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Jeffrey Sanzel

Photo courtesy of Lionsgate

Reviewed by Jeffrey Sanzel

“Scary Stories to Tell in the Dark” is comprised of three collections of short horror stories written for children by Alvin Schwartz; the first book was published in 1981. Schwartz wrote original or curated well-known tales that ranged from traditional ghost stories and folklore to urban legends. Many a young reader came across these books at their school libraries and would remember them best for Stephen Gammell’s truly disturbing but incredibly powerful illustrations. 

Photo courtesy of Lionsgate

In 2011, HarperCollins featured tame new art by Brett Helquist (Lemony Snicket), resulting in a good deal of discussion as the original pictures were very much part of the iconography. It should also be noted that the American Library Association listed the works as the most challenged series of books from the 1990s and has continued to stir controversy for its violence and macabre topics. 

Now these stories have been brought to the big screen in an intriguing film. This is not a horror anthology, a form that became popular in the 1960s and continued through the 1990s.  Instead, the stories are interwoven into a high-stakes plot that deals with a haunted tome where, “You don’t read the book; the book reads you.” 

It is Halloween 1968 and a trio of high school students along with a mysterious young man end up in a supposedly haunted house. Here, they unleash the spirit of  Sarah Bellows, a girl who was suspected of murdering children before the turn of the century. At the heart of the legend is her book of “Scary Stories.” In a traditional trope (think Candyman, Bloody Mary), it was rumored that she could be summoned by asking her to tell you a story — the last story you will ever read. This setup puts the group on a path whereby six of the tales from the book come to life, placing them in the midst of the stories.

The film is well-paced and well-acted.  There are a few jump-out scares and just a handful of mildly gross moments; the latter are handled stylishly and never cross the line. 

For the most part, “Scary Stories” centers on the characters in action and their search for the truth about Sarah and her family. Her past and the family’s history are gradually revealed and, ultimately, it is a morality tale where the monster is perhaps more sinned against than sinning. It is no coincidence that the film is played out during the height of the Vietnam War and, specifically, the final days of the 1968 election where the country would eventually experience a different kind of evil in the figure of Richard Nixon.

The cast is uniformly strong, with Zoe Colletti’s Stella being the driving force. She is a cross between the traditional scream queen and the self-actualized teenager we have come to expect in horror films.

Colletti is well-supported by Michael Garza as Ramón, the stranger with an important and surprising secret. The sidekicks, Auggie and Chuck, played by Gabriel Rush and August Zajur, respectively, are funny but grounded. It is this quartet that is central to the film. Unlike most latter-day horror and slasher films, this one centers on real friendship and, therefore, we are able to invest in their fates. In a supporting role, Dean Norris is particularly sensitive as Stella’s single father. 

The monsters, as would be expected given the source, are one-dimensional. This is intentional and appropriate as they are rooted childhood scares and fears — those terrors associated with the campfire and what lies underneath the bed. There are only occasional nods to the Gammell visuals, and the film would have perhaps been more frightening if these had been more prevalent.

Smartly directed by André Øvredal, the screenplay was adapted by Dan and Kevin Hageman, from a screen story by producer Guillermo del Toro, as well as by Patrick Melton and Marcus Dunstan. They have done their work well, finding a nice balance between humor and horror. Rated PG-13, “Scary Stories to Tell in the Dark” is a clever outing, making a welcome addition to the genre.

From left, Nell Williams, Aaron Phagura and Viveik Kalra in a scene from the film

By Jeffrey Sanzel

It is an unlikely premise. In 1987, 16-year-old Pakistani Javed Kahn (Viveik Kalra) finds solace and encouragement in the words and music of Bruce Springsteen. Javed rejects the music of his own generation for the earlier work of the New Jersey native. And yet, it is “inspired by a true story.” “Blinded the Light” is based on Sarfraz Manzoor’s memoir, “Greetings from Bury Park.” Manzoor co-wrote the screen play with director Gurinder Chadha and Paul Maydea Berges. The result is a mix of comedy, drama, fantasy and an unusual approach to the musical.

Growing up in Luton, England, Javed lives in a world plagued by racism, both small and large. Incidents involving the neo-Nazi National Front as well as the damage of Prime Minister Margaret Thatcher’s economic polices are very much present in his day-to-day life. Javed, who began keeping a diary at age 10, writes poetry as well as lyrics. His dreams are kept at bay by his very traditional father, Malik (Kulvinder Ghir). Early in the film, Malik loses his factory job, sending the family into a financial tailspin. His hope is that Javed will go into a real profession — doctor, lawyer, accountant — and is appalled and angered by Javed’s more esoteric hopes.

