Spider-Man: Homecoming
review: 2.5 out of 4

by Manuel Reynoso

Spider-Man: Homecoming is a 2017 American superhero film based on the Marvel Comics character Spider-Man, The film is directed by Jon Watts, with a screenplay by the writing teams of Jonathan Goldstein and John Francis Daley, Watts and Christopher Ford, and Chris McKenna and Erik Sommers. Starring Tom Holland as Spider-Man, alongside Michael Keaton and Jon Favreau.

Every time I see a marvel movie, I always tell myself this is the last one. That these series really doesn’t do it for me, or that they’re not what I’m looking for in a superhero movie. But I always end up dipping my toes back into the Marvel Cinematic Universe every so often just to see what I’m missing, and to be honest, it didn’t really feel like I was missing much. We’ve all seen Spider-Man’s origin story; we’ve seen marvels movie magic. Spider-Man Homecoming simply offers more of the same. Great acting, great visual effects, but a simple story. But if you’re a fan of the MCU it’s worth the watch.

These reviews are always the most difficult for me to write as I don’t really find anything that stands out to me. Every story beat follows the generic hero’s journey arc and doesn’t try to differentiate itself further. It’s a story about Spider-Man. Not about Peter Parker. That’s an important distinction to make as one story is about action, the other about character. Personally I very much prefer the latter and if you do too, I can’t find anything special about the story. It’s competent and well told as most Marvel movies, but lacks serious character development. Thankfully, the great visuals afforded by a bottomless budget makes it a fun watch.

Marvel Movies rarely suffer from a lack of spectacle and Spider-Man: Homecoming is no different. There are some great high flying moments throughout the film, and I would be lying to myself if I was to say I didn’t have fun watching them. The third act was a little bit of a let down compared to the rest of the film. Which strange enough seems to be par for the course for many of the MCU films.

For me personally, casting was superb. While I admit to having a certain amount of nostalgia for the original Spider-Man, Tom Holland is a great fit for Peter Parker. Much more fitting than perpetual high schoolers, Tobey Maguire. Plus I’m always a fan of literally whatever Michael Keaton decides to portray. They both did a stellar job and Michael Keaton’s portrayal of the Vulture really carried the film for me.

So really, Spider-Man: Homecoming is just fine. It’s really not my type of movie but I can’t in good conscious fault a movie for not conforming to my tastes. There isn’t going to be much technically wrong about the film, it accomplishes being a solid (and hopefully final) reboot of Spider-Man and if you’re a fan of Spider-Man or the MCU, it will likely be worth the watch. Quickly for the sake of transparency, I’d like to quickly explain how I rate the movies I watch. Typically, If a film does not have any egregious technical problems, whether that be in its writing, cinematography, or whatever else, I won’t rate it any lower than a 2.5. Anything above 2.5 comes down to my personal preferences in film. So while I rate Spider-Man: Homecoming a 2.5, it can vary much be your very own 4 outa 4. Pg-13 2h13m

by Shirley Lorraine

Catch Anything Goes on Ojai Stage

Love on the high seas lends itself to high energy on the Ojai Art Center Theater stage, a welcome summer offering. The toe-tapping hit with memorable music and lyrics by Cole Porter is a favorite for both audiences and actors. Why? It’s just plain fun.

The S.S. America is sailing to England. Aboard is heiress Hope Harcourt, her fiancée Lord Evelyn Oakleigh, and Hope’s mother, Mrs. Harcourt. Also sailing is Reno Sweeney, a nightclub singer, and her back-up singers. Public Enemy number 13, Moonface Martin, boards with an assumed identity, as does Billy Crocker, a young Wall Street broker who once had a magical evening with Hope. A large cadre of other colorful characters fill out the passenger list.

The plot twists and twines with intrigue and humor as Reno and Lord Evelyn find themselves attracted to each other, Billy works to win Hope over and Moonface struggles with his disguise. It’s all good, clean merriment played to comedic heights and laced with energetic tap dancing and striking costumes.

Familiar Porter songs fill the stage including “You’re the Top”, “Friendship”, “Let’s Misbehave “and “Take Me Back to Manhattan”. Many in the audience left the theater humming the tunes and smiling from ear to ear.

