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Jeffrey Sanzel

Reviewed by Jeffrey Sanzel

With the success of Bridgerton, Regency has currently eclipsed Victoriana as the go-to for period drama. While Jane Austen’s seminal work, Pride and Prejudice, has never been far from television and cinema, Dickens has more often been the primary source for historical adaptation.

In 2009, Suzanne Allain self-published Mr. Malcolm’s List and adapted it for the screen. After a 2015 podcast reading, Emma Holly Jones acquired the rights along with producer Laura Rister. A short film titled Mr. Malcolm’s List: Overture, directed by Jones, was released online in 2019. Subsequently, the novel was published by Berkley Books in 2020. 

The year is 1818, a time of tea and quills, empire waists, and oversized top hats. Mr. Jeremiah Malcolm (Sope Dirisu), the wealthy second son of an earl, seeks a bride. With “twenty thousand a year,” looks, and charm, he is the season’s catch. Courting and then moving on, none of the prospective ladies match the criteria on the titular list. These items include an amiable disposition and a knowledge of politics, a sense of charity, and a host of other desirable traits.

The lovely but vaguely shallow Julia Thistlewaite (Zawe Ashton) fails to engage him during their time at the opera. Shortly after, a humiliating newspaper caricature featuring Julia’s rejection circulates throughout London. Bent on revenge, the spurned Julia—now out for a crushing four seasons—sends for her friend Selina Dalton (Freida Pinto). Julia grooms Selina as the perfect trap for Malcolm by having her embody all of the things on the list. Daughter of a poor Sussex vicar, Selina—surprise, surprise—is the perfect match for the man. 

While the plot is simplistic, it fits logically into the Regency world. With drawing rooms and drinking clubs, Mr. Malcolm’s List comfortably evokes the environment, if not the works of Jane Austen. The priority of marriage and money swirls around the principals, cloaking them in the power of society and the prevailing poison of gossip. Here, “what people say is what matters,” and often, they are “judged and found wanting.”

The elements for a delightful romp into the intrigue of romance gather at the outset as Julia launches into action.

So why doesn’t it work? The answer is simple: They are all too nice. Everyone is not just charming but, for the most part, kind. Even Julia, at her most vindictive, manages to be likable. The narrator states that Malcolm is a nice person. He is no Mr. Darcy, with his haughtiness and self-absorption. He has the reputation of a “trifler”—but his actions seem to belie this. Selina has no side to her; absent is the delightful edge that Elizabeth Bennet possesses, which gives her character dimension. 

Also, there is a dearth of characters that are “more than.” One looks for the mercenary Mrs. Bennet, the oily Mr. Collins, or the roguish Wickham. Here, only two minor characters—an older gentleman pursuing Selina and Selina’s twice-wed cousin, the flittering Mrs. Covington (a welcome scenery-chewing Ashley Park)—approach anything resembling the appealingly grotesque. The overall blandness of nice people makes for what amounts to a tedious two hours.

Pinto is smart, strong, and always watchable. She never allows Selina to become petulant, even when most frustrated. Dirisu embodies Malcolm with a wryness that peeks throughout. His good looks, rich voice, and ability to make even the smallest shift count create a likable (if too likable) protagonist. Oliver Jackson-Cohen manages to elevate the sidekick caught between opposing factions, mining the humor; sadly, he mostly disappears halfway through the film. Given the character’s inconsistency, Ashton finds some arc in Julia. Divian Ladwa’s servant John is funny but short-changed, as are all the “below stairs” characters.

There are weighty discussions about life and love but little wit. Sparks require friction, and the film lacks discord. Even the gossip appears fangless, and the hurdles seem low. Allain’s screenplay is so by the numbers; there is never doubt, not just about the outcome but what will happen moment to moment. Jones’ direction captures time and place but lacks tone. A vague sitcom quality hovers around the edges, including Selina’s clumsy training montage. The costumes and settings are detailed, lush, and a visual feast. But these are not enough to sustain interest.

Comparisons can easily be made to Bridgerton, especially in the show’s second season, a less-than-subtle take on Pride and Prejudice. Both are style over substance. But where Bridgerton manages to find some surprising choices, the facile and often banal Mr. Malcolm’s List offers no such revelations. 

In the end, one would hope for more Thackeray’s Vanity Fair and less Hallmark Movie of the Week. Nice is nice. But it isn’t fun. 

Rated PG, the film is now playing in local theaters.

Reviewed by Jeffrey Sanzel

Australian auteur Baz Luhrmann has left his kinetic imprint on a range of cinematic works. Known for his bold visual style and thumping soundtracks, William Shakespeare’s Romeo + Juliet (1996), Moulin Rouge! (2001), and The Great Gatsby (2013) are among his most prominent projects. With Elvis, he has turned his sights on one of the most iconic performers of the twentieth century. Working from a screenplay co-written with Sam Bromell, Craig Pearce, and Jeremy Doner, Luhrmann presents an almost hagiographic portrait, smoothing out many of the rougher edges.

Elvis begins with Luhrmann’s usual frenetic assault. Slow-motion, quick cuts, aggressive music, and even a dissolve into a comic book set the tone for an original, if over-the-top, approach. However, within thirty minutes, the film settles into a traditional biography with only occasionally departing from a straight narrative. It becomes surprisingly pedestrian, given Luhrmann’s signature style. Predictable montages with cities superimposed on a map indicating travel seem a throwback to films of a previous century. Perhaps this is to put the action in its time, but it leans more towards creaky than homage.