Introduced to the work of “The Boss” by a Sikh “dude,” Roops (an easygoing Aaron Phagura), Javed finds that Springsteen’s ideas speak directly to him. The songs are integrated throughout the film — sometimes as background, other times as actual numbers sung by the characters and occasionally shown through the lyrics circling in and out of Javed’s head. The result is mixed but makes its point. In addition to the title song, the film includes various versions of “I’ll Stand by You,” “Dancing in the Dark,” “Badlands,” “Hungry Heart,” “Born to Run,” “Thunder Road” and “The River,” among others.

At heart, “Blinded by the Light” is the story of a young man trying to find his identity. There is nothing complicated or deep about his struggle. Teenage angst has long been explored, and there is a distinctly John Hughes quality to much of the film. However, it is the darker and very real shades of prejudice that separate this from classic teen fare. The result is a two-hour diversion that is both honest and charming if short on surprises. In the end, it manages to make some real statements about intolerance and the power of the written word.

Much of this is due to Kalra’s endearing performance. Whether trying to navigate school, fighting with his traditional father, mooning over his crush — a rebellious Eliza (feisty Nell Williams) or trying to write lyrics for his friend’s, Matt (goofy-cool Dean-Charles Chapman) band, Kalra brings a wide-eyed reality, with every moment a discovery. Ghir shows a father in real pain, a man caught between two worlds. As Javed’s mother, Noor, Meera Ganatra, displays quiet strength and compassion. In a few short scenes, David Hayman brings a deeply touching arc as the stand-offish neighbor Mr. Evans, a World War II veteran who is moved by Javed’s poetry.

Sometimes the material sways toward the obvious. His teacher, Ms. Clay (Hayley Atwell) is the standard trope of supportive educator. A scene with Eliza’s conservative parents has an almost sitcom feel to it. There is a slightly forced takeover of the school’s radio station. There is a strange scene where Javed and Roops sing to some racist hooligans. 

On the other hand, there are surprising glimpses into worlds unknown, most notably a secret daytime dance hall for British Pakistani students. And sister Yasmeen’s (Tara Divina) wedding day is both vivid and jarring. And, always, Kalra’s sincere Javed is at the center. Ultimately, the film presents an earnest hero in a sensitive and worthwhile coming-of-age story. Rated PG-13, “Blinded by the Light” is now playing in local theaters.

Photos courtesy of Warner Bros.

By Jeffrey Sanzel

Garth Stein’s beautiful 2008 novel The Art of Racing in the Rain tells the story of Enzo, a golden retriever, adopted by race car driver Denny Swift. It is told from Enzo’s point of view, in Enzo’s voice, beginning at the end of his life. Enzo believes what he has seen in a television documentary on Mongolia – that dogs will come back as humans. What seems like an amusing premise makes for a powerful, memorable tale. Stein’s absorbing, descriptive prose catapulted the novel to the New York Times best-seller list for 156 weeks – and rightly so.

Now the book has been turned into a slightly rushed but not entirely ineffective feature film. Following the book’s plot closely, screenwriter Mark Bomback and director Simon Curtis honor the spirit and the structure if never quite capturing the underlying pulse. As with the novel, the story begins with the elderly Enzo and then goes back to Denny bringing Enzo home; Denny’s courtship of and marriage to Eve; the birth of their daughter, Zoe; Eve’s illness; and all that follows.

Little happens that is not predictable and there is a distinct lack of character development. Scenes are quick and the viewer is rarely allowed to stay on one moment or incident for long, resulting in a lack of tension. The life-and-death scenarios are scrolled through like a flip-book, occasionally holding briefly, but, overall, just moving to the next situation.

This shortchanges the majority of the cast who often seem to be sharing the same dialogue: “Hello, Enzo,” “Denny, is there anything I can do for you?,” and “Goodbye, Enzo.” Friends, family and co-workers flit through the film without making much of an impression. Even Amanda Seyfried, as Denny’s wife, is given very little to play beyond winsome and happy then winsome and sick. The usually dynamic Kathy Baker (as Eve’s mother) is lost in the screenplays simplicity.