In the starring role of Reno is Holly Sewell who embraces the brash persona with everything she’s got. Her Mermanesque song style rings through the rafters of the theater center. She fits the role of Reno like a glove.

Sewell is well matched by Troy Dailey, as Billy, who displays strong and clear vocal ability. Haley Weed plays the frail and beautiful young ingénue with panache. Her socialite mother characterized by Jill Dolan is a picture of grand stature. Sean Mason as the stuffy Englishman, Lord Evelyn, delivers throughout with a solid character.

The gangster Moonface Martin is given life by the talented John Medeiros who provided ample moments of laughter with just a look or expression. Kena Worthen portrays his sidekick, Bonnie, with verve. Medeiros’ solo of “Be Like the Bluebird” was a highlight among many highlights.

Kudos to Andy Street, musical director and pianist, and Dan Willard who added emphasis with a variety of wind instruments. They kept the pace lively and engaging. Musical and vocal director Jaye Hersh did a superb job of blending the voices.

All the players handled the extensive choreography by Janet McNeil well. The numerous tap numbers were a crowd favorite. Flattering costuming by Celia Williams and Haley Weed added sparkle and period whimsy.

Opening weekend played to an enthusiastic packed house. Director Tracey Williams-Sutton has pulled out the stops and given the show shine with a terrific talented cast, just the right amount of musical accompaniment and a polished look. Put attending Anything Goes on your to-do list.

The show looks great, plays big and gives everyone true value for their ticket dollar. For a good time, call the Ojai Arts Center Theater to reserve your seat now. And get there early as parking can be a challenge.

Ojai Art Center Theater, 113 S. Montgomery Street, (805) 640-8797 www.OjaiACT.org

All seats $20, Seniors &Art Center Members $18, Students $15. Friday and Saturday shows begin at 7:30 p.m., Sundays 2:00 p.m. through August 13. NOTE early curtain time for the summer shows.

Baby Driver
by Manuel Reynoso
4 Palm Trees out of 4

Baby Driver is a 2017 action film written and directed by Edgar Wright, starring Ansel Elgort, Kevin Spacey, Lily James, Jon Bernthal, Eiza González, Jon Hamm and Jamie Foxx

Forced to a getaway drive to repay his debt, Baby finds that it takes a lot more than a fast car to escape the pull of the criminal world.

I don’t think anyone’s ever thought to themselves “Boy, I sure hope someone makes a musical crime thriller.” But I assure you, Baby Driver is the musical crime thriller we all needed but certainly do not deserve. Baby Driver oozes style. Top notch cinematography, amazing editing, and some of the smoothest dialogue I have ever witnessed, Edgar Wright absolutely hit it out of the park. I can feel my fingertips wanting to gush all over the keyboard, but I’m going to reel it back and go into why Baby Driver might be in my personal top 10 films list.

My raw enjoyment level during the film almost never dropped below an 11. Seeing Baby whip nondescript cars into a Rockford spin, all to the beat of Brighton Rock, was just one example of the many rushes in Baby Driver. Nearly the entire film is choreographed to the music that Baby is currently listening to. From Barry White to Queen, the soundtrack to Baby Driver doesn’t just serve as a music bed to compliment the action, but even helps to flesh out Baby as a more nuanced character. Eventually the music bed feels so integral to the film, you get this premonition on where the action is going to go. You can feel the flow of the action as your mind follows every beat of the music.

On que, every cut is perfectly in sync with the music of the film. Despite the hectic pace of some scenes, using the music and editing as a guide, you’ll never find yourself lost in the action. Not once did I think to myself, “wait, what happened? Where am I?” This isn’t just a testament to the choreography, but to the editing prowess of Jonathan Amos and Paul Machliss. The camera work and lighting was equally as amazing as well. Bill Pope’s mix between snappy jump cuts and long takes gave the viewing experience almost a texture. Now I’m sure by this point you would expect me to stop making references to music, but the dialogue has to be the best piece of music in this entire film.

First let me explain. The written word is music. You vary the tone and length; you create rhythm and beats. Tension, Action, Horror: how you choose to write a line, what you leave in, or what you take out. This is where the music in words can be found. So when I hear dialogue, I hear its flow, its beat, and its rhythm. You can have a great story, but with flat dialogue. However, Edgar Wright went so much further than giving each character their own personalities. He gave them their own rhythm; He gave them their own music. Kevin Spacey and Jamie Foxx’s acting prowess really shone through when you hear them deliver each line. Each character spoke to the beat of their own drum, and they felt so much more alive.