The film tells the story from the perspective of Elvis’s agent, Colonel Tom Parker (Tom Hanks). He serves as narrator and villain, tracing the singer from his poverty-ridden childhood through Parker’s elevation of the singer and Elvis’s meteoric rise. Much is made of Elvis’s fascination with African-American music of Memphis’s Beale Street. The huckster Parker becomes guide and gatekeeper to the naive young man, with something Faustian about the story: Parker as a corpulent Mephistopheles making dreams come true.

The film covers little new ground. In two and a half hours of playing time, Elvis reveals bits and pieces but never creates a full portrait of any of its characters. Luhrmann pulls his punches, making Elvis an almost benevolent figure, eschewing many darker elements. The drugs and sex are touched upon but then relegated to the background. While Parker states that Elvis was “the taste of forbidden fruit,” these are seen only in sanitized glimpses.

The greatest star of many generations was the victim of bad choices and insidious management. There are harrowing moments—particularly when his father decides to get him on stage when he should be in a hospital. But these moments are too few and far between. Instead, the movie focuses on performances and the push-pull relationship between the manager and the managed. Nods are made to Elvis’s devastation over the assassinations of Martin Luther King, Jr., and Robert Kennedy and his desire to make bigger statements. But they are skimmed over. 

His career is played in fast-forward, his army service and movies receiving only perfunctory glances, segueing to television, and finally to Vegas. The Steve Allen debacle, with Elvis in tails singing to a hound dog, makes for a decisive moment, and the entire residency at the International Hotel receives more than a cursory treatment. 

Tom Hanks gets points for giving the least “Tom Hanks” performance of his career. His almost freakish Parker is an obese fat suit and distorting prosthetics, calling to mind Jiminy Glick or Danny DeVito as the Penguin. The shadowy “Colonel” was a fraud and a charlatan, not southern but Dutch. For some strange reason, Hanks opted for an untraceable European accent (and sounding nothing like any of the available clips of the real Parker). One expects lines like “He’s the greatest carnival attraction I’d ever seen; he was my destiny” to be followed by a maniacal laugh. He creeps around the film’s periphery, wandering in his purgatory casino.

In theory, the reason for biographical films is to explore historical figures, acknowledge their accomplishments, explore them in the context of their times, or gain insight into what made them unusual, exceptional, and memorable. However, more often, the films become a celebration of the actors’ work: Daniel Day-Lewis in Lincoln; Jennifer Hudson in Respect; Joaquin Phoenix and Reese Witherspoon in Walk the Line; Rami Malek in Bohemian Rhapsody, etc. Somewhere along the way, the portrayal subsumes the persona.

Austin Butler delivers as Elvis. He captures the King in every look, shift, and shrug. He embodies the roiling doubts and the desire for more. Whether struggling with career choices or trying to care for his dysfunctional parents, he infuses each moment with integrity and star power. His vocals are excellent, and he has found the required nuances. (Butler sings all the earlier songs and then is blended with actual Elvis recordings for the later years.)

By the film’s end, little has been revealed about the man or the myth. There are events and interactions and a bit of trivia but not much depth. Unlike Dexter Fletcher’s Rocketman, the gloriously messy look at Elton John, Elvis chooses not to reflect its subject in style or approach. There is nothing “Elvis” about Elvis. Instead, Baz Luhrmann offers a by-the-numbers biopic with a mesmerizing central performance. It is something, but perhaps not enough.

Rated PG-13, the film is now playing in local theaters.

One of the most anticipated movies this summer is 'Where the Crawdads Sing.'

By Jeffrey Sanzel

A year ago, studios wondered whether there would be a “return to normal.” The summer of 2021 straddled a mix of theatre attendance and residual streaming. Delays in various releases continued through the fall and into the winter and spring. This summer, the options seem to reflect the pre-pandemic era. 

Elvis

Elvis is one of the most anticipated films. Directed by Baz Luhrman (from a screenplay by Luhrman and others), the biopic focuses on Presley (Austin Butler), from his early career to his iconic rise. Much of the story chronicles his complex relationship with Colonel Tom Parker (Tom Hanks). Lurhman is noted for his non-traditional approaches (as evidenced in his Moulin Rouge, Romeo + Juliet, and The Great Gatsby), so his take will most likely reflect his unique style. Rated PG-13 · Release date June 24

Minions: The Rise of Gru

Minions: The Rise of Gru offers a sequel to a spinoff. Minions (2015) followed Despicable Me (2010) and Despicable Me 2 (2013). The second film is in the wake of Despicable Me 3 (2017). For the franchise fans, the story picks up after the events in Minions, with twelve-year-old Gru (voiced by Steve Carrell) striving to join the supervillains known as the Vicious 6. Rated PG · Release date July 1

Thor: Love and Thunder

For those craving the most traditional summer fare, there is Thor: Love and Thunder (July 8), the sequel to Thor: Ragnarok (2017) and the 29th film in the Marvel Cinematic Universe. Thor enlists the help of Valkyrie, Korg and ex-girlfriend Jane Foster to fight Gorr the God Butcher, who intends to make the gods extinct. Taika Waititi directs Chris Hemsworth in the title role. The film also stars Tessa Thompson, Natalie Portman and Christian Bale. Rated PG-13 · Release date July  8

Where the Crawdads Sing

Delia Owens’ bestseller 2018 Where the Crawdads Sing reaches the big screen with Daisy Edgar-Jones as Kya, a self-raised girl from the marshlands of North Carolina who becomes the prime suspect in a murky murder case. One of the most popular novels in the last ten years, this tale of secrets hidden and revealed is one of the more serious offerings. Not Yet Rated  · Release date July 15

The Gray Man

For those looking for action thrillers, The Gray Man offers the CIA’s most skilled mercenary (Ryan Gosling), uncovering dark, incriminating secrets about the organization. Chris Evans plays a psychopathic former colleague assigned to hunt him down. Produced and directed by Anthony Russo and Joe Russo, The Gray Man hopes to be the first of a franchise based on Mark Greaney’s Gray Man novels. Rated PG-13 · Release date July 15 