Milo Ventimiglia (from TV’s This Is Us) makes a sensitive and charming Denny. While not an actor of great range, what he does, he does well. He captures Denny’s warmth and earnestness as well as his passion for racing. He is wholly believable, finding joy and pain in Denny’s achievements and struggles.

Where the film falls flattest is in the latter part of the movie. The book’s devastating and acrimonious custody battle is declawed to the point of almost being meaningless. The dispute is clumsy and meanders without raising any genuine conflict so the resolution is toothless. The film does manage to recover for a touching denouement. 

With all its flaws, however, the film works on a visceral level. This is due to two related pieces. First, Bomback wisely mines Stein’s prose for the majority (if not all) of Enzo’s voice-overs. Enzo’s perspective is the narrative soul and they have wisely not stinted. At all times, we are aware of Enzo’s observations and his deep-felt attachment to Denny. The entire movie is infused with this near-human, thoughtful and sensitive point of view.

And, second, Kevin Costner’s flawless voicing of Enzo is what ultimately pulls tautest on the heartstrings. Costner’s soothing rumble is the true soundtrack and one that will resonate long after the movie is over.

Those who have read the book might be disappointed with the film’s condensed, hurried approach to the story, which occasionally becomes sentimental when it wants to be sincere. But no one can deny that, in the end, it is a story told with directness, with compassion and with heart.

Rated PG, The Art of Racing in the Rain is now playing in local theaters.

Photos courtesy of 20th Century Fox

By Heidi Sutton

For too short a time, the classic tale of “Pinocchio” comes to life on Theatre Three’s stage in a most magical way. While most are familiar with Walt Disney’s 1940 animated feature, Theatre Three’s original retelling, written by Jeffrey Sanzel and Douglas J. Quattrock, is suggested from the 1883 children’s novel, “The Adventures of Pinocchio,” by Carlo Collodi.

Annabelle the Fairy (Krystal Lawless) has spent two centuries trying to earn her magic wand so that she can fly. Summoned before Ondine, the good and righteous Queen of the Fairies (Ginger Dalton), she is given one last chance to prove her worth or she has to leave the land of the fairies forever. 

Matt Hoffman and Steven Uihlein in a scene from ‘Pinocchio’

Teaming up with Cassandra the Magic Cricket (Michelle LaBozzetta), she is tasked with getting Geppetto (Steven Uihlein), a miserable and lonely woodcarver (think Scrooge), to care about people the same way he cares about wood.

Annabelle decides to cast a spell on the wood, making it talk, and Geppetto is inspired to carve it into a wooden boy he names Pinocchio (Matt Hoffman). Things go sour quickly as Pinocchio constantly misbehaves; so Annabelle casts another spell on him where his nose grows every time he tells a lie.

However, when Pinocchio gets mixed up with con artists Ferdinand Fox (Emily Gates), Carpacious Cat (Nicole Bianco) and Ranklin Rat (C.J. Russo) and is tricked into giving them all of Geppetto’s money, things go from bad to worse. Will Annabelle ever get her wings? Will Ferdinand, Carpacious and Ranklin get their comeuppance? Will Pinocchio ever become a real boy? 

Jeff Sanzel skillfully directs a cast of eight adult actors who take this delightful tale and run with it. There’s a lot to cover in an hour and a half, but the story flows nicely and keeps the audience at the edge of their seats.

The three troublemakers!

The musical numbers, accompanied on piano by Doug Quattrock, are lighthearted and entertaining, from “Lovely Thoughts” by Annabelle to “Bad Harmony” by the trio of con artists, to the wonderful “The Festival El Grande.” Choreography by Nicole Bianco fits the story perfectly and the costumes by Teresa Matteson and Toni St. John are sweet and fun.

There are so many special moments in this show, made even grander thanks to the addition of 40 children from the theater’s summer acting camp who play various extras including fairies and townspeople. 

Much to the delight of the young audience, the actors utilize the aisles often and special effects are around every corner. Annabelle and Cassandra hide under a magic umbrella that deems them invisible, Pinocchio’s nose really grows and wait until you see what falls from the ceiling at the end! Theatre Three has taken a story that is over 130 years old and given it new life. Grab the kids and catch a performance of “Pinocchio.” They will love you for it.

Souvenir fairy wands are sold for $10. Meet the cast in the lobby after the show.

Theatre Three, located at 412 Main St. in Port Jefferson, presents “Pinocchio” through Aug. 10. Children’s Theatre continues with “A Kooky Spooky Halloween” from Oct. 5 to 26 and “Barnaby Saves Christmas” from Nov. 23 to Dec. 28. All seats are $10. For more information or to order, call 631-928-9100 or visit www.theatrethree.com.