Man, I liked this movie. Like, really liked this movie. It’s not perfect, and I have my criticisms, but the feeling of passion and care that went into this film just makes these small issues fade away. I can’t recommend it enough, see Baby Driver in theaters and enjoy the ride. Rated R 1h 53m

by Shirley Lorraine
Suspense fuels The Birds at SPTC

The sound of furiously flapping wings permeated the theater as the lights dimmed. Feeling appropriately claustrophobic, brief flashbacks of the classic Alfred Hitchcock film flew through my mind as I awaited the Santa Paula Theater Center’s production of The Birds by Conor McPherson, adapted from the story by Daphne DuMaurier.

McPherson’s stage play focuses on just part of the story using a technique of short scenes punctuated by inner narrative by a key character, mysterious music and the ever-present sound of birds hitting the windows in what can be described as nature exploding with rage. No one knows why the birds have gone crazy and caused mass havoc, only that their attacks seem to follow the high-tides. Protecting one’s own self from the onslaught becomes a physical as well as emotional competition leaving no clear winner. The single interior setting provides a feeling of tentative safety for both the actors and the audience. Until it doesn’t.

In watching this intense psychological thriller, one must first discard any memories of the Hitchcock film. Watch instead the smoothly chilling performances by Taylor Kasch, Kathleen Boswell, Juliana Acosta and Allen Noel as they tread across the mine-field of emotions each brings to the party.

The initial relationship which brought two strangers (Kasch and Boswell) to be taking refuge in an empty house is complicated and incomplete. Just as they are coming to terms with their seemingly inevitable mortality, a third person (Acosta) enters the scene, causing the dynamics to shift. They are wary of the man across the lake (Noel) who provides a brief and thoroughly intimidating appearance colored by his own survival agenda. The fact that they are each expendable heightens the action.

The play is performed without an intermission to break the tension which builds in what I found to be a slowly-paced choppy sequence of insights and vague references. Perhaps it was just me, but I found myself struggling to understand what was happening beyond the obvious. And there apparently was a lot going on with all the characters, either unspoken or assumed, which I just didn’t get from the script itself. Acosta’s character in particular took a while to gel for me as she seemed to fluctuate between childlike innocence and conniving maturity, sometimes within the same sentence. She often spoke quickly and with low tone so I had some difficulty hearing her sometimes.

Don’t get me wrong. The performances are solid and unnerving. However, do not compare this version to the movie taken from the same tale. Treated as a short story piece standing on its own merit, the staged The Birds is a taut thriller capturing a snapshot of a disastrous time, albeit with some plot holes requiring the audience to fill in the gaps with shifting sands.

The play continues its chilling run with performances on Friday and Saturday evenings. NOTE that the curtain rises on Sunday matinees for this show at 4 p.m. instead of the regular 2:30.

www.santapaulatheatercenter.org/805-525-4625
Friday & Saturday eves 8 PM, Sundays 4 PM through July 30
Adults $24, Students and Seniors $22

Wonder Woman review (3 of 4)
by Manuel Reynoso

Wonder Woman is a 2017 American superhero film based on the DC Comics character of the same name, distributed by Warner Bros. Pictures. The film is directed by Patty Jenkins, with a screenplay by Allan Heinberg and a story by Heinberg, Zack Snyder, and Jason Fuchs, and starring Gal Gadot and Chris Pine.

The summer blockbusters continue to roll out, and I continue being unimpressed. The same jokes, the same explosions, and the same juiced up male heroes. But seeing a successful superhero movie featuring a woman superhero, directed by an accomplished woman director, now that definitely peaks my interest. Patty Jenkins really hit a homerun in comparison to the last, abysmal superhero movies coming out of Warner Brothers. While I do believe there were some missteps along the way, Wonder Woman had fantastic acting, strong visuals, and stellar directing.

