Pete’s Dragon / 4 Palm Trees
by Eduardo Victoria / [email protected]

Pete’s Dragon is a reminder that we should never forget “the magic”. The term, as it pertains to the film is broad, but can be distilled to an innate awe and wonder, a reverence and respect for what we can’t control or take for granted on a daily basis. It’s an unsaid truth that the older we get, the more this trait is clouded and contaminated by fear. In many ways, David Lowery’s latest film feels like a wake-up call, a kid’s movie for adults. He’s created a film that is big and ambitious, but far removed from all the empty spectacle flooding blockbuster filmmaking, instead using a fantastic premise to look deeply inward to great effect.

5-year-old Pete (Oakes Fegley) is on a vacation with his parents. Driving down a secluded highway, a deer jumps out and their car goes careening off the highway. Pete is the only survivor, but just when he’s about to be eaten by a pack of wolves, a giant, green dragon comes to his rescue, instinctually feeling the boys confusion and pain, and taking him into his arms. Flash forward to six years later, and the two are inseparable. That’s all threatened, when a lumberjack and his crew begin chopping trees further into the forest than they should. Soon enough, Pete’s discovered by a kind forest ranger named Grace (Bryce Dallas Howard). She and her family take Pete in, but are curious as to how he survived in the wilderness for so long. As Pete and Elliot attempt to reunite, the aforementioned lumberjack, Gavin (Karl Urban), discovers Elliot and tires to hunt him down for his own selfish gain.

On the human side of things, the ensemble is strong on all fronts. Oakes Fegley, as Pete, is a perfect mixture of headstrong attitude and pure will. Blending feral physicality with human sincerity, he’s exactly who the film needs to embody its themes. Fegley brings with him an innocence, but also a presence that we can’t ever ignore. As Grace, Bryce Dallas Howard fits into the matriarchal role with ease, acting as the best attributes of what humanity has to offer, and helping to really sell the film’s stakes with a personal perspective. As Grace’s soon-to-be stepdaughter, Natalie, Oona Laurence is another great addition, giving Pete an understanding tether to the human world. Karl Urban and Robert Redford are welcome flourishes to the film – they don’t have the biggest roles (for good reason), but make every second count.

There are a lot of shows and films out there currently riding a wave of nostalgia, appealing to our childhoods and the simplicity of our youth. Rather than fashion a film based on obvious references or playful nods to our past, Pete’s Dragon instead embodies the sincerity of the past, showing that we need it now more than ever. It’s worth noting that the film is a period piece, taking place in the 80s, but never rubbing our faces in it – it really just wants to show an understated contrast of how times have changed and what we can learn from that. They really don’t make them like this anymore, and like that, Lowery’s created another Disney classic, a warm, imaginative and inspiring human adventure that’s sure to stand the test of time.

Now playing at Cinemark Downtown 10. 102 minutes. Rated PG.

Elite Theatre Co. debuts new drama
by Jim Spencer and Shirley Lorraine

From police to private eyes to preachers.  These are just some of the principal characters populating the various works of the Elite Theatre Company’s prolific resident playwright and artistic director, Tom Eubanks.

The Elite just debuted Eubanks most recent work, In The Midst of All That is Good.  It was also directed by the author.

Bob Haggard (played by Jeff Ham) is an evangelical pastor of a small community church.  Pastor Bob has brought his teenaged daughter and son, along with his father, to a California desert campground for a family retreat.  Planning to stay for five days, and to avoid having their car again vandalized at the trail head parking lot, Bob has had his wife drop the group off with instructions to return at the end of the week. The outing ends up being anything but idealic.

The action opens as the group returns to camp after Bob has impaled his foot on a nail protruding from an abandoned piece of wood.  The only cell phone in camp is mysteriously missing and it is the off season. So, the adventurers are now isolated with no other campers around.

Other on-going interpersonal issues soon come into play.  Pastor Bob’s father, Lloyd (portrayed by David Fruechting) turns out to be a disgraced televangelist who has lost his faith and is dealing with tax issues and the IRS.

Son Carson (played by Alex Czajka) is either profoundly hearing impaired or deaf, yet Bob has never bothered to learn sign language.  He must rely on his daughter, Maddie (Hanna Eubanks), to communicate with his son for him.  Hannah holds an attitude because her father unwisely invested and lost the entire fund set aside to send her brother to Gallaudet University, a 150-year-old institution of higher education for the deaf.