Nope

One of the more intriguing releases is Nope (July 22). Residents of an isolated town in California, including ranch owners James and Jill Haywood (Daniel Kaluuya and Keke Palmer), witness a mysterious and abnormal event. This science-fiction horror film is written, directed, and produced by Jordan Peele, whose brilliant and distinctive style always informs his work, including the highly effective Get Out and UsRated R · Release date July 22

Marcel the Shell with Shoes On

Equally as interesting is Marcel the Shell with Shoes On, a live-action/stop motion-animated mockumentary that trails the titular character (voiced by Jenny Slate) who embarks on a journey to locate his family. Rated PG · Release date July 24

The Black Phone

No summer is complete without the usual dose of horror. The Black Phone (June 24) reunites Ethan Hawke with Scott Derrickson, his director from Sinister (2012). Here, a kidnapped boy trapped in a basement realizes he can communicate with this captor’s previous victims. Rated R · Release date July 24

Bullet Train

Bullet Train is a hybrid action comedy/thriller based on the Japanese novel Maria Beetle. Brad Pitt heads an ensemble cast as trained killer Ladybug (Pitt), who wants to give up the life but is pulled back in by his handler (Sandra Bullock). On a train from Tokyo to Kyoto, competing assassins discover they are after the same briefcase. (There has been some backlash on the film’s casting, with two of the novel’s main characters becoming non-Asian.) Rated R · Release date July 29

DC League of Super-Pets

The family-friendly DC League of Super-Pets is an animated adventure with Superman’s dog, Krypto (voiced by Dwayne Johnson), organizing shelter pets who have special powers to free the Justice League, which mastermind Lex Luthor has captured. Rated PG · Release date July 29

Bodies Bodies Bodies

The satirical slasher Bodies Bodies Bodies (August 5) sees a group of friends gathering for a house party to play a murder mystery game, only to discover an actual murder has taken place, and they must now play the game for real. Rated R · Release date August 5

Samaritan

In Samaritan, a young boy (Javon Walton) realizes that a famed superhero, who was thought to have gone missing, may still be around. The film also stars Sylvester Stallone. Rated  PG-13 · Release date August 26

3000 Years of Longing

There is a surprising dearth of fantasy, with Three Thousand Years of Longing being one of the few. Adapting and directing A.S. Byatt’s short story The Djinn in the Nightingale’s Eye, George Miller returns after a seven-year hiatus. The epic romantic fantasy chronicles a woman (Tilda Swinton) who encounters a djinn (Idris Elba) who offers her three wishes in exchange for his freedom. Rated R · Release date August 31

Clearly, this summer hosts a variety of choices for all filmgoers. 

*This article originally appeared in TBR News Media’s Summer Times supplement.

A scene from 'Lightyear'. Image courtesy of Disney/Pixar

Reviewed by Jeffrey Sanzel

“To infinity and beyond” takes on a different context in Pixar’s excellent Lightyear. Instead of a pithy catchphrase, the words become a heartfelt exchange between Buzz Lightyear and his friend and commanding officer, Alisha Hawthorne. This adjustment encompasses the tonal shift from Buzz’s cinematic origin in the world of Toy Story.

Here, Lightyear is the favorite film of Toy Story’s young Andy Davis, who received a Buzz Lightyear toy in 1995 when the movie was released. Lightyear is a meta-spinoff of the Toy Story series but its own entity. Buzz Lightyear is not the action figure but the source character himself. He is less the stiff, oblivious punchline and more a mildly but easily exasperated military careerist. The Star Command Galactic Ranger and Alisha explore the planet Tikana Prime, which is overrun with attacking vines and insectoid creatures. In trying to evacuate, Buzz damages the vessel, leaving the crew marooned as they conduct repairs. 

What follows is a classic science-fiction story dealing with the variegations and complications of time travel. Each time Buzz attempts to go into hyperspace, a time dilation of the four-minute journey passes as four years on Tikana Prime. Buzz fixates on liberating the stranded team. Meanwhile, the crew continues to live and flourish, developing a community that does not include the alienated (and often alienating) Buzz. 

A scene from ‘Lightyear’. Image courtesy of Disney/Pixar

The societal growth is shown most vividly in Alisha, who marries and raises a son with her wife and eventually passes on her love of being a ranger to her granddaughter, Izzy. While Buzz obsesses on the world left behind, Alisha thrives in the world that is present. (This beautifully integrated LGBT element caused it to become the first children’s animated film to be given an NC16 rating in Singapore, equivalent to an R rating in the US.)

The film is not without laughs, but they are often of a subtler variety. Alisha chides Buzz for his constant self-narration, reminding him that no one ever listens to his logs. Buzz receives a robotic service animal, a feline named Sox, whose running commentary and support function as an emotional connection for the lonesome Buzz. Underneath the “I’m Buzz Lightyear—I’m always sure” is a lost and slightly damaged ranger. 

After sixty-two years of failures, Alisha’s replacement, the insensitively bureaucratic Commander Burnside, shuts down Buzz’s attempts. By now, robots have invaded the planet under the control of the mysterious Emperor Zurg (the only other character from the Toy Story canon). A laser shield has been the sole protection from the machines overrunning the vulnerable community. Bruised but undaunted, Buzz goes rogue to complete the mission. He encounters ragtag members of the colony’s defense force who eventually become his team.

There is nothing strikingly new in Lightyear. In its beautiful, rough cinematic animation, it conjures the Lucas universe. Sly references permeate the canny, straightforward screenplay by Jason Headley and Angus MacLane. The stock characters are written with wit, but more importantly, humanity. The revelation of the antagonist provides a powerful “ah-hah” moment, giving Buzz a personal epiphany. 