I really feel the need to express Patty Jenkins’s role in making Wonder Woman into the success that it is. Big Hollywood blockbusters are still primarily directed by male directors, with a male audience in mind. Time and time again do you see actress’s hip dominate the screen more so than anything else. But Patty did a fantastic job of having Wonder Woman dominate the screen without the use of over sexualization. Outside that, Patty’s directorial style seems to be very effective at creating and maintaining a set tone for the movie, and tying that in with the films visuals to complement that.

Patty heavily relied on slow motion to create striking visuals throughout the film. This created great scenes that felt like they were ripped straight from a comic book, but admittedly they can be a little hit and miss. But don’t fret, it’s definitely a lot more satisfy than it is distracting. Also like any high budget blockbusters, the film looked great. The set pieces were intricate, the costume design immaculate, and special effects were solid.

I know I’m starting to feel like a broken record, but the screenplay was definitely where Wonder Woman lacks. Way too much screen time early in the movie is spent with bad jokes as opposed to any form of character development. Characters are two dimensional, which absolutely betrays the great acting prowess of Chris Pine and Gal Gadot. It’s really just another typical hero’s journey tale with a unneeded romantic subplot.

However, the biggest missed opportunity of Wonder Woman was how much Wonder Woman herself lacks agency. I see plenty of headliners proclaiming Wonder Woman as a kick butt, strong woman character, but I honestly don’t see it. Too often does she take the passenger seat in her own story to Steve. It’s too bad, but I can’t help but feel that Hollywood still didn’t want to have a truly strong woman character with her own agency. Whether you consider this a nit-pick or a serious issue, Wonder Woman was at least engaging and fun to watch. Hopefully Patty Jenkins can get more work directing in Hollywood. She deserves it. PG13 2h 21m

by Shirley Lorraine

A Chorus Line kicks it on High Street

With an energetic 5,6,7,8, the High Street Arts Center’s production of the acclaimed A Chorus Line kicks its way into the hearts of dancers and theater-lovers throughout the county. The 1976 Broadway show swept nine Tony awards out of twelve nominations and still holds the title of the sixth longest-running Broadway show ever.

The characters are based on personal experiences and acquaintances of famed Broadway dancer and choreographer Michael Bennett. Formulated in workshop for several years before hitting the big stage, the musical has become the quintessential behind-the-scenes look at the lives of those who entertain the rest of us. The spirited, engaging and memorable music written by Marvin Hamlisch and Edward Kleban stirs not only the pace but the emotions of the audience as well as the actors.

The story line captures seventeen hopeful gypsies (professional dancers) auditioning for eight coveted roles in a new musical. The audition experience delves into each dancer’s background, desires and motivation for their craft. Presented without an intermission, the hectic and grueling pace of a dancer’s life is examined in detail. Their individual stories are laced with humor, sarcasm, sadness and yearning.

From the opening sequence on, the audience is swept into the frenetic world of dance. We meet the gamut of humanity– from the unqualified yet starry-eyed hopeful to the seasoned professional and all types in between. The cast is large and double-casting allows a number of actors the opportunity to take on roles throughout the run.

Director Christopher Mahr has assembled quite a capable cast to fill the roles now familiar to many. Choreographers Megan Rayzor and Kendyl Yokoyama coordinate the large assembly well and follow the scripted movements to excellent effect.

As appropriately depicted in the show, this cast is consistent in their portrayals of the individual characters. The nature of the script calls for no one person to stand out – for them to “work as one person”. However, each does have their moment in the spotlight before they meld back into the chorus line to become purposely indistinguishable.

Everyone will have their favorite characters and scenes for various reasons, but all are a delight to watch. Andy Carrillo performs solidly as Larry, the assistant choreographer, leading the dancers through their paces. His dance training clearly shows. Michael Worden and Jessica Bell have a ball with their duet “Sing” as a married couple finishing each other’s sentences. The entire cast handles the choreography with grace and ease.

In a critical subplot, the key role of Cassie is played with skill by Dawn Notagiacomo. She dances and sings beautifully as she imbues Cassie with pathos and the sincere desire to fit in, even though her chorus days are behind her. A previous relationship with Zach (John Tedrick), the director, colors her audition in myriad touching ways.

The entire company is on stage most of the show, dancing in the background as they prepare, rehearse, and finally, perform. The grand finale is an exciting spectacle of gold glitter and precision footwork.

