Lion in Winter at Elite Theatre Co
By Jim Spencer and Shirley Lorraine

Tempers flare at Christmas time in a stark and drafty castle in 1183 as King Henry II of England, and his queen, Eleanor of Acquitaine, parry and thrust in an ongoing verbal joust about which of their sons will succeed the king who, at age 50, is facing the winter of his years.

Currently playing at Oxnard’s Elite Theatre Company, The Lion in Winter is a drama laced throughout with subtle humor that weaves a tale loosely based on historical facts about the turbulent relationships among King Henry II, his estranged and incarcerated wife Eleanor, and their three sons – two of whom do eventually become king of England.

The story’s principals are King Henry II (Alan Waserman), Eleanor (Vivien Latham), and their sons – Richard (Adam Womack), Geoffrey (Eric McGowan) and John (Trent Trachtenberg). Complicating matters considerably are the presence of Henry’s mistress Alais (Morgan Bozarth) and a visiting Prince Philip of France (Alex Czajka).

Waserman and Latham are standouts as the royal couple, continually sparring and obviously enjoying their love-hate relationship to the hilt. Both are fascinating to watch as their stoic countenances contrast the emotions beneath the surface. Their scenes together are nothing short of electrifying.

The three sons are a mixed lot. Adam Womack as Richard (Later to gain the throne as Richard the Lionhearted) gives a solid performance with bluster and depth. Geoffrey, the forgotten son who never seems to catch a break, is well, if underplayed, by Eric McGowan. His frustration at being overlooked gives him an edgy quality. A fairly newcomer to the stage, Trent Trachtenberg imbues the teenaged John with just the right amount of petulance and angst befitting the eager, but immature, prince.

Cast as the young Prince Philip of France, Alex Czajka provides an admirable accent, although he speaks quite rapidly. The pace, coupled with the unfamiliar accent, makes him difficult to understand at times. Nonetheless, he gives the character crafty and sly qualities that emphasize his cunning.

Rounding out the cast in the pivotal role of the mistress Alais, Morgan Bozarth is understated and quiet, all the while showing her emotional attachment and support to the much older King. She knows that she’s a bargaining chip in the race for the next King as she will become the wife of whomever is chosen, a fate she does not face lightly nor with pleasure.

The production is under the expert hand of the Elite’s artist director Tom Eubanks. He has been down the road to the castle before, having directed the play for the Ojai Art Center in 2000. As before Eubanks has enlisted the talents of Celtic harpist George Miller to provide authentic musical interludes throughout.

Ventura County has seen several fine productions of Lion over the years and this one ranks high on the list.

Lion in Winter plays Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. until November 22 at the Elite Theatre Company, 2731 S. Victoria Ave., Oxnard Harbor. Tickets: $15-18. (805) 483-5118 or www.elitetheatre.org.

Spectre/ 1 ½ Palm trees

By Eduardo Victoria/[email protected]

The latest outing for super-spy James Bond takes us back to his roots in director Sam Mendes’ Spectre. The evil organization behind some of Bond’s best films over the years makes its return in a not so spectacular fashion in a film bogged down by clichés, a slow plot, and a “why would you bother?” villain story.

Bond (Daniel Craig) tracks the name of a man left to him by the previous M (Judy Dench) to Mexico City, eventually leading him to a shadowy organization behind many terror attacks throughout the world. At the same time, the new M (Ralph Finnes) must deal with a merger with MI6 that will render the “00 Program” obsolete.

The opening sequence in Mexico City is captivating in its set design, choreographed action sequences, and look for each character. Setting it on the Mexican tradition Day of the Dead creates a beautiful aesthetic that is unfortunately not carried through to the rest of the film.

In rebooting Bond with 2006’s Casino Royale, the franchise began to move in a direction never before seen. Though the films are still about the gadgets and location jumping, the Bond tropes here are too much. Instead of pushing the franchise forward as the prior 3 films starring Daniel Craig have, Spectre takes us back to the days of tired Bond plot points.

Léa Seydoux’s performance shines through a terribly dull script from no less than 4 screenwriters. Craig is excellent as always. However, newcomers Monica Belluci and Christoph Waltz are terribly wasted. Franz Oberhauser as a villain is strange and his motives are an eye roll (as a matter of fact, they were much more effect when they were used in a James Bond parody film, which I will not mention due to spoilers).

In the grand scheme of things, the villains are seemingly evil for no real reason. An Edward Snowden-esque intelligence program is being run and we can tell something isn’t right from the beginning. But we never really find out why evil is a foot. Is the charm of classic evil corporation Spectre enough of an excuse to forgive this film for it’s less than stellar plot?