See more photos from the show online at www.tbrnewsmedia.com.

Reviewed by Jeffrey Sanzel

“A real failure does not need an excuse. It is an end in itself.”  The Gertrude Stein quote is an epigraph for the novel A Family Failure, August Franza’s story of “an ungrateful son.”

A Family Failure follows Heinz “Hank” Drummer, eldest son of a real estate tycoon.  However, Hank is a perpetual disappointment to his father, “The General,” who preaches one lesson: “Be a killer.”  

Hank has been raised in a world where “The General worked 14 hours a day raising hell and then he’d come home with his pockets filled with gold and raise some more hell and then get on the phone and do the business til midnight, raising more hell.”

The cover of Gus Franza’s latest book.

Hank has no instinct for this life or the drive to find it: “I was number one, ready to take over the business when I was supposed to be ready. But I didn’t want to be ready. I was never ready. I was a dangler.”  

Instead, the empire falls to his aggressively colorful younger brother, Sammy, who becomes the heir apparent. Sammy stumbles into his father’s footsteps and then onto great political heights. Hank has only contempt for “the little squirt.”  

If Sammy resembles a certain person in governmental power, it is by no means a coincidence: “Sammy B. Drummer … turned into Daniel B. Drummer, a disaster of a human being and, following on, through the years and decades, a danger to everyone.”

The book opens with the Village Voice’s announcement of Hank’s death. From there, the majority of the book chronicles Hank’s personal story as he shares it with Gus, bartender at The Purple Mist. 

Forty-three-year-old Hank is many things: an alcoholic whose most reliable friend and “real therapy” is Jim Beam; a self-described failure; a man in search of himself, committing suicide-by-liquor. 

Through his foggy narrative, he shares the fascinatingly ugly family history, beginning with the cutthroat German-born grandfather to his perpetually disappointed parents and finally to his famous sibling.  

A great deal of the narrative focuses on Hank’s banishment to Livonia, a second-rate business college, where he majors in not working, driving a red Corvette and trying to assemble his own niche group: The Fugitives.  

Hank wants to be seen as an outsider and yet find a place to belong. He manages to assemble a handful of disparate souls but the combination is odd and ultimately destructive. Hank attempts to carve out a place as a pseudo-intellectual (knowing The General would despise this) but even fails on this count.

The book is outrageous and crosses many lines. But Franza is a gifted writer who knows how to navigate a strange yet wholly recognizable universe. He is a strong writer with an ear for what is both real and lyrical. When Hank is most inebriated, he is synthesis of poetry and wet brain. It is a unique voice that makes us wonder if these are drunken rants or epiphanous clarity.

The story touches on Hank’s two failed marriages and his current affair with the equally alcoholic Camille. Hank’s relationships, personal and professional, are toxic. There is a gray cloud that has permeated his every choice. His is a brutal story of disconnect that Franza is able to paint in intensely painful shades. 

The final quarter of the book enters the contemporary arena as Hank brings Sammy to the forefront. In an unusual and original shift, the present is seen through the eyes of Hank’s ultra conservative and extremely paranoid dentist. (Dr. Linkoff’s skewed perspective is introduced when Hank is in the chair.)  

It is further explored through the dentist’s posthumous missive that is the close of the book. Here a fascinating take on the current climate. Franza’s wordplay reaches new levels in this bizarre anti-Wonderland.  

With A Family Failure, August Franza has created a postmodern novel bristling with challenging ideas and a wildly insightful core.

About the author: 

August Franza has published 27 novels and is planning to make them an even 30. 

The East Setauket resident has a doctorate in English literature and literary criticism, and his life’s work is held in the archives of the State University of New York at Stony Brook. 

Along with his wife and family, writing is his life’s work. He likes to quote T.S. Eliot who said, “It is necessary for poets to take chances, to go too far and risk complete failure.”

Franza’s latest novel, A Family Failure, is available online from Amazon and Barnes & Noble and through local bookstores. 

Visit the author’s website at www.augustfranza.com.

