, written by Isaac Aptaker and Elizabeth Berger, and based on the novel Simon vs. the Homo Sapiens Agenda by Becky Albertalli. The film stars Nick Robinson, Katherine Langford, Logan Miller, and Alexandra Shipp.

Threatened to be outed as gay by a blackmailer, Simon attempts to keep his sexual identity a secret as he attempts to learn the identity of the anonymous classmate he has fallen for over the internet.

I won’t fall into the trap of speaking as if I shared the same or similar experience growing up as an LGBTQ youth. So while I couldn’t tell you how effectively Love, Simon tells the age old story of a youth’s coming out process, It speaks volumes on the struggles one has with self-identity and love. While at times conflict can feel a bit contrived, Love, Simon was thoroughly heartwarming from start to finish. It will likely not make waves, but it’s just strong enough to give a good tug on your heartstrings.

I’m not one to ding a film for simplicity, but I can’t say Love, Simon did anything very revolutionary. It was a sweet and very charming movie, but still hit many of the same beats as other teen drama films. It has the usual themes of unrequited love, self-Identity, and acceptance one expects to find in a film of this sort. While these are important themes for all youth for sure, some felt a little underdeveloped.

The writing is where I felt a bit of a range in quality. There were some very novel moments written in the dialogue itself. It’s difficult to discuss without reducing the impact of the scene, but there was some clever wordplay throughout the film, culminating in a powerful scene thanks to said wordplay. So while this was a definite high point for me in the film, there were other moments of cliché that bring it down a bit. That along with the overall quality of the production really hurts the film.

I’m always conflicted when the cast of the film does great, but feels out of place. I am never going to get over seeing clear adults casted to play what are supposed to be children. I’m sorry if your acting chops are great, but seeing 5 o’clock shadow on a “child” takes me right out of it. I hate to sound nitpicky, but there has to be some level of realism or else my suspension of disbelief goes right out the window. Typically I go a bit more in depth on things such as camera work and other technical aspects, but I just found them to be par for the course. Not bad, but definitely not great.

I did hope that Love, Simon offered more than what I got, but there was enough there for me to recommend the film. Any gripes aside, it’s a simple story about finding love for an LGBTQ youth and every bit of that was heartwarming. Love, Simon may not be destined to become part of teen pop culture, but it’s strong enough to be memorable. Rated Pg-13 1h49m

Thoroughbreds
Review: 3.5 palm trees out of 4

by Manuel Reynoso

Thoroughbreds is a 2017 dark-comedy, thriller film written and directed by Cory Finley. It stars Olivia Cooke, Anya Taylor-Joy, Anton Yelchin, Paul Sparks, and Francie Swift.

Troubled by her poor relationship with her step-dad, Lily plots to kill him with the aid of her emotionless friend Amanda.

From Amanda’s deadpan delivery, revealing her emotional ineptness; to the hauntingly sterile upbringing of Lily’s upper class lifestyle, Thoroughbreds makes its theme clear: I don’t feel anything. Now that isn’t to say you won’t, Thoroughbreds was filled with moments of dark comedy and suspense; it takes risks and is rewarded for them, well most of them. While the cinematography and directing style created a strong film-noir aesthetic, a propensity for style over substance leads to some scenes requiring you to slog through.

Thoroughbreds has a remarkably strong theme, and rode it out to the very end. The idea of not feeling emotions is a scary thought. One that this film plays with in more ways than I was expecting. The film carries the theme not just narratively, but with strong cinematography and direction. Scenes are slow and methodical, lit in the likeness of the dreary and cold setting we associate with hospitals. While I laud the commitment to the theme, there was a lot of what felt like fluff throughout the film. Many of the shots were well executed, but dragged on far too long. I appreciate the composition of the shot, just not when it stays on it for way too long. I don’t want to say this was a big deal, but I can very much see this film being considered way to slow by some.