Chris Evans provides the voice for Buzz Lightyear in the new Toy Story spinoff.
Image courtesy of Disyey/Pixar

Chris Evans embodies Buzz with the right balance of bombast and guilt, never sacrificing the pain for a laugh. Uzo Aduba’s Alisha is the perfect foil: smart, clever, and fully aware. The trio of under-trained recruits form Buzz’s eventual entourage. Keke Palmer captures Izzy’s mix of eagerness and fear. Taika Waititi’s Mo Morrison possesses the right touch of wide-eyed naïveté. Dale Soules, channeling her Orange Is the New Black persona, ideally assays the elderly paroled convict with a penchant for blowing things up. As Sox, Peter Sohn is simultaneously warm and deadpan—with several references to R2-D2. (There is an amusing bit with Sox providing sleep sounds.)

MacLane has directed Lightyear with a sure hand and a clear vision. He has led his voice actors and animation teams to create a story that echoes the importance of belief in others with striking and often thrilling visuals. Told through a man out of time (landing in a world where the sandwich is rethought), Lightyear finds its head and heart in ideas of life and home. More Star Wars than Toy Story, the film plays on an adult level but offers much for young audiences to enjoy. It is most on the nose (i.e., children’s movie) in the lessons of teamwork. But the ideas are smoothly introduced in action (no catchy theme songs like “You’ve Got a Friend in Me”). Like with Encanto, the layers only enhance the watching experience.

With Lightyear, Pixar has found a fresh, enjoyable, and original concept. The creators adeptly transformed a character from one universe to another. Handling the shift with style, Lightyear celebrates wonder, adventure, and, ultimately, integrity. Rated PG, the film is now playing in local theaters.

Jeffrey Sanzel in 'Every Brilliant Thing'

By Melissa Arnold

On any given day here in America, roughly 130 people die by suicide. Countless more are actively struggling with poor self-esteem, depression or self-harm. If it’s not you, then it’s likely someone you know and love. No one is immune. One bright spot: It’s also becoming more common to talk openly about mental health. More people are going to therapy or reaching out for help in other ways.

This summer, Theatre Three in Port Jefferson will present eight performances of an intimate, moving and funny one-man play called Every Brilliant Thing. The protagonist, a middle-aged man played by Jeffrey Sanzel, takes the audience along as he recalls his mother’s mental illness and multiple attempts at suicide, along with their impact on his own wellbeing.

Audience participation is a large part of ‘Every Brilliant Thing.’

What’s funny about that? Well, after his mother’s first attempt when he was seven years old, the young narrator sets out to make a list of everything in life that’s brilliant – like eating ice cream, or peeing in the ocean without getting caught. Some items on the list come with silly memories that put the honest, pure heart of a little kid on full display. And as he grows, so does the list. The hour-long show is equal parts heartbreaking and uplifting.

Sanzel, the theater’s executive artistic director, said he first discovered the show thanks to lighting director Robert Henderson.

“Robert attended the Utah Shakespeare Festival several years ago and bought the script [for this show] for me to read, just because he thought I’d enjoy it,” Sanzel recalled. “I thought it was a beautiful piece of writing, though I didn’t intend to do a production of it.”

Some time later, he bought a second copy of the script as a gift to his friend, director and actor Linda May.

“When I read the show, I said to Jeffrey, ‘Not only do I love this, but I think we need to do it, and we should do it together.’ Everything came together very quickly from there, and I feel like it was meant to be,” May said.

Every Brilliant Thing was originally set to open in July 2020, only to be tabled by the pandemic. May said the extra time has allowed them to delve much deeper into the show and its character.

Jeffrey Sanzel stars in the one-man show, ‘Every Brilliant Thing,’ on Theatre Three’s Second Stage through Aug. 28. Photo by Steven Uihlein/Theatre Three Productions, Inc.

“Jeffrey is very decisive and businesslike as a director, but I’ve had the opportunity to see a more vulnerable side of him as an actor,” she said. “This unnamed narrator really divulges personal parts of his life, and I knew that Jeffrey could bring that sensitivity and communicate how important it is to bring the issue of suicide into the open, without shame.” 

The show relies on some audience participation, with showgoers making brief appearances as significant people in the narrator’s memories — his father, a counselor, a young woman — and reading items from “the list” from Post-It notes they’re given on arrival. The resulting dynamic is personal and emotional, and each performance will have its own unique variations.

“I have to admit that audience participation isn’t my favorite thing, but it’s brilliantly woven into the fabric of the piece,” Sanzel said. “It’s very funny and balances out the darker elements, while remaining sensitive and respectful of the topic … In fact, this is probably the best play I’ve ever read on the subject of depression. It’s a common topic of discussion in theater, but this was captured in such a unique way.”

Theatre Three has partnered with Response Crisis Center of Long Island for this production. Founded in 1971 by volunteers after a suicide attempt at Stony Brook University, the center is now a 24/7 local hotline and chat service for people in crisis. They also function as a backup center for the National Suicide Prevention Lifeline, taking more than 5,000 additional calls, chats and texts from them each month.

“We want to give people the support they need and help them to stay safe. It’s hard to problem solve during a crisis situation — you can get a sort of tunnel vision and feel helpless. Talking to someone can help create distance from those feelings,” said Meryl Cassidy, the center’s executive director. “There’s tremendous relief that comes in sharing your story, having someone take the time to listen and help come up with a plan for safety.”

Sanzel approached Cassidy about using the performance to lessen stigma and shine a light on local resources.

Cassidy said that it was important to vet the play first to ensure its message was appropriate and accurate. While she had never heard of the play before, it was well-known to colleagues at the American Association of Suicidology, who were thrilled to endorse the production.