Brad Pitt, Leonardo DiCaprio and Al Pacino in a scene from the film Photo courtesy of Sony Pictures

By Jeffrey Sanzel

When approaching the films of cinematic auteurs, the tendency is to evaluate based on their entire body of work. While there is a logic to this, it is ultimately of limited value to someone actually experiencing the movie. Often, this is the road taken when the film is disappointing or less than the artist’s previous work. Fortunately, in the case of Once Upon a Time … in Hollywood, Quentin Tarantino has written and directed a strange but truly original love letter to the films of the late ’60s, creating a tapestry of real-life events and fictional characters. The upshot is an epic, enthralling, sometimes chaotic, often messy, but (mostly) satisfying journey.

Brad Pitt as stuntman Cliff Booth and Mike Moh as Bruce Lee in a scene from the film

Once Upon a Time interweaves a trio of threads: the fictional story of Rick Dalton (an amazing Leonardo DiCaprio), a TV western star on his way down, and his stuntman-gopher Cliff Booth (Brad Pitt, iconically charming); neighbor Sharon Tate (a luminous Margot Robbie); and the infamous Manson Family. Throughout, the narratives overlap, diverge and finally come together. The film is long but never boring, painting a vivid portrait of the seedier world of Hollywood.  

The performances are universally strong. Brad Pitt is warm and easy as the good-guy lackey with a past. His easy façade belies the darker shades beneath. Ultimately, he is the true hero in this world of faux cowboys. 

Margot Robbie captures Tate’s innocence. There is an enchanting scene where she attends her most recent film – Dean Martin’s The Wrecking Crew; her face is a wonder as she marvels, childlike, at her own image. With the least dialogue of any of the principals, Robbie manages to capture both Tate’s hopes and fragility. The actors playing members of the Manson Family are appropriately wide-eyed and menacingly mercurial, most notably Margaret Qualley as Pussycat and Damon Herriman, seen only briefly but to great effect, as Charles Manson.

But it is DiCaprio, as the self-destructive Dalton, who is a revelation. The portrait of an actor being pushed from hero to heavy, struggling with the twin demons of inadequacy and alcohol, is spot-on. Whether seen in clips from his ’50s network show Bounty Law, beating himself into a performance, or engaging with an 8-year-old costar (a delightful Julia Butters), he is funny, honest and completely human.  

There are assorted cameos and supporting roles from a who’s who of Hollywood, including Al Pacino (sounding surprisingly like Mel Brooks) as a stereotypical Hollywood player; Dakota Fanning, a chilling “Squeaky” Fromme; Bruce Dern as George Spahn, who rented his ranch to the Mason Family; Mike Moh as a hilariously arrogant Bruce Lee; Kurt Russell, low-key as a stunt coordinator and the film’s narrator; Rebecca Gayheart as Booth’s shrewish wife (whom he may or may not have murdered); and the late Luke Perry as TV actor Wayne Maunder, among others.

In its homage to the 1960s, Once Upon a Time is gritty and peripatetic, resulting in a picture that seems to have actually been shot in 1969. Sparing no detail, this is an immersion in a rough, bygone Los Angeles. The film alternates between satire and drama, reality and fiction, often jarringly so. A comedic moment juxtaposed with the tense shadow of the coming murders is clearly and, we assume intentionally, disturbing.  

But this is part of the greater whole that Tarantino has shaped in his semifictional Hollywood. There are moments and gimmicks that step out of this world but, fortunately, they are few and Tarantino lets the narrative carry the context. The final 10 minutes (and the only true graphic ones) can be best explained by the title. To say more is to detract from Tarantino’s bold and certainly controversial twist.

Rated R, Once Upon a Time … in Hollywood is an audacious, occasionally maddening film, but one that Tarantino fans – and others – will certainly embrace.

Reviewed by Jeffrey Sanzel

Christopher McKittrick’s Can’t Give It Away on Seventh Avenue, subtitled The Rolling Stones and New York City, is an engaging exploration of the connection between the iconic rock band and the city that embraced it like no other.

Author Christopher McKittrick

McKittrick wisely begins by putting into historical context the decaying New York City of the early 1960s to give a clear backdrop of the world into which the band entered. In the early part of the decade, English rock ‘n’ roll bands were rarely globe spanning. The Rolling Stones, the Beatles and a small handful of others would change this.

Any chronicle of the Rolling Stones touches upon a comparison with the Beatles both in style and popularity. McKittrick gives an insightful perspective of the more wholesome and instantly popular Beatles with the rawness of the Rolling Stones, whose first journey to America, while successful, was by no means the lighting bolt of the rival group.  

