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.

X-Men: Apocalypse/ 2 and ½ Palm Trees
by Eduardo Victoria/[email protected]

The latest feature in the X-Men franchise finds a younger version of familiar characters. This time around, the team is up against big bad Apocalypse (Oscar Isaac) as he tries to destroy humanity to create a world fit for mutants. The stakes aren’t high, it’s really nothing we haven’t seen before but the film’s character moments and lightness make it worth a visit, even if you have to shell out a few bucks you may not want during matinee hours.

10 years after the evens of Days of Future Past, the film picks up in the 80s following Scott Summers (Tye Sheridan), Jean Grey (Sophie Turner), (Kody Smit-McPhee) as they get to know each other and their respective powers. This, in many ways, represents the heart of the film as the gets to know the extent of their respective talents in order to help their fellow students at Charles Xavier’s School for the Gifted (James McAvoy returns in a stellar performance). From the seasoned team of the past two films are Raven (Jennifer Lawrence) and Hank McCoy (Nicholas Hoult).

Though the plot is simple, the stakes – as I mentioned prior – never feel high. Cities are smashed, buildings tossed around, and we see no connection to people on the ground or feel the severity of Apocalypse’s actions. Isaac, who is enjoying a prosperous career phones in his performance in this film, buried deep underneath blue makeup and a hideous suit of armor.

As in the last film, Evan Peters steals the entire film as the dorky character Quicksilver, who has one of the more interesting arcs in this film. Supporting Apocalypse are his “four horseman”, one of which is Erik Lensherr (James McAvoy). As Magneto, he destroys Egypt probably killing millions (there are those stakes again), yet Xavier still thinks there is a streak of good in his buddy. Perhaps time to let go of the notion that he’s still a decent human being, at least story-wise.

Behind the camera, director Bryan Singer brings a humor and energy that reminds us why he has been the best director to grace the series thus far (Ironically, he didn’t direct the best film in the series, First Class) but proves to be running out of steam this go around.

With all of that said, the film proves to be more fun than its predecessor – which is one of the most famous story arcs from Marvel Comics’ “X-Men” series. Some very cool action set pieces involving Quicksilver and an exploding building, the assembly of the Four Horseman, and Magneto’s backstory in this film prove to be the highlights of an otherwise dull film. Fans of the series will be divided while the average movie-goer may end up bored. Something I wouldn’t expect from filmmakers this talented.

Rated PG13, 144 minutes, now playing at Century Downtown 10.

Classic murder mystery at the Elite
by Jim Spencer and Shirley Lorraine

Since 1952 Agatha Christie’s murder mystery, The Mousetrap, has played continuously in London’s West End. For a brief time, local audiences can enjoy the English classic on stage at the Elite Theatre at Oxnard’s Channel Islands Harbor.

The Mousetrap is arguably one of Christie’s most well-known and beloved plays.  Based very loosely on an actual event, the story requires the audience to pay close attention to the goings-on. People are not who they seem to be, the house itself plays a role, and there are surprises throughout.

The Ralstons (Brittany Danyel and Peter Vendehei) are a young couple who have inherited an old house, Monkswell Manor, and decided to try their hand at running a guest house.

On opening day they prepare to receive their first compliment of guests– each decidedly unique and displaying distinctive traits that advance the story. After the guests arrive, Britain’s trademark inclement weather turns to snow and the guests find themselves snowed in, at least for the night.

Eric McGowan plays the first guest, an architecture student who claims his name is Christopher Wren – a peculiar young man; Jennifer Brown forcefully portrays the disagreeable, over bearing and unappeasable, Mrs. Boyle.

British plays from the era seem to boast a retired military man and The Mousetrap is no exception. Andy Brasted gives life to the very military, tweed-wearing, pipe-smoking Major Metcalf, Hanna Mitchell confidently parades as the androgynous Miss Casewell.  An additional guest, unexpected and unexplained, in the person of the very Italian Mr. Paravicini, played by Ken Jones, adds a continental flair.

Alexander Schottky appears as police Sergeant Trotter, who has been sent to offer precautionary security following reports of a deranged killer in the area.

Before dinner can be served one guest is murdered and Sergeant Trotter embarks on the unravelling of the many webs surrounding the guests.

The flower-adorned motif of the Monkswell Manor Guest House is appointed with many vintage touches, adding to the overall charm. Director John Eslick worked hard to visually convey the English sense of tradition.  While vocal accents are of widely varying quality and consistency, each actor seems to enjoy their individuality thoroughly. Many a subtle eyebrow is raised as clues appear to present themselves. The action moves swiftly as the suspense heightens.