“People are afraid to say the word suicide or disclose thoughts of suicide, both because of stigma and fear of repercussions. But open and honest conversation about suicide saves lives — it’s so important to be able to speak frankly about what you’re feeling and know there are people you can talk to,” Cassidy said. 

Half of all gross ticket sales will directly benefit Response Crisis Center. Staff members from the center will be at each performance to answer questions, provide information and offer a listening ear. 

Audiences are encouraged to fill out their own “brilliant things” on provided Post-It notes, which will be on display throughout the show’s run — a constantly growing collection of reasons why life is worth living.

“It’s not only a lovely hour of theater — funny, sweet and poignant — but there’s something to take away from this show, and that’s being able to see people in crisis in a different way, without judgment,” May said. “If people walk away feeling more compassionate or less judgmental, or if someone finds the courage to reach out for help, then it’s a success.”

Every Brilliant Thing will run at 3 p.m. on Sundays from July 10 through Aug. 28 at Theatre Three, 412 Main Street, Port Jefferson. Performances are held downstairs on the second stage. Tickets are $20. For more information, call 631-928-9100 or visit www.theatrethree.com. Learn more about Response Crisis Center by visiting www.responsecrisiscenter.org. 

Note: Although the play balances the struggles of life while celebrating all that is “truly brilliant” in living each day, Every Brilliant Thing contains descriptions of depression, self-harm, and suicide. The show briefly describes attempted suicides and death by suicide. The show is recommended for ages 14 and up, with your own comfort level in mind. 

If you or someone you know is struggling, help is available 24/7 at 631-751-7500 or the National Lifeline at 1-800-273-8255.

A scene from 'Jurassic World: Dominion.' Photo courtesy of Universal Pictures

Reviewed by Jeffrey Sanzel

The Jurassic Park franchise launched in 1993. Based on the 1990 novel by Michael Crichton, Steven Spielberg directed the film from a screenplay by Crichton and David Koepp. Featuring Sam Neill, Laura Dern, Jeff Goldblum, B.D. Wong, Samuel L. Jackson, and Richard Attenborough, the special-effects packed film became the highest-grossing film released worldwide until that time, besting Spielberg’s E.T. The Extra-Terrestrial (1982). Jurassic Park perfectly combined taut structure, grounded humor, and effective effects.

Spielberg and Koepp returned for The Lost World: Jurassic Park (1997), along with cast members Goldblum and Attenborough, joined by Julianne Moore and Vince Vaughn. The film received mixed reviews but a positive audience response, breaking multiple box office records. Jurassic Park III (2001) was the first without Spielberg as director. And while it brought back Dern and Neill, the film received a predominantly mixed-to-negative response. 

A scene from ‘Jurassic World: Dominion.’ Photo courtesy of Universal Pictures

Jurassic World: Dominion, directed by  Colin Treverrow, reunites cast members from the entire network: Dern, Neill, Goldblum, Wong, Chris Pratt, Bryce Dallas Howard, Omar Sy, Isabella Sermon, Justice Smith, and Daniella Pineda. Rounding out the starry cast are DeWanda Wise, Mamoudou Athie, Campbell Scott, Scott Haze, and Dichen Lachman. 

The initial premise is fascinating. A news report explains that following the destruction of the Central American island Isla Nublar, dinosaurs now live among us, always hungry and often violent. The new normal raises ethical questions of accountability and coexistence. These de-extinct animals result from man’s manipulation of science and, therefore, society’s responsibility. Quick cuts of dinosaurs attacking juxtapose with compelling images of these wandering creatures living out of time and place. One powerful clip shows a dinosaur eating garbage next to a train track. Beauty, danger, nobility, and abandonment are all on display. 

However, after this brief prologue, the film denigrates into a mess of science fiction and thriller clichés that are hopeless retreads of the first three films. The convoluted machinations include the corrupt Biosyn (sin?) Corporation, Sir Benjamin Lockwood’s cloned granddaughter, biogenetically engineered locusts the size of Dachshunds destroying the food chain, altering DNA and splicing of genomes, black market breeders, and a few other threads not so much woven into the narrative fabric as clumsily stapled. 

A scene from ‘Jurassic World: Dominion.’ Photo courtesy of Universal Pictures

However, with all the plot, there is something ploddingly by the numbers, with one predictable action sequence after another, repetitions of previous Jurassic outings, or pale copies of Indiana Jones. Dominion recalls Godzilla vs. Rodan more than the earlier focused and well-crafted incarnations of the Jurassic universe. Strangely, Dominion nods more to the work of animator Ray Harryhausen and the Sinbad series than to Crichton’s world.

And while strong actors populate the cast, they cannot elevate the stiff dialogue of Emily Carmichael and Colin Trevorrow’s witless screenplay. It is nearly impossible to play multiple notes in a one-dimensional character. Stock outlines substitute for human beings, with everyone talking in breathy, important voices. Fortunately for them, they are mostly directed to look up when they hear dinosaur footsteps. There is lots of running (the people) and chomping (the dinosaurs) and disinterest (the audience).

Dern and Neill give vague performances and are uncomfortable in the cringe-worthy romance awkwardly forced onto their characters. Goldblum’s quirky mannerisms make his Apartments.com commercials appear subtle. Scott plays the corporate villain like Tom Hanks channeling a neurotically twitchy Steve Jobs. Platt and Howard show up. Wise and Athie almost—but not quite—manage to rise above the swamp. As the clone, Maisie, Sermon finds a few more shades than the rest of the company, bringing honesty to the struggle with personal revelations. But these glimpses hardly save the film.