In a short time, the Rolling Stones would become synonymous with some of the most infamous stories of decadence. They would continue to reinvent themselves over the coming decades, become symbols of both extreme behavior and the power of marketing. The band will forever be connected to the “bad boy” image. “If your parents didn’t like the Beatles, they really wouldn’t like the Rolling Stones.”

The book describes raucous early performances, including borderline rioting at Carnegie Hall, heralding the insanity that would follow them. There is a detailed account of the Oct. 25, 1964, appearance on “The Ed Sullivan Show.” The word “pandemonium” could easily have been invented to describe the wake that followed the Stones.

McKittrick wends his way through the band’s tours across the country, providing a wealth of details that chronicle its meteoric rise. The book has been meticulous researched: Concerts are dissected, comparing set lists even within the same tour; albums scrutinized; venues described and contrasted; recording sessions reported. Fans will be fascinated by the depth that the author provides in his look at “The World’s Greatest Rock ‘n’ Roll Band.”

The book picks up with the band when it is first establishing itself. We are treated to the intrigue, the late night clubs, the relationships and marriages, the celebrities (everyone from Andy Warhol to Bill Clinton), hotel destructions and, of course, the drugs. The Rolling Stones are almost a history of the changing drug use and drug culture in the 20th century. Wild parties, addictions, police raids and arrests, stints in rehab and recovery were a never-ending cycle.  

At the heart is the conflict between Mick Jagger and Keith Richards, a connection that constantly imploded and exploded for 50 years. These two megastars (with equally mega-egos) would battle and make up endlessly over five decades.  

Throughout the book, McKittrick continually returns to New York City. He mines the Rolling Stones’ lyrics, finding dozens of direct references to New York. There are thumbnail histories of Shea Stadium, Carnegie Hall and other stages where the band played as well as multiple appearances on “Saturday Night Live,” the most New York of New York television shows.  

As New York changes, so does the band. The dark and dangerous “Fun City” of the 1970s gives way to the superficial and capitalist ’80s, turning finally into the sanitized, Disney-fied 1990s and beyond. NYC’s fiscal struggles and strikes, its pop culture events, and its shining moments are all presented in the context of the Rolling Stones’ history.

Eventually, like New York City, the band transitioned to survive — they chose a “corporate face-lift.” The Steel Wheels Tour of 1989-90 represented the band as “a cultural product. The rock ‘n’ roll hell raisers had become an institution. Much like the Some Girls song anticipated, the Stones had become ‘Respectable.’”  

After half a century, the long-standing appeal of the Rolling Stones is summed up by Jim Farber in the Daily News: “However corporate the Stones’ sponsorship, domesticated their fans, and predictable their repertoire, the essence of the band still thrives whenever Keith Richard flicks his riffs, Charlie Watts slaps the snare drum, and Mick Jagger swaggers through the blues.”

McKittrick’s book is not so much a dual history but a striking investigation of a cultural phenomenon reflected in one of the greatest cities in the world.

Published through Post Hill Press, Can’t Give It Away is available at www.posthillpress.com, www.amazon.com and www.barnesandnoble.com.

A scene from 'The Lion King.' Photo courtesy of Walt Disney Pictures

By Jeffrey Sanzel

Disney has reached into its vault to create live-action versions of 101 Dalmatians, Beauty and the Beast, Cinderella, The Jungle Book and, most recently, the disappointing Dumbo and the mediocre Aladdin. Its newest release is the The Lion King, a remake of the 1994 animated classic, presented as a photorealistic computer-animated feature. The end result is stunning but unsettling.  

The original Lion King was a revelation. It dealt with difficult subjects and never pandered; it was wholly entertaining, truly sincere, and played to all ages. With loose shades of Hamlet, there was humor and humanity. It spawned the highly theatrical Tony Award-winning musical that has run for over two decades.

A scene from ‘The Lion King.’ Photo courtesy of Walt Disney Pictures

With few script embellishments from the original, the latest offering is just a new approach to animation. It is visually glorious, with every shot and every frame a breathtaking work of art. It is as realistic as if they were filming wildlife in its natural habitat. 

And therein is heart of the problem. In creating creatures that truly appear real — and they do — there is little to no expression. As animals do not communicate with their faces, it often feels static and detached in the dialogue sections. Much of the film seems like a nature documentary with voice-overs. The flip side is that the violence is brutally convincing with moments that are genuinely frightening. The hyenas are particularly alarming — and when they attempt to alleviate this with comic lines, they come across as psychotic.  