Tradition demands the intricacies of the plot, as well as the ending, not be revealed – so each audience can fully immerse itself in solving the crime. We fully respect this tradition and so, with a mere tut-tut and jolly good, we leave you to attend to learn who-dunit and why.

Be prepared to listen carefully as the language and wording have remained as originally written, not updated in any way.  This tends to lean toward the melodramatic in style, as originally intended. Early critics felt some characters were cliché and overdone, and so they are. Just go with it.

The Mousetrap plays through July 3, Fridays and Saturdays at 8:00 p.m and Sundays at 2:00 p.m. Tickets are $18-$20 for adults, 60+ seniors and students are $15 to $18, and Military with ID are $15. Reservations are recommended. (805) 483-5118. www.elitetheatre.org.

by Tony Rizzo

Tom Cruise wants his Mummy! Not long ago we suggested that the 53-year-old superstar should stop making action films and return to making movies like “Born on the Fourth of July” (1990), “Jerry Maguire” (1996) and “Magnolia” (1999), for which he received Oscar nominations. Now instead of the tall buildings and fast-moving vehicles, he’ll be chasing a mummy — and mummies don’t run very fast.

Universal Studios has long wanted to reboot its “Mummy” franchise, which started in 1932 with Boris Karloff. There were seven “Mummy” films made between 1999 and 2015, ending with the four “Scorpion King” movies. Tom Cruise gets his “Mummy” come July 2017.

Meanwhile, “Beautiful Mind” Oscar-winner Russell Crowe has signed on to play “Dr. Jekyll and Mr. Hyde” (for which Fredric March won an Oscar in 1931). He’s currently onscreen in the comedy “The Nice Guys,” with Ryan Gosling, Matt Bomer and Kim Basinger.

Woody Allen’s new film, “Cafe Society,” narrated by Allen and starring “The Heartbreak Kid,” Oscar-nominee Jeannie Berlin (daughter of Elaine May), Steve Carrell, Jesse Eisenberg, Blake Lively and Kristin Stewart, opens July 15. It is his is 47th film, and his first shot with a Sony CineAlta F65 digital camera. Remember when Allen said he’d only shoot in Europe because the U.S. was too expensive? Well, he must have gotten fantastic tax breaks and discounts, because this film was shot in the streets of Los Angeles and Brooklyn.

Who’d ever imagine that wrestling star Dwayne “The Rock” Johnson would become one of the most successful film stars of this decade? In 2014, his “Hercules” film cost $100 million and grossed $245 million, while Kellen Lutz’s “Legend of Hercules,” from the year before, cost $70 million and only grossed $61 million. “Furious 7” followed in 2015 at a cost of $190 million and grossed $1.5 billion, while “San Andreas” cost $110 million and grossed $447 million. Now he’s teamed up with Kevin Hart (“Ride Along 2” cost $40 million and grossed $122.6 million) for another kind of ride-along film, “Central Intelligence,” arriving June 17. “Fast 8” is due April 14, and then it’s back to the beach for “Baywatch,” playing the role that made David Hasselhoff famous, due May 2017. And you thought the only Rock in movies was Rock Hudson!

“Sharknado the Fourth Awakens” is hitting TV screens in July, with Ian Ziering, Tara Reid and David Hasselhoff in jeopardy again. With every “Sharknado” film, I can see my shark’s tooth and sharkskin suit going up in value!

Have moviegoers tastes changed that much? The 2016 film release schedule reveals 15 documentaries and 10 superhero movies. The documentaries range from O.J Simpson, Frank Zappa, Norman Lear and Anthony Weiner to environment and climate change, stem-cell research, animal rights and cyber warfare. On the superhero side, we’ll be barraged with “Captain America”, “X-Men,” “Teenage Mutant Ninja Turtles,” “Independence Day,” “Tarzan,” “Suicide Squad,” “Doctor Strange,” “Rogue One” and “Assassin’s Creed.”

Along those lines, Chris Hemsworth has had a rocky road as a headliner when his films weren’t superhero-oriented. In 2012, he had four films: “Cabin in the Woods,” which made $36.5 million above cost; “Avengers,” which made $1.5 billion; “Snow White and the Huntsman,” which grossed $133 million and “Red Dawn,” which lost $17 million. In 2013, he had “Rush,” which made a $59 million profit, and “Thor: The Dark World,” which brought in $475 million. In 2015, “Blackhat” lost $50 million, “Avengers: Age of Ultron” made $1.5 billion, while “In the Heart of the Sea” tanked, losing $5 million. His latest, “The Huntsman: Winter’s War,” is off to a bad start, earning only $110 million of its $115 million cost.

(c) 2016 King Features Synd., Inc.