The special effects seem tired, with a ragtag combination of CGI (the locust swarm is particularly unimpressive) and animatronics (basic Disney World). As a result, Dominion feels less blockbuster and more thrill ride without the thrill. Michael Giacchino’s generic score does most of the heavy lifting, with dark chords and lush strings substituting for emotion, style, and actually earned tension. 

The final moments of the film return to the movie’s initial potential. But at the end of a bloated two and a half hours, it is far too late. Let’s hope, as with the real dinosaurs, Jurassic World: Dominion marks the extinction of the franchise.

Rated PG-13, the film is now playing in local theaters.

Tom Cruise as test pilot Captain Pete 'Maverick' Mitchell in a scene from the film. Photo courtesy of Paramount Pictures

Reviewed by Jeffrey Sanzel

In 1986, 24-year-old, pre-couch-jumping Tom Cruise was featured in a string of high-profile films: The Outsiders (1983), Risky Business (1983), All the Right Moves (1983), and Legend (1985). Poised for a breakthrough, his performance as rebellious Naval Aviator Pete “Maverick” Mitchell in Top Gun secured his stardom. The highest-grossing film of the year, it made over 350 million dollars worldwide. 

Many critics found little to love outside of the aerial dynamics, but it became a pop culture hit, winning the Academy Award for Best Song, “Take My Breath Away” (music by Giorgio Moroder; lyrics by Tom Whitlock). Inspired by Ehud Yonay’s article “Top Guns,” the film’s screenplay (by Jim Cash and Jack Epps, Jr.) combined endless flight jargon with dialogue lifted from the lesser After School specials. 

Peppered with clichés like “he’s a wild card” and “it’s not your flying, it’s your attitude,” the film lacked depth, subtlety, and even basic tension. The insufferably smarmy Maverick is not so much a character but the smirk of one. Outside of one “steamy” scene between Cruise and co-star Kelly McGillis, the homoerotic movie is populated by men in towels talking about the need to shower. Both misogynistic and juvenile, Top Gun made Risky Business seem emotionally sophisticated. 

As early as 2010, a Top Sequel was in development. Finally, after years of delays, Top Gun: Maverick arrives 36 years after the original’s release. Instead of a clumsy sequel, the creators have forged a smart, entertaining, well-made film that is visually stunning. If the screenplay (by Ehren Kruger, Eric Warren Singer, and Christopher McQuarrie) is not exactly Citizen Kane, the storytelling is defined. The characters are simply drawn but true to the situation. There is an honesty and a general earnestness that harkens back to the better war movies of the 1940s. Joseph Kosinski has directed his actors to play the characters straight down the middle. There are not a lot of surprises, but the can-do spirit works.

Cruise’s Maverick is a much-decorated pilot but still a captain. For every commendation he has received, overstepping has prevented him from receiving a promotion. While his skills are never in doubt, his problematic behavior towards authority has not so much stalled his career but buried it. At the end of the first film, Maverick requested a position as a Top Gun trainer. He reveals that he only lasted two months.

The older Maverick is low-key but still rebellious, rankling his superiors. Rear Admiral Chester “Hammer” Cain (Ed Harris) tells him, “The future is coming. And you’re not in it.” 

Maverick’s formal rival, “Iceman” (Val Kilmer), now commander of the U.S. Pacific Fleet, has called Maverick back to Top Gun. (Except for Cruise, Kilmer is the only holdover from the first film. He has a single scene where he mostly communicates by typing as the admiral has throat cancer.) The mission is to take out a rogue state’s uranium enrichment plant before it opens. Surface-to-air missiles and skilled fighter pilots protect the canyon. The only way to bomb the plant is to literally fly under the radar in a demanding, dangerous mission.

Vice Admiral Beau “Cyclone” Simpson (John Hamm) and Rear Admiral Solomon “Warlock” Bates (Charles Parnell) have gathered an elite group of fighter pilots for Maverick to train.

The plot is simple, with the sole complication that one of the pilots, Lt. Bradley “Rooster” Bradshaw, is the son of Maverick’s former radar intercept officer and best friend, Nick “Goose” Bradshaw (Anthony Edwards in Top Gun). While cleared of the responsibility for his pal’s death, Maverick still carries guilt, and he reveals that at the request of Goose’s widow (now dead—Meg Ryan in the earlier film), he has done everything to prevent Rooster from flying. Eventually, Maverick and Rooster come to terms with their joined histories.

A minor romantic subplot involves Maverick and a bar owner, Penny Benjamin (Jennifer Connelly), but it generates little heat or interest.

The film’s two driving forces are Cruise and the mission. Both Cruise and Maverick have aged well, and the general lack of arrogance makes for a watchable experience. As the writing is focused, the technical details are clear. The actors lean into the physical demands and challenges of the flying and the mantra that “It’s not the plane. It’s the pilot.” The cavalier comment in Top Gun—“A need for speed”—here actually makes sense. Everything builds up to a spectacular final act, with the operation beautifully orchestrated with the right amount of suspense and a couple of twists that help keep it interesting. The faceless, but ominous enemy, is smartly handled.

Top Gun: Maverick’s major song, Lady Gaga’s “Hold My Hand,” plays over the credits. It is an appropriate metaphor for the film. A bit schmaltzy but also effective, honest, and wholly satisfying.

Rated PG-13, the film is now playing in local theaters.

By Heidi Sutton

Magic mirror on the wall,

Who is the fairest of them all?

It’s Snow White of course and now children of all ages can come see a hilarious retelling of Snow White and the Seven Dwarfs at Theatre Three in Port Jefferson through June 18. 

Based on the story by the Brothers Grimm with a nod towards Disney, the production — written by Jeffrey Sanzel and Kevin F. Story —  is a delight to watch.