Into this setting come two outlaw marijuana growers – Dennis (Johnny Avila) and Vic (Josh Carmichael).  The first turns out to have mental health issues and is off his medications.  The other brandishes a gun, and Bob ends up accidently getting shot in the hand.  Oh, and along the way, we learn Pastor Bob’s wife is in the process of leaving him for another woman.

The script is filled with myriad intriguing conflicts and possibilities. It offers valuable insights on a number of topics. However, many details are offered that are left unresolved in the end. In our view the layers of complications tend to muddy the central theme, adding little to the overall value.

Nevertheless, Pastor Bob’s struggles to deal with the multiple personal crises that arise, along with the diverse characters in the piece, hold promise.  They hold the promise that, after the inevitable polishing, trimming and adjustments that follow a premier production, the play will foster in audiences the same type of commitment that motivated the playwright in the first place.

The Elite is an appropriate platform and actively promotes new works by local authors, giving both actors and writers opportunities to stretch and grow in many ways.

2731 Victoria Ave, Oxnard, 483-5118

Suicide Squad/ ½ Palm Tree
by Eduardo Victoria/[email protected]

In theory, Suicide Squad represents a combustible amount of rich possibilities perfect for smart, counter programming and an irreverent middle finger to superhero status quo. And who better to helm a film about broken and desperate criminals than director David Ayer, whose street savvy direction has always used grit to serve as a reflection of humanity’s darkest frailties. Neither concept or Ayer can salvage this mess of a film however, one so obviously mishandled by studio intervention and warring with itself between each schizophrenic frame.

In the wake of Superman’s death, the world is bracing for new superhuman threats. Enter intelligence operative Amanda Waller, whose plan is to assemble a team including the worst of the worst, forcing criminals with nothing to lose the opportunity to do something good. The other obvious advantage being, that if they die during a dangerous mission, no one will miss them. This team of unwitting baddies includes Joker’s imprisoned lover Harley Quinn, skilled mercenary Deadshot, pyrokinetic gangster El Diablo, a thief named Captain Boomerang and a cannibal creature named Killer Croc. When a metahuman named Enchantress takes Midway City captive, the team is sent in to save a high priority target. Along the way, Joker is trying to reunite with Harley, while the team’s own aversion to each other and their mission may be their downfall.

There’s barely any plot with the first act being an extended montage of character introductions which are messy and choppy, before the team engages in a tedious and repetitious cycle of punch/shoot/kick action against faceless hordes protecting a generic portal in the sky. In fact, the film in general feels like an endless montage of ideas with fleeting character beats which don’t have time to breathe, cramming in relentless pop tunes that don’t mix to force a tone that’s strictly at odds with the hinted struggle of each character.

There are two performances that anchor this mess. As the film’s center, Will Smith’s Deadshot gets most of the focus and thrives within a tragic character. Smith’s charm and charisma is on full blast, even as a bad guy who’s taken the wrong route to protect the ones he loves. The other bright spot is Jay Hernandez’s El Diablo. He’s the only character who wants to escape his dark past and is one of the few sincere characters in the film.

Margot Robbie stumbles as Harley Quinn. At this day and age, her representation feels dated and lazy, is it really too much to ask for a reexamination of the character and an earnest look at the implications of her tortured romance with the Joker? As for Joker, Jared Leto is terrible, his style and makeup are so distracting and goofy, he comes across as tame and too theatrical for his own good. There’s no sense of danger or anarchy within him, he just seems like a try-hard gangster who likes to wear makeup, and we never believe his love for Harley – they have no chemistry together, and his scenes have no bearing on the plot at all.

In the attempt to overcompensate and deliver a crowd pleaser in response to BvS’ bleak slog, Suicide Squad is another stinker, again taking the wrong approach to the wrong movie. Without a genuine threat and characters who fail to live up to their infamous personas, the film plays out like a cartoon that doesn’t understand its power. In truth, it doesn’t seem fair to review the film or hold its faults against it, because it doesn’t even feel finished. For a film about villains who’ve commanded fear without compromise, a goofy film that takes half-measures with its approach doesn’t seem right.

Rated PG-13. 126 minutes. Now playing at Cinemark Downtown 10.