The direction of Corey Finley to create a film that purposely felt soulless and sterile was a double edged sword. I do believe in context of the film, it proved to be an effective way to support the theme. However, in practice it feels empty compared to what one might be used to in other films. Sound design consisted more of soundscapes with various sounds and noises as opposed to the usual musical scores we may be used to. Again, I found these risks to be effective, but your mileage may vary.

I found Thoroughbreds enjoyable, despite feeling uncomfortable half the time(in the best way possible). While the film hinged entirely on not feeling anything, the same can’t be said for the viewer. I felt tense and scared one moment, and uncomfortable for laughing at this films dark humor right after. It’s worth taking the chance on something small but risky, you might just come away with more than you expected. Rated R 1h32m

The 2018 Breezy Awards
by Manuel Reynoso

Award season is in the air and it’s my honor to present to you, the only movie awards that truly matter: The 2017 Breezy Awards! The format is simple, I have a variety of Breezy awards to give out, plus an honorable mention for some of the categories, followed by an explanation for the awards. With that, here are my picks for the 2017 Breezy awards.

Best Cinematography: Roger Deacon, Blade Runner 2049

All around fantastic framing and camera work, Blade Runner 2049 has some of the best camera work I’ve seen. It gave the already visually striking film much more impact.

Best Film Editing, Lee Smith, Dunkirk

While editing may not be my forte, it’s easy to recognize excellence when I see it. With a narrative presented as complex as this, Lee Smith’s mastery of editing made the complexity of Dunkirk work so elegantly.

Best Animated Film: Coco

Coco’s importance to me can’t be overstated. It was a beautiful work of art while also being a celebration of the Mexican people and their culture. I was engrossed by the sights and sounds of my people finally have strong representation on the big screen. Call it biased, but Coco was a fantastic animated adventure, that makes me tear up every time.

Honorable Mention: The Breadwinner

A gripping and emotional tale of a Young Afghan girl assuming the identity of a boy to provide for her family, it’s a film that might have flown under most people’s radar but deserves to be seen regardless.

Best Screenplay: Lady Bird by Greta Gerwig

The brilliance of Lady Bird’s writing wasn’t revolutionary in the way the story was written. Instead, I found it’s brilliance in the way its characters are written and presented. It was a simple story that found its complexity in the relationships between the characters. For me personally, that’s why I find it deserving of Best Screenplay.

Honorable Mention: Get Out by Jordan Peele

I do believe Get Out is equally as deserving of this reward as Lady Bird. Get Out of ingenious in the way it presented social inequality and was very clever with its use of double entendre. It presents a difficult topic in a way both easily consumable and subverts many of our expectations of horror.

Best Director: Guillermo del Toro, Shape of Water

Guillermo del Toro continues to completely floor me in how much style and substance can be added to a film by having a strong direction. The art direction, cinematography, acting, and so on work together so beautifully under his direction.

Honorable Mention: Christopher Nolan, Dunkirk

For me, Christopher Nolan is the master of big-budget movie making and Dunkirk was just another success in a long line of them. It’s a fantastic film, and no one makes them have impact quite like Nolan.

Many of the films listed above deserve an honorable mention for picture of the year, but only one can win the coveted 2017 Breezy Award for Best Picture.

Best Picture of the Year: Baby Driver

While it may seem unexpected, Baby Driver was the single most enjoyable film I’ve seen in 2017. Strong theming is the easiest way to my heart, and Baby Driver going all in on the theme of rhythm and music was beautiful. It was edited on beat, the dialog flowed like music, and the film marched along at the beat of its own drum. A surprising, but easy pick for Picture of the Year.

by Shirley Lorraine

Brothers Collide in True West at Elite

A thought-provoking piece by prolific American author Sam Shepard, True West is considered to be Shepard’s “signature” works. The gritty characters are somewhat autobiographical and speak to his preoccupation with the myth of a vanishing West. Elite’s Artistic Director Tom Eubanks directs the 1983 Pulitzer Prize-winning offering.