Frankly, no. Spectre brings up the conundrum of why dig back into the lore than taking the films in a new direction? Blofeld has been done before and defined by Donald Pleasance. As has Goldfinger and Dr. No. As a viewer, I’m more interested in seeing where Bond is going as opposed to returning to places we’ve been in the past. As expected, James bond will return and hopefully the next time around, it will be in a much more original and spectacular way.

Playing Century10 Downtown rating PG13

My Fair Lady at the Rubicon
by James Spencer and Shirley Lorraine

Famed English playwright George Bernard Shaw premiered a play in 1913 about an egotistical professor of phonetics, Henry Higgins, who wagers he can pass off an uneducated flower girl as a duchess simply by teaching her to speak correctly.  He selects a subject and along the way reluctantly finds he has fallen in love with his creation.  Shaw titled his play Pygmalion, after the sculptor in Greek mythology who fell in love with a statute he carved.

Decades later, Alan Jay Lerner and Frederick Loewe adapted Shaw’s tale and turned it into the 1956 blockbuster musical, My Fair Lady.

This enchanting  story with its memorable score now graces the stage of Ventura’s Rubicon Theatre Company seven times a week through November 15.

The direction by Rubicon co-founder James O’Neil is fresh and vibrant as he presents the action in an engaging story-telling style with staging perfectly suited to the Rubicon’s specialized performance space.

Central to the story is the character of Professor Henry Higgins,  played by multi-award winning actor Joseph Fuqua.  Professor Higgins is often described as being annoyingly boorish.  While Fuqua portrays Higgins as self-absorbed and inconsiderate, the traits arise from his social obtuseness, rather than innate churlishness.  The result is a deep and rich characterization .

The title role of Eliza Doolittle is performed by Kimberly Hessler, who provides Eliza with all the savvy and vulnerability demanded by the part.  Rubicon’s Producing Artistic Director Karyl Lynn Burns calls Hessler “one of the finest voices I have ever heard – a pure, true effortless soprano…”  We could not agree more.  Her entire performance is precise, engaging, powerful, as well as vocally pristine.  She’s just spot on.

Everyone in the 17-member cast gives a balanced performance.  Most handle several roles ranging from household staff members to aristocrats.  Memorable performances are also turned in by Patrick DeSantis and Susan Denaker as, respectively, Eliza’s father and Higgins’ mother.

The score is performed on two baby grand pianos located on stage adjacent to the grand staircase that is the main set piece.  The all-important musical director is Lloyd Cooper, who performs on one piano and Chris Kimbler plays the second.

Rubicon’s hallmark attention to detail heightens the experience. The costumes, hairstyles and special effects are exquisitely showcased during a scene where sumptiously clad aristocrats gather for opening race day at Ascot. Even the stage hands, who enter only during partial black outs to efficiently change set pieces, are costumed as Edwardian butlers in tails.  During the race sequence, the thundering pack of horses can be heard moving across the back of the theatre in an enjoyable demonstration of surround sound techniques in a live theatre setting.

In short, My Fair Lady turns out to be grand.

My Fair Lady plays until November 15, 2015.  Show times: Wednesday – 2 & 7 p.m.; Thursdays & Fridays – 8 p.m.; Saturdays – 2 & 8 p.m.; Sundays – 2 p.m.  Talk backs follow at Wednesday evening shows.  Rubicon Theatre Company, 1006 E. Main Street, Ventura, CA, 93001.  Tickets – $54.00 – $64.00.  Ticketing and seat selection available 24/7 at www.rubicon.theatre.org.  667-2900.

Bridge of Spies/ 4 Palm Trees

By Eduardo Victoria/[email protected]

What does Steven Spielberg have left to prove after having one of the best and most enviable careers in the history of film? He invented the blockbuster, his partnership with John Williams was crucial in the salvation of the orchestral film score, and he gave us the PG-13 rating. Now, in the late stages of his career, Spielberg has turned his eye to historical dramas.  Bridge of Spies proves that this “third act” of Spielberg’s career may be his most interesting yet.

The USSR grows more powerful as the world lives in fear of a war between the Soviets and the US. The capture of Rudolf Abel (Mark Rylance) leads him to the introduction of James Donovan (Tom Hanks), an insurance lawyer who’s firm throws him a high profile criminal justice (his former line of work) case because they figure it would do the firm, the country, and spirits good to put Abel away.            However, it becomes apparent that both men are that of value and principle, not willing to short change anybody to speed up an outcome. The film then completely changes focus as an American U2 pilot (Austin Stowell) is shot down and taken prisoner, leading the CIA to ask Donovan to negotiate an exchange of prisoners in East Berlin.