Directed by Jon Favreau, the film follows the original very closely (though clocks in a full 20 minutes longer). The opening is as beautiful and powerful as the original with the assemblage of animals coming to the presentation of young Simba, crown prince of the lions. The death of the patriarch is every bit as heart-wrenching if not more. The lion cubs could not be cuter. There are one or two very funny surprises; an amusing nod to Beauty and the Beast is welcome in one of the darker stretches.

In addition to the brilliant cinematography, the vocal artistry is first rate. J.D. McCrary and Donald Glover as the young and grown Simbas, respectively, bring honesty to their shared role. 

Billy Eichner is hilarious as the meerkat Timon, with a nice assist from an underplaying Seth Rogen as the warthog Pumbaa. 

John Oliver is comically uptight as the bird Zazu while John Kani brings genuine gravitas to the shaman-like Rafiki. Alfre Woodard is appropriately warm and strong as matriarch Sarabi and the great James Earl Jones, the only hold-over from 1994, returns as Mufasa and delivers a performance equal to his original. 

Especially strong, finding both danger and dimension, is Chiwetel Ejiofor as the treasonous Scar; what is interesting is that of all the characters, his face somehow manages to communicate the most expression.

The delightful music of the first film is here: It once again features the Oscar-winning work of Hans Zimmer, Tim Rice and Sir Elton John.

Because of the realistic and often savage violence, it seems that it might be too frightening for young audiences. So while engaging and inventive, ultimately, Disney’s The Lion King leaves the viewer with a certain disconnect and questioning not so much as why it was made but for whom.

Rated PG, The Lion King is now playing in local theaters.

Reviewed by Jeffrey Sanzel

“I’m afraid that it’s cancer again, Richard, and this time it’s a bad one.”  

Author Ralph F. Brady

The opening line to Ralph F. Brady’s novel “Borrowed Time” pulls no punches. It establishes the protagonist’s dilemma and sets him on a journey that takes him back over 100 years.  

Forty-year-old Richard Carpenter has an eight-year history with various illnesses, all of which he has overcome. However, in this instance, the odds are against him; he is given a prognosis of one year. He begins to suspect that his difficulties can be traced to damage done by his paternal grandfather, whose alcoholism and work with dangerous chemicals altered the family’s DNA. It is this hypothesis that drives the action.

Coinciding with this news is the closing of the boatyard where he works as a skilled and gifted mechanic, welder and “jack-of-all-trades.” He quickly gets a position working on a secret project at Brookhaven National Lab. This turns out to be a government-sponsored time travel venture that is about to be shut down. Convinced that he can change his health by altering his history, Richard volunteers to be the first human to be sent back in time.

The majority of the novel is taken up with Richard’s experience in the past, spanning the end of 1899 through the beginning of 1900. It is a personal story and not about the science of time. Instead, it is about Richard’s need for answers. He knows that his situation might be unsolvable but he hopes to at least understand how his fate came about.

Brady has meticulously researched turn-of-the-century Long Island and paints both a community and global picture of the time. There is great fun in many local references, both past and present. For example, the train from Brooklyn to Greenport is always on time as there are only four stops.

Richard meets and befriends his paternal grandfather, Francis, and attempts to guide him toward a sober life. He does this in full knowledge that there are any number of repercussions. Richard even visits with Francis’ wife – his grandmother – whom he would meet in his own childhood.

Francis invites Richard to work alongside him in the research and construction of submarines, being built and tested in New Suffolk. Brady brings to life this world, including inventor J.P. Holland, who took this craft to the next step. (There is a particularly harrowing description of a submersion that nearly goes wrong.) 

Of course, with his modern know-how, Richard quickly becomes invaluable. Politics and personalities intersect as Richard guides Francis to better choices. 

Romantic entanglements with his boardinghouse landlady make Richard question his 21st-century commitments. Initially, there are sweet scenes of a pastoral nature. However, Brady is smart enough to know that nothing is simple and the complications mount as Richard weighs his past and present lives, considering the choices he has and the uncertain future he faces. 

The fact is, he becomes not just comfortable with this brave old world but connects with it in ways he didn’t expect.  

Brady has a natural and engaging prose. While it is told third person, it feels as if Richard is speaking, giving the narrative a personal and unaffected voice. Richard raises eyebrows with latter-day idioms (“fifteen minutes of fame,” “go to my head”) and must continually create a detailed, false history. 