Austin, a screenwriter, is house-sitting for his mother who is away on vacation to Alaska. Interrupting the flow of his work enters Austin’s estranged older brother, Lee, a bombastic grifter and opportunist. His main occupation is drinking, however, at which he excels. Much to Austin’s dismay, Lee settles in and makes himself at home.

Austin is desperately trying to finish his current script before meeting with his agent, Saul Kimmer, due in the next day. Lee makes an unscheduled appearance and immediately bullies Saul into meeting with him over golf so he can pitch his own story, a Western.

Conflicts arise when Saul agrees to can Austin’s work in favor of Lee’s new story. Both brothers are badly in need of this redemptive contract and tension builds as they struggle to get the completed story on paper. Ultimately, the roles become reversed as they both realize they must see this through to survive. Austin drinks to cope with the situation and Lee begins to see light over the horizon, at least financially.

Mom eventually returns from her trip, dismissing the brother’s tussle and differences. It appears that both sons have been enabling their alcoholic father over the years, which contributes to the emotional conflict. Mom chooses to ignore the reality of the situation completely.

The brothers are played by Aaron Gardner as Austin and Sean Mason as Lee. Both capture the essence of their characters to the core. Gardner comes across as a fairly meek man struggling to provide for his family, while Mason pulls out all the stops as the disheveled drunkard drifter.

Saul Kimmer is given a superb characterization by Buddy Wilds with just the right amount of stereotypical oily persona. His Hawaiian shirts alone exude the essence of the laid-back go-with-the-flow man who can easily be persuaded to change his mind by losing a bet on the golf course. Marilyn Lazik embodies the briefer role of the slightly confused and deluded Mom. Mom’s appearance doesn’t stop the arguing brothers but does add dimension to the overall dysfunctional picture.

The piece highlights the duality of each brother secretly wishing to be in the others’ shoes. Austin wishes he had the freedom on which brother Lee thrives, while Lee expresses his deep-down desire for the stability that Austin enjoys.

True West is billed as a comedy and although there are some laughs throughout, the action and dialogue between the belligerent bully and the home-in-the-suburbs family man takes on a pervasive dark tone accented by dim lighting. A detailed interior setting by Henry House becomes its own character in the play, providing context and a background canvas of stability and warmth that contrasts with the brothers’ situation and actions.

True West runs through March 25. Friday & Saturday eves 8 PM, Sunday matinees 2 p.m. General admission $20. Seniors and students $17. Season subscriptions are also available. Reservations are encouraged. 483-5118 Elite Theatre Company, 2731 Victoria Avenue, Fisherman’s Wharf, Channel Islands Harbor www.elitetheatre.org

by Tony Rizzo

Don’t mess with Meryl Streep! When Harvey Weinstein’s attorneys, trying to get him off of racketeering charges, quoted her as saying, “He has always been respectful to me,” she shot back, “Harvey Weinstein’s attorneys’ use of my statement — that he was not sexually aggressive or physically abusive in our business relationship — as evidence he was not abusive with many other women is pathetic and explosive!” She added, “The criminal actions he is accused of conducting on the bodies of these women are his responsibility, and if there is any justice left in the systems, he will pay for them.”

Netflix is resurrecting more old shows. It will launch a reboot of the classic sci-fi series “Lost in Space” (1965-1968) on April 13. A screener has already sent it to the International Space Station for the astronauts to watch. The series takes place 30 years into the future, when colonization in space is a reality. Starring as John Robinson (played by Guy Williams in the 1960s) will be Toby Stephens, Pierce Brosnan’s 007 villain in “Die Another Day” (2002) and also Starz “Black Sails” series. His wife, Maureen, will be played by Molly Parker (of “House of Cards”) and Will Robinson (Billy Mumy) now will be played by 12-year-old Chicago-born Max Jenkins. Dr. Zackary Smith (Jonathan Harris) has undergone a gender change and will be played by Parker Posey, best known for the Woody Allen films “Irrational Man” (2015) and “Cafe Society” (2016).