Star Trek Beyond/4 Palm Trees
by Eduardo Victoria/[email protected]

After reinvigorating Trek with his rebooted timeline, J.J. Abrams crashed and burned with Star Trek Into Darkness, a muddled, misguided film that chose to reuse one of the franchise’s biggest villains, in the process, coming up as a pale imitation. Beyond, now directed by Justin Lin and written by Doug Jung and Simon Pegg, breaks free from this blot, going back to the original series’ roots for a reverent, but modern spin that’s confident and fresh.

Deep into their five year mission, the Enterprise’s crew has become tightly knit and is firing on all cylinders. Captain Kirk (Chris Pine), however, is figuratively lost in space. It’s his birthday, which also means it’s the anniversary of his father’s death, and Kirk is struggling in his shadow. After stopping over at a nearby space station, the Enterprise responds to a distress signal and are quickly overcome by a malevolent alien force. After a valiant fight, the hostile force completely destroys the Enterprise, leaving the crew scattered and marooned on an undiscovered planet. With no ship and barely any resources, the crew races to find each other and uncover the motive of their tormentor, a creature named Krall (Idris Elba), who has a vendetta against the Federation and its founding ideals.

The beauty of the film comes from the simplicity of its plot, the way it expertly distills the franchise down to its core values and beliefs. Using the episodic nature of the original series, Lin delivers a story free to stand on its own, separating the team on an undiscovered planet and challenging their very being. By contrasting an alien setting (again, resembling the colorful landscapes of the original series) with a propulsive story, the film has no problem evoking the series’ timeless sense of awe, danger and discovery. Initially taking a more patient approach, the film doesn’t skip on the action in the end.

The amount of imagination on display trickles down from the beautiful costume and creature designs, to the ingenuity of each action scene, which pulls out and punctuates different dynamics from the fractured crew. Above all, it’s fun to see the amount of diversity that Lin gets from just a handful of bare elements and locales, throwing in motorcycle stunts with teleportation, some really smart use of the Enterprise’s dead carcass, another sequence that uses music in a really fun way, and finally, a climactic showdown in which the laws of gravity have gone haywire.

Mostly working off each other, Zachary Quinto’s Spock and Karl Urban’s Bones are a blast together. Taking the series’ classic love hate relationship, the two are funny whenever they’re on screen, evoking a truly loving friendship that relishes the sharp contrast of their characters, each who each struggle from a differing lack of control. As the villainous Krall, Idris Elba is definitely relishing the role, buried under makeup, but still able to emote and paint a tragic story. His villain has a simple motivation, but is complex in different ways, and Elba does a great job of giving us a dark character who is still sympathetic. Possibly stealing the film is Sofia Boutella’s Jaylah. Boutella, besides bringing a fierce physicality to the role, evokes an innocence that hides under a guarded persona.

If Star Trek Beyond has proven anything, it’s that the franchise has still got a lot left to explore. Justin Lin proves himself a worth steward of the beloved crew and its spirit, injecting both imagination and heart while still working to give keep Trek relevant. Perfectly timed to Trek’s 50th Anniversary, Lin’s film looks back lovingly while knowing the importance of building for the future, throwing in a touching tribute to the original cast (and Leonard Nimoy), while planting seeds of inspiration that we can hope to reap for years to come.

Now playing at Cinemark Downtown 10. Rated PG-13. 120 minutes.

Peter Pan prequel on stage in Simi
by Jim Spencer & Shirley Lorraine

Peter Pan. Tinkerbell. Wendy.  J. M. Barrie created these iconic characters and the story of the boy who would never grow up in 1902. One hundred years later another Barry, humorist Dave Barry, along with co-author Ridley Peterson, launched a widely popular series (now five books) of children’s adventures that continues the tales of Peter and his friends.

The first in the saga, Peter and the Starcatcher, is a prequel to the original story.  It tells how an orphan boy in Victorian England and his mates end up on ship with a mysterious cargo bound for an island. How he meets a young girl (Molly – destined to become Wendy’s mother) who has a special connection to powerful star stuff.  How pirates become involved and more.

The stage adaptation of the first novel received five Tony awards.  The Broadway script introduced grown-up story-telling, production and comedy techniques, all the while retaining both the charm of the era and the characters.

Produced by the prolific and talented Jan Glasband and her Actors Repertory Theatre of Simi (ACTS), the play is now on stage at the Simi Valley Cultural Arts Center through August.