The “third act” of Spielberg’s career has become one of deconstructing the façade constructed by history on many of the faces, figures, and events that have become essential to what makes the people of the United States “American.” Tom Hanks, in one of the best performances of his career, tells us that it is not our heritage that makes us American, but the rulebook. He will not violate Abel’s trust, not even when confronted by the pushy CIA Agent Hoffman (Scott Shepherd).

The writing by Joel and Ethan Coen is top notch. A sequence involving Abel’s supposed family comes off as, needless to say, Coen-esque in its bizarre humor. The script, as great as it is, really doesn’t do much by way of pacing to move the story along. As magnificent as this is, the 140-minute runtime becomes very apparent. This is forgivable for some truly amazing moments. Especially in scenes between Donovan and his family, particularly when his son comes home after watching an educational video in school about what to do in case of a nuclear attack (oh, the naivety of the 50s, how charming you are).

Technically, the film’s serious nature is reflected in its color palette thanks to cinematographer Janusz Kaminski. The look of 35mm film is not subdued in anyway and as a matter of fact, I’d say is essential in this film to create the look and feel of the period. Pulling no stops, Spielberg throws us headfirst into the period and it is astoundingly beautiful.

Tying all elements together is a score by composer Thomas Newman, who had to step in to replace John Williams on this picture, and he does an admirable job. The Newmans are incredible at crafting scores that are distinctly American, with Tom Newman sounding the most “contemporary.” It is delicate, tense, but in the end, exactly what the film needs and no more.

A serious awards contender, Bridge of Spies goes beyond a typical awards season film and explores themes and behaviors that are, if anything, as relevant now as they were back in the late 50s. What makes us American? How far are we willing to go to do what is right? When our countries don’t want to be involved, they called on Donovan- who proved that sometimes, we have to set aside preconceived notions and prejudices to bring people proper justice, a principle that is truly American.

Rated PG-13. 140 minutes. Drama. Now playing at Cinemark Downtown 10.

Ventura Film Society at 7:15pm on Wednesday Nov.11, Century 10 Downtown Ventura presents “Advanced Style”. This 2014 documentary examines the lives of seven unique New York women, aged 62 to 95, whose eclectic personal style and vital spirit have guided and inspired their approach to aging. This film paints intimate and colorful portraits of independent, stylish women who are challenging conventional ideas about beauty, aging, and Western’s culture’s increasing obsession with youth.   The VFS is proud to present this as the 11th of 12 films in our 2015 season. Tickets are $10 general, $7 seniors & $5 students and are available at the VFS Will Call table outside the theater or in advance from www.venturafilmsociety.com. Visit  website for additional information and to see the film’s trailer, or call  628-2299. Special thanks to all of our donors, volunteers,and patrons, especially the Ventura Breeze, for supporting the Ventura Film Society.

Sicario/4 Palm Trees
By Eduardo Victoria/[email protected]

Denis Villeneuve’s Sicario doesn’t allow us to be a bystander – if you come at it thinking you can just sit back and enjoy, you’re wrong – it’ll chew you up and spit you out. At the very least, it’s a compelling crime drama with unrelenting tension; what separates it from most films of its ilk however, is the way that Villeneuve and scriptwriter Taylor Sheridan deliver a nuanced take on the hopelessly twisty Mexican drug wars. Like real life, there’s no easy solution to this rampant problem, nor does the film truly provide one.

After a botched raid involving rotting, mutilated corpses and a battering ram, FBI agent Kate Macer (Emily Blunt) comes into contact with a DOD consultant named Matt (Josh Brolin). If Kate will volunteer, he promises to give her a real shot at combatting the Mexican drug wars, which are spilling into her jurisdiction. After hesitantly accepting, Kate is thrust into an exceedingly complex web of deception and brutality, with no clear sign of understanding or even a way out. Clinging to her idealism and true desire to set things right, the by-the-book Kate must learn to survive in a land of wolves.

The view of the story’s central conflict makes Villeneuve’s film fascinating, presenting it as a breathtaking cinematic descent into hell. The deeper we go, the more nightmarish it gets, but never for the sake of shock, instead illustrating the war on drugs as a savage mobius strip that thrives on ordered chaos, supply and demand.

In the hands of any other writer or director, a film like this would go from one action set piece to another. Instead, there’s a weight to everything, with humanity in the balance and poetic contrasts that are dark, yet too urgent to ignore.