A Chorus Line continues through July 2 at the High Street Arts Center
Fridays and Saturdays, 8 p.m., Saturday and Sunday matinees at 2 p.m. $20, seniors $18, 12 and under $16 (contains mature language and content). 45 E. High Street, Moorpark. 529-8700 or www.HighStreetArtsCenter.com

Lost genius revealed at Rubicon
by Shirley Lorraine

The Rubicon Theater’s current offering, The Other Mozart, presents a side of history that has heretofore been sequestered. A one-woman show presented in one fluid act, the production is a study in language, music, movement and pure artistry.

Living in the shadow of another is never easy. Being a woman in the eighteenth century, Maria Anna (Nannerl) Mozart fought an uphill battle for most of her life. The older sister of Wolfgang Amadeus, Nannerl was herself a musical prodigy. Inspired by Austrian musician Marianna Martines for much of her life, sister Mozart’s musical virtuosity reached heights early and remained constant. Sadly, her natural talents at the harpsichord and composing music were diminished as soon as her younger brother began to show his talents.

As was the custom of the times, the focus was put on the boy’s skills while she was relegated to the background.  And, although the children toured Europe to great acclaim showcasing their keyboard acumen, as she grew older Nannerl frequently found herself in Wolfgang’s shadow.

By the age of 18, Nannerl’s touring career had come to an end. She was encouraged to continue to acquire housekeeping, embroidery and child-rearing skills while Wolfgang pursued court appointments and concert bookings.

Primarily through a collection of letters, the story of the wickedly talented older sister Nannerl has come to light. Conceived, written and brilliantly portrayed by Sylvia Milo, The Other Mozart is a stunning piece of theater.  In a compelling and thoroughly engrossing performance, Milo brings forth Nannerl’s passion for her music as well as for her brother, family and life itself.

The simply staged production is highly complex in its orchestrations of movement, props and emotional range. Original music by Nathan Davis and Phyllis Chen composed specifically for the stage show provides exemplary highlights at just the right places, amplified by many of Wolfgang’s writings.

The period piece showcases the challenges faced by a talented young girl in an age where women were subservient in all ways and “must be careful not to become too accomplished…” Struggling to break out of the societal mold, Nannerl nonetheless was forced to accede as she became of marriageable age. Her talents, hidden behind motherhood and the business of being the wife of a magistrate, eventually were lost to the world. Apparently, no written record of her compositions exists, at least none under her name. What a shame.

Ms. Milo has been touring with the production for several years now, garnering accolades all along the way. We are honored to usher her into and beyond her 100th performance of The Other Mozart at the Rubicon Theater.  Through June 18 Ventura County audiences are treated to a rare performance of sheer electrifying beauty.

This play will doubtless inspire many to seek out more information on Nannerl and others of the time who possessed unrecognized talents. Through explorative works such as this it is hoped that more of the extraordinary woman who have blazed trails in all fields will become more than mere footnotes in the history books.

The Other Mozart  plays Wednesdays to Sundays through June 18, at the Rubicon Theatre Company. Matinees: 2 p.m. Wednesdays, Saturdays and Sundays. Evening performances at 8 p.m., except 7 p.m. on Wednesdays, which features a post-show talk back with the cast. Tickets: $30-$55.  The box office is open 7 days a week. There is 24-hour ticketing and seat selection online at www.rubicontheatre.org.  667-2900.

Alien: Covenant
by Manuel Reynoso
2 Palm trees out of 4

Alien: Covenant is a 2017 American sci-fi horror film and sequel to Prometheus. Directed by Ridley Scott and written by John Logan and Dante Harper, with story by Michael Green and Jack Paglen.

I have to admit I came into Alien: Covenant with no idea that it was a sequel to Prometheus, which itself was a prequel to Alien. I’ve heard plenty of mixed reactions about Prometheus but truthfully I came into Alien: Covenant pretty blind. I’ve heard from plenty of self-proclaimed, die-hard Alien fans that this film isn’t for “real Alien fans” or it’s only good if you’re “not an Alien fan” and other such nonsense. But to be blunt, I found Alien: Covenant to be a mess, albeit a very pretty one.