Not content to be “spaced out,” Netflix also is reviving “Sabrina the Teenage Witch,” with Kiernan Shipka (Sally Draper in “Mad Men”) as Sabrina (played by Melissa Joan Hart from 1996-2003). Her aunts will be Miranda Otto (Eowyn in the second and third “Lord of the Rings” films), taking over for Beth Broderick as Zelda Spellman, and Lucy Davis (Etta Candy in “Wonder Woman,”) handling Caroline Rhea’s role of Hilda Spellman.

Even though CBS has Tom Selleck in the hit series “Blue Bloods,” the network is intent in revisiting his days as Thomas Magnum in “Magnum, P.I. (1980-88). For the pilot to sell the series, it has cast Jay Hernandez in Selleck’s star-making role. Hernandez starred in “Hostel” (2005) and the 2007 sequel, and most recently was in “Suicide Squad” (as Chato Santana/El Diablo) and “Bad Mom’s Christmas,” with Mila Kunis, Kristen Bell and Susan Sarandon.

Finally, billionaire Bill Gates has filmed an appearance in “The Big Bang Theory” that will air later this month. In the show, Penny hosts Gates at her work, and the guys do everything they can to meet him. Gates’ last sitcom appearance was in “Fraser” in 200l. How can anyone survive with only two sitcom appearances in 17 years?

2018 King Features Synd., Inc.

Black panther
3.5 palm trees out of 4

by Manuel Reynoso

Black Panther is a 2018 American superhero film. The film is directed by Ryan Coogler, who co-wrote the screenplay with Joe Robert Cole, and stars Chadwick Boseman, Michael B. Jordan, Lupita Nyong’o, Danai Gurira, and Martin Freeman.
As King T’Challa inherits reign of the nation of Wakanda, he finds his nation’s desire for isolationism at odds with the changing world around him, and with the appearance of Killmonger, T’Challa must protect his nation this new threat.

Black Panther has been at the center of a lot of talk, both good and bad, for what seems like months now. For every bit of talk about how important of a film this is for people of color, there’s about as much talk trying to discredit this point. Even putting these points aside, I found Black Panther to just be a great movie itself. It had a far more impactful story than most other Marvel films, great cinematography, and a stellar cast.

In most Marvel films, there doesn’t tend to be any strong themes carrying the film’s plot. Black Panther really brought something new and impactful to the Marvel series. Themes of helping the underprivileged and oppression leading to violence gave this film the emotional weight I have been longing for in superhero movies. These themes also helped create a villain that wasn’t just evil for evil’s sake, but the natural product of the world he was born in.

Ryan Coogler directing was really what made Black Panther great. His directing gave Black Panther its own unique feel among the Marvel films, much like how Taika Waititi accomplished that with Thor: Ragnarok. This new direction the MCU has been taking will hopefully lead to more individually unique films in the series, while still following the same timeline.

While I’ve always complained about the fight choreography of the Marvel films, as they tend to be a bit of a shaky cam mess, I found the fight choreography was more fluid and well thought out. Most of the cinematography itself was just all around better than in most Marvel movies. The use of more complex, long-form shots was refreshing and made for a better shot film. My main complaint with Black Panther was its terrible use of CGI (computer generated imagery). Some of the set pieces and even some of the renders of the Black Panther’s costume looked pretty horrendous. It’s really quite perplexing how bad some of the CGI is when the film budget is mind boggling huge.

Now I really do believe Black Panther is more than just a superhero movie right now. As I brought up in the beginning, I absolutely believe Black Panther was very important in terms of black representation in Hollywood. The amount of weight and notoriety that the Marvel film series has in popular culture brings the topic of black representation to the mainstream. I think this can have the potential to further bolster POC’s (people of color) representation in Hollywood. Asian and Latino representation in popular culture is currently abysmal, so black panther shows the need for POC representation is there, and I hope helps advance all peoples to receive further representation. Rated PG-13 2h15m