In addition to the story’s focused themes, the film still manages to deliver two of the most intense sequences of the year. Without spoiling things, one involves an extended excursion across the border and into Juarez, while another involves thermal photography against the pitch black darkness of night. Villeneuve’s direction is as taught and tight as it gets, utilizing stunning photography from Roger Deakins to get both our minds and hearts racing as his characters face insurmountable odds psychologically as well as physically.

There are three incredible performances at its core. Emily Blunt as the idealistic Kate Macer plays a modern heroine who must confront her integrity and the impossible reality of her situation. She’s in a tough spot, and Blunt allows the character to be more than just our audience surrogate, but also a relatable cipher that calls us out and makes us complicit in her journey.

She’s far from a cartoony archetype thanks to Blunt’s simultaneous strength and fragility, but also a fierce character clinging on to what she believes is right. Benicio Del Toro gets the second most play in the film as the mysterious, shady Alejandro. This is one of his best performances ever, and he is the personification of what the entire film is about, challenging our allegiances through an ambiguous, primal mix of opposing character traits. Josh Brolin’s Matt, provides a lot of the film’s levity, but it comes with an undeniable dark side. There’s a sinister slant that contrasts with his nonchalance about the entire ordeal that’s a bit creepy and keeps things always on edge.

Simply put, Sicario isn’t just one of the most intense experiences of the entire year, it’s also of one the year’s best, period. Villeneuve’s thriller is on a league of its own, proving that action films can go deeper than empty thrills to explore the consequence and the ideas behind the chaos. My best advice to you: see this and don’t forget to breathe; focused and fully formed on every level, it’s an unforgettable revelation of the human darkness that lies at the fringe of everything we hold dear.

Playing Century Downtown  Rated R

Small Engine Repair works at Flying H
by Jim Spencer and Shirley Lorraine

On a New Hampshire evening three former high school buddies, now in their mid-30s, reunite for an evening of alcohol, testosterone, tall tales, pot and erotic braggadocio.

The three – Packie, Swaino and Frank – arrive separately at Frank’s Small Engine Repair shop. Actually, Frank has invited each guy without revealing the other would be there. His ostensible goal is to smooth a rift between the others that started years ago. However, when a younger, fourth guest arrives it turns out there is a darker hidden purpose for the get-together.

This is the setting for Small Engine Repair, the dramady currently being presented by Ventura’s Flying H Theatre Group.

Playwright John Pollono has given each character a history of underachievement. Packie is unemployed and lives in his grandmother’s basement. Warehouse worker Swaino is obsessed with spreading his legend (in his own mind) as a super stud. Frank is a high school drop who started repairing small appliances when he became a father at age 17. Their back stories provide the comedy, raw dialogue, taunting and male rivalry on display in this 70-minute revenge comedy.

Enter Chad, played by Joshua Kahn. He is an entitlement-minded, over-privileged, college preppy who is a local supplier of ecstasy and pot. The social gap between the trio and the newcomer soon expands into a chasm that leads to a series of plot twists involving the internet and technology, as well as attitudes and hazards fostered by social networking.

The play features solid acting by Brian Robert Harris as Frank, Michael Wayne Beck as Packie and Eric Mello as Swaino, each of whom creates a well-defined character and gives a tightly balanced ensemble performance. Although, when they deliver dialogue in rapid fire fashion it is difficult to hear and catch it all.

The set of the fix-it shop designed by Flying H Theatre Group Artistic Director Taylor Kasch is superbly appointed with tools, stored detritus and things that will be needed someday. His personal garage has probably not been so empty in years because all his man cave stuff is on the set.

The direction by Kathleen Bosworth is equally artistic. The pacing, utilization of the actors, and other touches reflect a studied sophistication.

The script, first performed in 2011, is by a newer playwright. It has a few technical rough edges. For example, the playwright repeatedly uses the same device for the same purpose. Three times a character abruptly announces, “I have to pee,” and leaves the stage just so the action can continue as a two-person scene. Additionally, we found the ending to be less than equal to its build up. Nevertheless, the play is current, significant and for adults only, don’t worry that doesn’t mean that there are going to be scenes from a TubeV porn movie it just means that it contains some content that is best suited to adults and not for little ears.

Small Engine Repair plays Fridays/Saturdays/Sundays, October 9-18, and Thursdays/Fridays/Saturdays, October 22-31. Sunday matinees are at 2 p.m. All other performances are at 8 p.m. Flying H Group Theatre Company, 6368 Bristol Rd. (between Johnson Dr. and Victoria Ave.) in the Montalvo area of Ventura. All seats $15. Cash or check only at the door. Reservations recommended 901-0005. Advance tickets on-line at http://engine.brownpapertickets.com.