All the elements of the classic fairy tale are here: the evil queen, the magic mirror, the seven dwarfs, the handsome prince, the poisoned apple and, of course, the beautiful Snow White. Even though Walt Disney’s original 1937 version had several scary moments, this show, directed by Sanzel and featuring an all adult cast, infuses humor and silliness into every scene, keeping the mood light and upbeat.

Aria Saltini is wonderful as the sweet Snow White who infuriates the wickedly vain evil queen, played by Elizabeth Ladd, because she “is sooooo nice!” Saltini’s rendition of “I Love It All” and Ladd’s follow-up “I Hate It All” are terrific.

As the Mirror, Steven Uihlein plays his role with just the right amount of sarcasm as he answers the burning question, “Who is the fairest of them all?” over and over. His rendition of “I’ve Got Those ‘I’m-Just-a-Mirror-on-the-Wall’ Blues” is reflective.

Although the names are different, the dwarfs have the personalities of the original Doc, Grumpy, Happy, Sleepy, Bashful, Sneezy and Dopey, and keep the audience in stitches. Special mention must be made of Dana Bush as the very funny Iggy (aka Dopey) who can’t remember what happened a minute ago, and Jason Furnari as Froggy (aka Doc) who has a hard time corraling his fellow dwarfs.

Kyle Breitenbach is perfectly cast as the handsome Prince who is on a quest to save a damsel in distress when he meets Snow White. The chemistry between Breitenbach and Saltini is fun to watch as they try to hide their identity from each other, and their duet, “I Think I’m in Like with You,” is very sweet.

Special mention must also be made of the exquisite costumes. Designed by Jason Allyn, they look like they’ve jumped right off the pages of a children’s book.

With the overall message to be true to oneself, this fairy tale production will keep audiences entertained from beginning to end. Meet the entire cast in the lobby after the show for a group photo. 

Theatre Three, 412 Main St. Port Jefferson presents Snow White and the Seven Dwarfs on June 4, 11 and 18 with a special sensory sensitive performance on June 12. All performances begin at 11 a.m. and costumes are encouraged. Children’s theater continues with Puss-In-Boots from July 8 to 30. All seats are $10. To order, call 928-9100 or visit www.theatrethree.com.

By Barbara Anne Kirshner

You are cordially invited 

To the destination wedding

Of Sophie and Sky

At a Greek Island inn.

BUT before Sophie can walk down the aisle, there is a mystery that must be solved.

Theatre Three has done it again and in grand style with the lighthearted musical comedy, Mamma Mia! The Musical featuring the songs of Swedish pop sensation, ABBA.

The band, under the direction of accomplished Jeffrey Hoffman, starts the joyful festivities with an overture of ABBA catchy hits. Even if you weren’t alive when this 70’s rock group was big, the songs are infectious and sure to delight all age groups.

Producer Judy Craymer is credited with introducing the idea for this show to ABBA Swedish songwriters and members of the original band, Björn Ulvaeus and Benny Andersson, in 1983. British playwright Catherine Johnson was brought onboard to weave a story around these much-loved hit tunes and Mamma Mia! was born. 

The show was an international sensation including productions at London’s West End and Broadway. It holds the distinction of being the eighth longest-running musical in West End history and 18th longest running musical on Broadway where it opened at the Winter Garden Theatre on October 18, 2001, and ran through September 12, 2015.

The story revolves around Sophie who discovers her mother Donna’s old diary only to find entries describing that twenty-one years ago she was intimate with three men, — Sam Carmichael, Bill Austin and Harry Bright — at this island paradise that she now owns. One of these three men is Sophie’s father, but which? 

Sophie, who is about to get married, has visions of her father walking her down the aisle, so she sends invitations addressing them from her mother, but not letting Donna know what she has done. She feels certain that the moment she sets eyes on the men, she will know her father. The men accept and the plot is filled with comedic and emotional twists and turns when they show up at Donna’s Greek Island inn.

Director Jeffrey Sanzel has done a masterful job casting this show and the results are sheer perfection.

Cassidy Rose O’Brien’s Sophie is adorable with a rich vibrato that wraps around songs like I Have a Dream. O’Brien and Eric J. Hughes, as her fiancé Sky, have great chemistry. One cute bit has Sky and his pals maneuvering scuba flippers as they team up with O’Brien on Lay All Your Love on Me showing how silly, playful and sexy these two are together.

Steve Corbellini as Donna’s special love Sam delivers a heartfelt performance that crescendos in his duet with Christina Muens (Donna) on S.O.S. Dennis Setteducati is hysterical as the never married adventurer and writer, Bill. His duet with Rosie on Take a Chance on Me is a madcap whirlwind as choreographed by Sari Feldman who can always be counted on to tell stories through dance. Andrew Boza’s Harry is reminiscent of a Monty Python character with his humorous British affects.

To add a fine dose of humor to the plot, Donna has invited her best friends with whom she was once in a girl group called Donna and the Dynamos. When these women arrive, the three have a grand reunion as they reminisce over former exploits. 

There is the rich Tanya (Stephanie Moreau), who has been married three times, and the breezy Rosie (Lori Beth Belkin) who has never married. These three women are the centerpiece of the show adding much hilarity through their impeccable comedic timing and exuberant renditions of songs like Dancing Queen, Chiquita, and Super Trouper. Muens is fabulous as Donna with her powerhouse voice that sends chills especially in the standout The Winner Takes It All.

The cast is accompanied by a lively ensemble that infuses the stage with song and dance.

Costumes by Ronald Green III help illustrate the personalities of the characters from Bill’s Indiana Jones style hunting hat to Tanya’s elegantly flowing outfits to the flashy silver disco dresses of Donna and the Dynamos to all that glitter.