Featured is a marvelous ensemble of a dozen actors who play close to 100 different parts – from pirates to mermaids to agitated native islanders. The differences in their various characterizations are well defined and engaging. Laughs abound as the fast-paced action progresses.

Starcatcher is billed as a play with music. It only has seven musical numbers. The excellent blending of the essentially all male chorus (and one female) is a joy to hear, with special kudos for the individual vocal performances of Katherine Bottoms (Molly) and Will Shupe (pirate captain Black [Mous-]Stache).  

The use of pronounced accents and rapid-fire delivery may take California ears a few minutes to acclimate to before things become clear. The non-stop action doesn’t wait for the audience to catch up, as there are rarely breaks to do so.

Occasional dangled references to the J.M. Barrie story also provide a mental scavenger hunt for those familiar with the classic tale. For some of the younger set, the story may be a bit confusing until all is wrapped up at the end.

Outstanding direction and creative staging of the piece are provided by Sean P. Harrington, ably enhanced by the skillful choreography of Becky Castells.  Nothing lags. The action and dialogue move smoothly at high speed. The actors’ movements, scene changes and interactions are all skillfully coordinated. Harrington not only has the actors use the set effectively, they become set pieces at various times, adding previously unused dimensions to the flying repartee. The production is fresh fare for the family.

Performances of Peter and the Starcatcher continue until August 28, 2016 at 8 p.m. on Fridays and Saturdays at 8 p.m. and 2 p.m. on Sundays. Simi Valley Cultural Center, 3050 Los Angeles Ave., Simi Valley.  Tickets: $25-adults. $22-seniors/students. $18-children. (805) 583-7900 or www.simi-arts.org

Midsummer Night’s Dream sparkles under the stars
by Jim Spencer & Shirley Lorraine

The Kingsmen Shakespeare Company is celebrating its twentieth anniversary of presenting quality productions on the main lawn of California Lutheran University. The final show of the 2016 season takes the professional company full circle with a re-staging its inaugural production of A Midsummer Night’s Dream.

This time the comedy is under the skillful and creative direction of Brett Elliot, one the original lead actors in the first production. In fact, both the cast and crew boast other numerous long-time and returning Kingsmen players, as well as welcoming new actors and workers.

Shakespeare’s classic romantic tale about of four sets of lovers is brought to full-figured life with abundant visual appeal, strong characterizations and both high and low comedy.

The Kingsmen Company delights in treating audiences to Shakespeare’s poetry by setting the productions in other eras or genres, displaying to good measure the full genius of the text. For this production director Elliot has chosen India as the background for the action, which works exceptionally well.

Bathed in the light of a full moon on opening night, the lush scenery, the rich and colorful costumes and the mystical qualities of the whimsical story are entrancing throughout.

There is a bit of action for everyone – swooning maidens, handsome men, sprites, goblins and a cadre of fanciful, flighty fairies flitting about a man turned into an ass fill the stage. Oh, and to fill out the story there are some regular people, too.

The professional players in the key roles are all outstanding – Ross Hellwig as Demetrius, Angela Gulner as Hermia, Samantha Eggers as Helena and Seta Wainingolo as Lysander all turn in superb performances.

They are easily matched by Nawal Bengholam as the Fairy Queen Titania, Ty Mayberry as the commanding Oberon, Jason Rennie as the mischievous Puck, and Kingsmen veteran Marc Silver as the self-confident actor Bottom. Too numerous to mention, the entire cast adds to the magic.

Enhanced lighting and sound systems enable the visual and the vocal efforts to be clear, engaging and easily understood – a quality essential to understanding Shakespeare and sadly lacking in many attempts by less qualified companies. The individual contributions of the director and seasoned performers give the entire production an uncommon depth, dimension and vitality.

Continuing its policy of free admission for anyone under the age of 18, the Kingsmen Company and its stellar production values bring the beauty of the Bard to new and seasoned generations alike. This production is an open invitation that should not be missed to expose students of all ages to Shakespeare.

Additional merriment and education takes place before the show begins. So, arriving early is recommended to take full advantage of the festival’s offerings.