From start to finish, Alien: Covenant did not feel very cohesive. Each act felt as if it was a separate genre all its own. Alien: Covenant starts of as a fairly entertaining space odyssey, becomes a bit of a slow horror in the second act, and decides to finish as a uninspired action flick in the last act. While this in itself was not a huge problem, it just left the film feeling off and without a strong sense of direction. Alien: Covenant’s art direction and effects were so strong, it was a shame that there was no cohesive theme to back them up.

And there is no way to exaggerate how strong the art direction of Alien: Covenant really is. Most of the set pieces were amazing and intricate; truly practical effects at its finest. It’s almost a shame that they had to use computer effects at all, but that’s just me being unreasonable. I would say that the movie would be worth seeing for this alone, but Alien: Covenant is mostly held back by poor writing.

Alien: Covenant’s writing wasn’t bad at a personal level between the characters, character interactions felt genuine and helped bond the characters to one another. The writing issue was mostly with the plot. At no point do these highly trained scientists and pilots ever feel like one. Decisions come off as nonsensical and it’s these decisions that propel the entire plot along. The writing of this film simply does not feel well thought out. Clearly a lot of care was put into creating a world and backstory for the events leading up to Alien, but quite frankly it feels unnecessary. At least 30 minutes of exposition and backstory could have been removed and Alien: Covenant would have felt more cohesive as a result. Instead I found myself getting bored during the slower parts of the film.

It’s a shame that Alien: Covenant was a bit of a letdown for me. It’s not really bad but more so painfully mediocre. Strong acting performances and great set design was enough to keep Alien: Covenant from falling flat, but I left wanting more. There will likely be better summer blockbuster movies on the horizon, so maybe just go on discount day. Rated R 2h 2m

Spelling Bee in Ojai Lively and Fresh
by Shirley Lorraine

How good is your spelling? Could you compete with the “kids” in the 25^th Annual Putnam County Spelling Bee now onstage at the Ojai Arts Center Theater?  A winner of both a Tony and Drama Desk award for Best Book, this charmingly engaging musical will delight all ages.

Director Gai Jones has assembled a fully capable cast and embellished the show with additional background characters, giving many an opportunity to participate in this summer musical. In addition, four audience members are asked to volunteer each performance as contestants, resulting in an ever-changing footprint for some creative improvisation. The cast all handle the variables quite well.

The scene is a junior high gymnasium complete with mascot notes and posters. As each contestant trickles in to sit on the bleachers, the audience glimpses their unique personalities. Each has familiar and recognizable traits. There is the nerd, the smart one, the Boy Scout, the over-achiever, the second runner up who participates by default, and the confused tween with two daddies.

Standout characterizations are given by all six of the contestants – Jake Ayers, Hayley Silvers, Steven Silvers, Hayden Miller, Ava Burge and Arden Smith. Additional major contributors are Suzy
Thatcher, Nelson Fox and Laura Ring all turning in solid performances.

Be ready to listen – the action moves quickly and the keyboard accompaniment by Greg Spaulding can at times overwhelm the voices. The well written book clearly is deserving of its awards and produces numerous laughs. The musical score, although pleasant, is less memorable.

The first act is where most of the real action is, while the second bogs down some in the backstories.  Each character is given the platform to tell their story in song with varying results. Delivery quality is uneven in both tone and clarity. A highlight was Denise Heller’s cameo as Olive’s mom. All sing with heartfelt enthusiasm throughout.

While I consistently applaud the Ojai Art Center Theater for the excellent community inclusion they always bring to their productions, I have one serious request.   Throughout the production Friday evening, the tech crew at the back of the house carried on conversations that were quite distracting to my guest and me. A loud audience member would be shushed or escorted out of the theater for such behavior. Between trying to filter that out and hear over the keyboard, I, at least, had a hard time hearing the lyrics. Perhaps others were not bothered, but I would caution the crew to remember that once the show opens, the audience is the customer. Tech problems should not be ironed out while paid patrons are in the theater.

The 25^th Annual Putnam County Spelling Bee is a fun, funny and lively musical filled with vivid characters and well worth catching. Sit toward the front.

Ojai Art Center Theater, 113 S. Montgomery Street, (805) 640-8797  www.OjaiACT.org

All seats $18, Seniors/Students/Art Center Members $15  Fridays and Saturdays 7:30 p.m., Sundays 2:00 p.m. through June 4.   NOTE summertime early curtain time.