In addition, he has skills and insights that he must introduce without arousing too much suspicion. With shades of Mark Twain’s “A Connecticut Yankee in King Arthur’s Court,” he is a man living out of his time.

Any work that focuses on time travel and the changing of a time line demands a logical and satisfying resolution. The final twist in “Borrowed Time” provides a smart and powerful final stroke in Brady’s debut novel.

Author Ralph Brady is a retired executive from the transportation industry. His latest novel,“Borrowed Time,” is available online from Amazon and Barnes & Noble, and through local bookstores. The Mount Sinai resident is also the author of “Landmarks & Historic Sites of Long Island,” “Images of America: Glendale” and “A Maritime History of Long Island.”

A scene from ‘Toy Story 4’. Photo courtesy of Disney/Pixar

By Jeffrey Sanzel

A film that aims to explore the pains of growing up, that endeavors to touch on love and loss, on sense of self and self-worth, takes on a huge challenge. That the movie aspires to a balance of humor and honesty makes it even more challenging. That an animated feature is told through the eyes and voices of toys seems impossible. However, as seen through the first three Toy Story movies, it is more than attainable. In a franchise that grew in both depth and art with each film, finding more laughter and more tears, it is the exception to every rule. The newest addition, Toy Story 4, is certainly one of the best films of the year.

Woody introduces Forky to the other toys. Photo courtesy of Disney/Pixar

Here are 100 minutes of pure entertainment, alternating between laugh-out-loud funny and poignantly touching, in a film that never feels like a sequel. It plays on multiple levels, providing jokes and slapstick, clever asides and deep insights, so that audiences of any age will be completely engaged from start to finish.

Woody (the always marvelous Tom Hanks) now belongs to Bonnie (Madeleine McGraw) but has been put aside for cowboy Jessie (Joan Cusack). This does not change Woody’s mission to make sure Bonnie is taken care of at all times. When Bonnie reluctantly goes to kindergarten, she finds solace in creating Forky, crafting him from a spork, googly eyes and a pipe cleaner — an opportunity that Woody engineers. Forky becomes Bonnie’s obsession and solace. What she doesn’t realize is that Forky (a scene-stealing Tony Hale) does not want to be a toy. Eventually, guided by Woody, Forky learns his value.  

Toy Story 4 is what we have come to expect in the series without ever feeling like it is a repeat of its earlier chapters. The movie includes a wild road trip, a dazzling carnival and a range of hijinks and colorful characters that make for a nonstop adventure. 

Eventually, the crew is reunited with the now self-actualized Bo Peep (a sly and knowing Annie Potts) who has found freedom in being a “lost toy,” living a full life in what can only be labeled renegade and off the grid with a posse of like-minded toys. Much of the latter half of the film also centers around an antique shop, ruled by Gabby Gabby (a flawlessly wicked Christina Hendricks) and her minion of ventriloquist dummies. Gabby Gabby is, at first, the villain of the story; but there is much more to her and her journey.

The film features many returning voices including Tim Allen as Buzz Lightyear (comically learning to listen to his inner voice), Wallace Shawn as the neurotic Rex, John Ratzenberger as Hamm, Blake Clark as Slinky Dog, Estelle Harris as Mrs. Potato Head, Don Rickles as Mr. Potato Head (from archival recordings), Timothy Dalton as Mr. Pricklepants, Bonnie Hunt as Dolly and Carl Weathers in a terrific running joke as three different Combat Carls. All of them deliver incredibly enjoyable performances, mining the most of their individual and team moments.

Newcomers include Keegan-Michael Key as Ducky; Jordan Peele as Bunny, an outrageous plush pair; and Keanu Reeves as Duke Caboom, a second-rate Evel Knievel toy. There are wonderful cameos from Mel Brooks (Melephant Brooks), Carol Burnett (Chairol Burnett), Betty White (Bitey White) and Carl Reiner (Carl Reineroceros).

Josh Cooley, whose directorial credits include The Incredibles, Cars and Up, has beautifully guided the entire film. The excellent screenplay is by Stephany Folsom and Andrew Stanton (with a total of eight people credited with “story by”). The literally hundreds of artists who worked on the picture have contributed to an emotionally seamless and visually stunning whole.

If the ending doesn’t pack quite the emotional punch of Toy Story 3, it is still wholly satisfying, bringing to a close a classic and heartfelt odyssey. While perhaps not perfect, Toy Story 4 comes pretty close.

Rated G, Toy Story 4 is now playing in local theaters.