Randall Parsons’ scenic design cleverly glides from the main inn to a bedroom and back again while lighting design by Robert Henderson, Jr. accentuates the moods with well-placed neon columns illuminating assorted colors.

The finale is exhilarating with Donna, Tanya and Rosie joined by Sam, Bill and Harry appearing in colorful ABBA inspired costumes and accompanied by the entire company draped in sequins. They invite the audience to a dance party featuring the songs Mamma Mia, Dancing Queen and Waterloo.

For an effervescent evening of theatre, get swept into the world of ABBA music at Donna’s fun Greek island resort in Mamma Mia!, playing now through June 25 at Theatre Three, 412 Main Street in Port Jefferson. Tickets are $35 adults, $28 seniors and students, $20 children ages 5 and up. Please note this show contains adult themes and situations. For more information or to order, call 631-928-9100 or visit www.theatrethree.com

POSTSCRIPT:

I first saw Mamma Mia! in 2003 at Mandalay Bay Hotel when I was visiting my uncle who lived in Las Vegas. It was such a magical production brimming with energy and spirit that I couldn’t wait to take my niece and nephew to see the Broadway production, but to my surprise, I left the Winter Garden Theatre disappointed. I am happy to say that Theatre Three’s production has the spirit and energy that so enchanted me in Vegas. If you love musical theatre, you must catch this show. You will leave the theatre smiling, dancing to the beat and singing.

From left, Harry Hadden-Paton, Laura Carmichael, Tuppence Middleton and Allen Leech in a scene from the film. Photo courtesy of Focus Features

Reviewed by Jeffrey Sanzel

In 2015, the landmark television series Downton Abbey ended its six-season run. Four years later, Downton Abbey arrived on the big screen (reviewed in this paper in September 2019). Set in 1927, the story focused on a visit from King George V and Queen Mary. While the film lacked the weight and depth of the series, it was a satisfactory outing for Crawley fans, featuring almost the entire roster of principals. 

After several delays in release, Downton Abbey 2, rechristened Downton Abbey: A New Era, arrives. Picking up one year later, the film opens with the wedding of former chauffeur Tom Branson (Allen Leech) to Lucy (Tuppence Middleton), the illegitimate child of Lady Bagshaw (Imelda Staunton). The scene serves as a reverse curtain call of the entire cast—both upstairs and down. 

A New Era weaves two unrelated plots. In one, the Dowager Countess (Maggie Smith) has inherited a villa in the south of France, left to her by a possible former paramour, the late Marquis de Montmirail. While the Dowager is too ill to travel, members of the household journey to meet the man’s irate widow (Nathalie Baye) and welcoming son (Jonathan Zaccaï). Here, questions arise regarding the Earl of Grantham’s (Hugh Bonneville) birth.

Meanwhile, in need of a cash influx, the family leases Downton to a film company. Lady Mary takes charge of the endeavor, dealing with the director (Hugh Dancy), who, in traditional Downton fashion, falls in love with her. The undertaking is made more difficult by its beautiful but crass leading lady (Laura Haddock), coupled with the reality that silent films are dying.

The plots serve to put the characters in action but do little more. However, they offer a reminder that the Downton universe revolves around property—acquisition, ownership, and maintenance. Beginning with Episode One, Downton Abbey was driven by the issue of entailment and succession. With this shadow no longer present, the tension is gone. Even the roof repairs seem less dire and more a whacky (and almost desperate) way to introduce a screwball element. There is something tamped down in the emergency.

The simplistic arcs are predictable and provide opportunities for glorious scenery and occasionally sitcom exchanges. There are many jokes at the expense of the film industry and the French, but the barbs are benign. The film is liberally sprinkled with minor subplots involving a peppering of romance and domestic frustrations, but these function to give the less active characters a bit of screen time. 

Ultimately, the problem at the core of both films is that the characters have matured. They no longer have the life-and-death conflicts that shook their worlds and forced them to look outward and inward. The entire clan has become not just better people but their best selves. The often dangerous and destructive relationship that fueled the conflict between Lady Mary and her sister, Lady Edith (Laura Carmichael), no longer exists. If they are not best friends, they are as close as possible. 

Even the usually destructive Barrow (Robert James-Collier) has become a more benevolent soul. Happiness is not bad, but it is not the furnace that heats a story. The roadblocks and hurdles are minor; the experience is almost tacit. The culmination of emotional growth is not necessarily the best dramatic force.

Because of this, the first two-thirds of the film are composed of brief scenes (sometimes as short as two or three lines), jumping from place to place and from one set of characters to another, allowing for barely a breath. The frantic, frenetic, and often whimsical quality has a Muppets Take Downton Abbey feel.

Strangely though, these are minor cavils. Watching A New Era—which is an improvement on the first—reminds us of the journey taken. The actors are uniformly true to the characters who have aged and seem appropriately worse for wear. The delicacy and honesty of the performances echo a world created over many years. The final act allows the characters to breathe. Even in the most contrived situations, the company is incapable of a wrong or false note.

In one of the most beautiful scenes, Isobel (Penelope Wilton) and the Dowager (Smith) reflect on their history, reminding us how these longtime adversaries developed a deep bond. This is the film—and Downton—at its best.

Many loose threads are tied up, providing closure. But the ending also honors the circle of life, composed of births and weddings, illnesses and deaths. 

It would be a safe bet that there will be a Downton Abbey 3, probably dealing with the problematic situation in Lady Mary’s marriage to racing fanatic Henry Talbot (absent from the film as actor Matthew Goode had production conflicts). In addition, societal changes, financial challenges, and global conflict will likely offer myriad opportunities. And while nothing will take us back to the height of Downton Abbey, we will gladly join the Crawleys as they move forward.

Rated PG, the film is now playing in local theaters.