A Midsummer Night’s Dream plays through July 31 on Friday, Saturday and Sunday evenings. Gates open at 5:30 for festival seating.  Main show at 8:00 p.m. Bring your low-backed chairs, picnics and jackets, as the evening cools down after dark.  Tickets (over 18) are $20. Lawn boxes and regular seats slightly higher. For details and more information www.kingsmenshakespeare.org.

Showbiz’ Original Annie is in Ojai
by Jim Spencer and Shirley Lorraine

The world’s first entertainment superstar was William “Buffalo Bill” Cody.  For three decades he toured America and Europe with a cast of hundreds presenting his wild

For 17 years the star of the show was a petite exhibition sharpshooter who became a national heroine. Her name was Annie Oakley.

There have been movies, plays, TV shows and countless books based on parts of Annie’s life.  The most memorable is the musical comedy Annie Get Your Gun, now on stage at the Ojai Art Center Theatre through July 31.

The story focuses on the budding and stormy romance between Annie and Frank Butler, the renown marksman she defeated in a shooting match.

The action is highlighted throughout with the delightful music and lyrics of  master composer Irving Berlin, featuring such well known musical comedy staples as “There’s No Business Like Show Business”,  “Anything You Can Do (I can do better)” and “You Can’t Get a Man With a Gun.”

The stage is filled to capacity with a cadre of actors including a wide range of ages and abilities, from almost no experience to stage-seasoned. All are enthusiastic and put on a lively show. How Ojai ACT consistently fills its small stage with so many without seeming crowded is magic in itself.

Director Tracey Williams Sutton has infused the ensemble with many authentic touches as well as a few well-placed updated lines to add to the humor. Written in the 1950’s, the lines may seem a bit corny at times to some but are played with well intentioned delight. Saturday night’s audience actively responded without reserve.

Familiar characters of historical significance are Annie (played to the hilt by Holly Sewell), Frank Butler (Scott White, who sports a made-for-the-musical-stage voice), Buffalo Bill Cody himself (Cecil Sutton) and an energetic and dignified Chief Sitting Bull (Armando Hernandez).

Other members of Buffalo Bill’s troupe who receive particularly notable characterizations include road manager Charlie Davenport (Michael McCarthy), Butler’s assistant, Dolly Tate (Denise Heller) and Tommy Keeler (Ezra Eells).

Cowboys, Indians and assorted show folk are plentiful, breaking into fervent song and dance at the drop of the proverbial ten-gallon hat.  The ubiquitous ensemble also changes the scenery and keeps the action moving.

Annie Get Your Gun is a top-notch choice of entertainment for the entire family and a toe-tapping way to get the summer rolling. Now with lower ticket prices coupled with the comfortable Ojai evenings, this production offers smiles, laughs, music and dance everyone can enjoy.

Arrive early so you won’t miss the live preshow and multi-media feature that fills in the back story about the life and times of Annie Oakley – “Little Miss Sure Shot.”  It starts ten minutes before curtain time.

Annie Get Your Gun plays Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. through July 31 at the Ojai Art Center, 113, S. Montgomery St., Ojai. Tickets: $15-$20. Information and reservations 640-8797 or www.ojaiact.org.

The Neon Demon/4 Palm Trees
by Eduardo Victoria

It’s fitting that so much of Nicolas Winding Refn’s The Neon Demon is seen through mirrors, flashy reflective surfaces and blinding neon lights. All of these things present idealized, glossy versions of what’s on display, but remain fake reflections of the real thing. Herein lies the duality of Refn’s latest film; strewn against the glitz of an unforgiving Los Angeles, it’s a self-aware, ruthless look at vanity, narcissism and the transience of beauty, as told by a society that feeds off the young before quickly moving on to the next pretty thing.

16-year old Jesse (Elle Fanning) is a new transplant to Los Angeles, untouched by its cunning society of vultures, yet with aspirations of fitting in and making it in the cutthroat modeling industry. It doesn’t take long for her to sign with a reputable agency, book a session with a sought-after photographer and make a few jealous enemies, but overall, she seems to be on the up. A local makeup artist named Ruby (Jena Malone) reaches out to Jesse, offering a helping hand if ever needed, and giving her a few pointers to help keep her sane. Jesse quickly learns, however, that in the city of broken dreams and a profession that thrives on the superficial, nothing is ever what it seems – and that beauty comes with a price.