Please join the Ventura Film Society at 7:15pm on Tuesday October 6th at the Century 10 Downtown Ventura for “Listen To Me Marlon”. With exclusive access to his extraordinary unseen and unheard personal archive, including hundreds of hours of audio recorded over the course of his life, this is the definitive Marlon Brando cinema documentary. Charting his exceptional career as an actor and his extraordinary life away from the stage and screen, with Brando himself as your guide, LISTEN TO ME MARLON fully explores the complexities of the man by telling the story uniquely from Brando’s perspective, entirely in his own voice. No talking heads, no interviewees, just Brando on Brando and life. Tickets are $10 general, $7 seniors & $5 students and are available at the VFS Will Call table outside the theatre or in advance from www.venturafilmsociety.com. Thank you for supporting the Ventura Film Society, where we bring people together in the dark. The VFS is proud to present “Listen To Me Marlon”, the 10th of 12 films in our 2015 season. Tickets are $10 general, $7 seniors & $5 students and are available at the VFS Will Call table outside the theatre or in advance from www.venturafilmsociety.com. Visit www.venturafilmsociety.com for more screening information and to see the film’s trailer. VFS Info Line  628-2299. Special thanks to all of our donors, volunteers, patrons, and supporters, especially the Ventura Breeze. Thank you for supporting the Ventura Film Society, where we bring people together in the dark.

Black Mass/ 3 1/2 Palm Trees

by Eduardo Victoria/[email protected]

Black Mass is a tempest of a film that exposes the tragedy, drama, suspense and intrigue of its characters as they slowly but surely have their lives pulled out from underneath them. This is a rare case in which the end result is saved by the tiny details of Scott Cooper’s direction, from the spot on performances, grainy 35mm photography, lavish production design and Tom Holkenborg’s (ditching the Junkie XL moniker for this dramatic project) score, which is a key element in playing up the sadness on screen.

The story starts in 1975 when we meet James “Whitey” Bulger (Johnny Depp), known as Jimmy to his friends and family. As the leader of the Winter Hill gang, Bulger forms an alliance with childhood friend turned FBI Agent, John Connolly (Joel Edgerton) thanks to a meeting with James’ sibling senator Billy Bulger (Benedict Cumberbatch). As an unofficial informant to the FBI, Jimmy Bulger is asked to provide key information to help bring down the Italian Mafia, but does little to abide by their condition of no killing, causing Connolly to spin all the stories he can to protect him.

Really, it’s the film’s presentation which creates an inescapable tone of psychological dread. Stefania Cella’s production design transports the viewer back to the era of Bulger’s time in the Winter Hill Gang without shouting at the viewer that we’re in a period drama. Shot on 35mm, the film has a grainy, dirty patina that lends itself beautifully nighttime events which evoke uncertainty. Cinematographer Masanobu Takayanagi beautifully lights dinner scenes to isolate the fragility and unease around characters. Holkenborg’s music seals the deal, impacting us with a troubled cello melody that keeps morphing throughout the film.

If there’s a standout to the film, it’s Edgerton, who is a great foil to Depp’s cold, calm, and calculating Bulger. As Connolly, we see Edgerton squirm, sweat, panic, and eventually come to crushing realizations regarding his involvement in the very crimes he denies have occurred. Though Johnny Depp’s performance is getting all the attention, it really is Joel Edgerton’s performance that steals the entire film. He’s a great foil to Depp’s cold, calm and calculating Bulger. As Connolly, we see Edgerton squirm, sweat, panic, and eventually come to crushing realizations regarding his involvement in the very crimes he denies have occurred. Edgerton’s lead isn’t surprising however, his previous effort in The Gift (both behind and in front of the camera) earlier this summer was brilliant, and now Black Mass proves that he’s a force to be reckoned with.

I can’t remember the last time I saw a film where every single performance was incredible. Films with major actors in every role often end up wasting actors with little screen time. Black Mass finds a way for every single thespian to bring their absolute best to one of the most intense crime dramas this year. Rory Cochrane heads up the backing cast as Stephen Flemmi, Whitey’s right hand man, while scenes at Boston’s FBI headquarters are ruled by great moments with actors Adam Scott, Kevin Bacon, and Corey Stoll.

Come awards season, Black Mass’ performances will leave everyone talking. The film tells the story of men caught in their own game of cops and robbers with their judgments (particularly Connolly’s) clouded by their own childhood loyalties. It’s a focused character study into the tragedy of those closely associated with the notorious, savage James “Whitey” Bulger.

Playing Century10 Downtown Rating R