Acting as a sensory experience that explores ideas rather than just telling a simple story, the film’s images soak deep into our skin and transport us into Refn’s own warped world of excess and unsettling dehumanization. Natasha Braier’s stunning cinematography is the most important character, framing beauty which hides ugly intentions amidst glittered faces, neon-drenched compositions and women who resemble blood-drenched mannequins that get lost in or contrast with their stark surroundings (both literally and figuratively). Cliff Martinez’s disco score is the pulse that gives the film a perpetual rhythm, looking forward without any time to look back. The film’s third act goes violently literal, it drives home that he’s crafted an experience meant to be felt, luring us in seductively before shocking us into gleefully irreverent submission.

Cutting through the film’s dazzle is the doe-eyed Jesse, at first sticking out like a sore thumb, but soon coming to realize her worth and using it against her vicious detractors – she’s our entry point into this beautifully nightmarish world. Her transformation is one that celebrates and finds horror in the way that these women are complex contradictions, made up of relatable fears and strengths which are used to manipulate and control each other. Elle Fanning is an unlikely but fitting person for the role, giving it an innocence but also subverting expectations. Though she isn’t a character as much as she’s an avatar for Refn’s subconscious, she’s a magnetic presence, embodying the type of elusive vitality that every character in the film is trying to leach off of.

Bella Heathcote, Abbey Lee and Jena Malone add to the film’s bite with a triptych of performances that personify its poisonous but seductive slant. Heathcote’s Gigi and Lee’s Sarah uphold a fierce exterior that feels as if it could crack at any second. There’s a ferocity to them but also an unmistakable fragility. It’s a fine line that they tread so well, and the film benefits from it. If there’s someone who steals the show however, it’s Jena Malone’s Ruby. She’s the hardest to pin down for the film’s duration; we’re instantly drawn to her kind nature, but can’t quite figure out her allegiances

A casual recommendation doesn’t work for this film, because it deliberately isn’t made for everyone. Even if you aren’t into it, what isn’t up for debate is Refn’s audacity in creating a primal reflection about the double edged sword of beauty and the cost of chasing a fleeting dream. Decadent and gorgeous but sharp and deadly, The Neon Demon is a transfixing experience that’ll be unlike anything else released this year.

Rated R. Viewed at Cinemark Downtown 10. 117 minutes.

The Fantasticks in Camarillo
by Jim Spencer & Shirley Lorraine

The Fantasticks is the longest running musical in theatrical history, playing continually in Manhattan for 50 years. It’s a classic tale of love, loss, reality and fantasy involving a boy, a girl, two parents and a wall.

Why, then, do people feel a need to change, edit and update it?  The current production at the Camarillo Skyway Playhouse has been tweaked to suit the young director. In our view the adjustments are not satisfying and generally do not work on many levels.

One of the beautiful things about this classic is its simplicity and timelessness. The script places the action in a backyard garden.  However, for this production the director has chosen to reset the action against the backdrop of a carnival. While this creates a quite colorful background, it really does nothing to enhance the story – other than cause the players to perform in an almost clownish and overdone manner.

At times some dialogue references become jarringly incomprehensible when the characters speak of things in the surroundings that do not exist, even in a representative fashion – like a great tree.

To be fair, the voices are well suited to the score and the actors mostly keep pace with the recorded orchestrations. The characterizations are solid throughout, although (again most likely directorially) played a bit too broadly.

The classic role of the swashbuckling bandit El Gallo is larger than life in the persona of Jeff Berg, whose voice is equal to the task. Audiences enjoy his rendition of Try to Remember, in particular. It is unfortunate he is dressed in an ill-fitting and unflattering tailed vest as he saunters casually though the piece, rather than taking command of the stage as a heroic figure. Nonetheless, he does credit to the role vocally.

The young innocent Luisa is played with naïve abandon by Katy Jarvis. She is matched by Parker Harris as Matt, her paramour. Both have lovely voices and do justice to the lilting Soon it’s Gonna Rain.

Unequally paired are the parents, played by Laura Ring and Dale Alpert. While they are energetic, enthusiastic and talented, we found their rapid-fire repartee difficult to understand at times. Their actions are vaudevillian in style and their voices not always complementary.

The quiet role of The Mute is played timidly by Hillary Michelle. Many productions imbue The Mute/Wall with a more omniscient essence. In this case she is almost unnecessary and given little to do. Two traveling actors hired by El Gallo to stage an “abduction,” Todd Ticker as Henry and Alex Czajka as Mortimer, round out the cast.

Camarillo Skyway Playhouse is one of Ventura County’s true community theaters. Many actors and new directors get an opportunity to try out their wings both on and off the stage, to varying degrees of success. This production, while boasting a cast of quite capable individuals, never fully gels under the weight of the directorial choices.

Nevertheless, with the inherent strength of Tom Jones and Harvey Schmidt’s proven story and music, plus the individual musical talents of the cast, the show retains its charm and entertainment quality. For this version – five stars out of ten.

The Fantasticks plays through July 10 at the Camarillo Skyway Playhouse on the Camarillo airport at 330 Skyway Dr., Camarillo. Show times: 8:00 p.m. Fridays and Saturdays. 2:00 p.m. Sundays. Tickets and information 388-5716 and www.skywayplayhouse.org.

The Conjuring 2/4 Palm Trees
by Eduardo Victoria/[email protected]

The Conjuring 2 finds Wan picking up right where he left off, proving that his greatest achievement on the first film was not just its scares, but his ability to turn the Warrens into two genre heroes we truly love and care about. Digging deeper into their relationship as they heroically put themselves on the line for a family in need, this is the rare kind of film that is good because it’s a sequel, building off of an already strong foundation and allowing it to truly thrive.

During the Amityville investigations, Lorraine Warren (Vera Farmiga) receives a horrifying premonition. It’s so shocking that she’s convinced that her and her husband, Ed (Patrick Wilson), should quit their studies for the time being. He reluctantly agrees, and the two resign to writing and talking about their experiences instead. Across the pond, in Enfield, England, is single mother Peggy Hodgson (Frances O’Connor) and her four children. In the wake of their father’s departure, the family is tight knit and doing the best they can to get by, but the absence is noticeable. Things get worse when a series of malevolent phenomena begin to occur, tormenting the children at night, and specifically targeting one of the younger siblings, Janet (Madison Wolfe).

Though the film sticks to the format that made its predecessor so great, Wan’s return feels laced with a new sense of vibrancy and vigor, building his conflict from the root of each family’s trials and presenting scares which target them not just physically, but emotionally. Wan again takes his time to fully develop the relationships at the film’s center so that when things go bad, we’re rooting for people that we care about. Almost every person in the huge ensemble gets a moment to shine, whether it’s a small moment of kindness or an act of heroism. In sharp contrast to most horror films now, there are no bad people here – everyone genuinely wants to help out, making the film’s demonic presence scarier than a knee-jerk reaction because we feel the humanity that’s at stake.

Wan’s visuals are more ambitious this time as well, and I’m pretty sure that if Hitchcock ever directed a true-blue monster movie, it would look like this. Wan and his cinematographer Don Burgess are on fire, expertly playing with audience expectation through longer, more precise sequences that are wildly diverse and escalate with ingenuity and urgency. Wan moves his camera through the Hodgson house with acrobatic verve, spinning in and around his characters and their surroundings to engage the viewer in a dance of tension and terror. Though jump scares are still prevalent, there’s more subtlety and nuance, allowing for shadows to harbor danger or misdirect us into a larger threat, while small, eerie details present themselves only to return when we least expect

With such a huge focus on character, the performances stand head-to-head with Wan’s technical prowess. Headlining the entire thing again, are Vera Farmiga and Patrick Wilson as Lorraine and Ed Warren, respectively. As Lorraine, Farmiga anchors the group with an internal performance that embodies the film’s tension and heart. She’s a caring woman who is strong-willed and out to do her best, even if the burden is heavy. Wilson’s Ed gets a bit of a meatier role this time out, presenting a man who is deeply connected with his feelings, giving the film an exploration of faith, sacrifice and strength without devolving into a generic alpha.

From the great characters to the immaculately crafted thrills, The Conjuring 2 is a home run from top to bottom. It’s a film that show’s Wan’s talent for knowing exactly how to subvert and cater to audience expectation, while also proving that mainstream horror can still be prestigious, accessible and scary. Whereas most horror sequels can’t figure out where to go and struggle with reinvention or extensive retcons, this is a film that is confident and assured, building characters that are compelling enough to keep returning to time and again.

Now playing at Cinemark Downtown 10. Rated R. 133 minutes.