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Jeffrey Sanzel

From left, reporter Tom Cullen, editor Art Cullen and publisher John Cullen of the Storm Lake Times.

Reviewed by Jeffrey Sanzel

“Readers decide our future. Not any branch of government.”

Sixty-five million Americans live in news deserts—counties with only one local newspaper or none at all. In the past fifteen years, one in four newspapers has shuttered in the U.S. Storm Lake, the fascinating documentary by Jerry Risius and Beth Levison, follows The Storm Lake Times, a family-run paper located in Buena Vista County, Iowa. Operating at break-even, The Times, a twice-weekly paper, is one of the last of its kind.

Editor Art Cullen at his desk at the Storm Lake Times

Located in the northwest corner of the state, Storm Lake is home to about 11,000 residents. Originally an almost exclusively Caucasian community, it now contains a large Latino population. Tyson Foods employs over 2,200 workers at its hog slaughterhouse, meatpacking plant, and turkey processing plant.

In ninety well-crafted minutes, Storm Lake offers a portrait of the small-town newspaper industry and a family whose goal is to keep it alive. Founded in 1990 by John Cullen, The Storm Lake Times’ face and voice is Art Cullen, John’s brother. Art, a benign curmudgeon and county’s Democratic voice, presents somewhat like a hippie Mark Twain. At age 59, he received the 2017 Pulitzer Prize for Editorial Writing. He “ask[s] the big questions, speak[s] truth to power, and share[s] the struggles and successes of his unique community.” The paper is a liberal bastion in the predominantly conservative area.

The Times has ten employees, including Art’s son, Tom, who is the main reporter. Founder John explains that he donates his salary because he is on Social Security. Art’s wife, Mary, can be seen taking pictures and writing features. Art’s sister-in-law provides the recipe column. The family dog, Peach, lolls on the office floor or rides along with drop-offs. 

Leisure editor Mary Cullen of the Storm Lake Times

The film smartly divides its focus between the big and small pictures. As a result, the day-to-day life of the paper contrasts with larger events. Advertising is the lifeblood of any paper, and The Storm Lake Times grapples with filling its quota. Most of the revenue derives from mom-and-pop stores, but large corporations have driven many out of business. 

There are many happy stories: births, local celebrities, “Miss Pigtails,” educational advancements, and county fairs. Local government is given the same weight as national politics. For their readers, garbage pickup is more important than a presidential hopeful’s visit. “Local journalism is the heart of telling the local story.” The report on Ice Out Day, when the ice melts, encompasses a reference to climate change. The Times follows a local Tyson plant worker who is moving forward on a Spanish language talent show. 

The paper never shies away from addressing issues of prejudice, extremely important in its growing immigrant community. The story of eight-year-old Julio Barroso, who was deported along with his family, is highlighted; the staff tracked him down in Mexico twenty-two years later. In addition, a partnership is developed with the Spanish paper La Prensa to share content and ads.

The staff listens to its community and responds to their thoughts and criticism. “There are consequences for everything we do, and we feel that feedback immediately,” says John.

Storm Lake Times editor Art Cullen interviews Elizabeth Warren in a scene from the film.

Broader politics included the coverage of The Heartland Presidential Forum, with major Democratic candidates speaking: Art Cullen was the draw. He interviewed Elizabeth Warren, Julio Castro, and Amy Klobuchar, among others. The Iowa Caucus occupies much of the middle and latter half of the film. But even here, there is a discussion about the cutting down of the paper’s TV listings from eighty channels to thirty-one to save space and money. Risius and Levison never lose sight of the myriad challenges.

The end of the film deals with the COVID crisis, and specifically, the Tyson plants. The Storm Lake Times reported on the disproportionate number of immigrants endangered by their work in unsafe conditions. Art states that this is “subtle racism—but racism all the same.” The Tyson operation became the hottest spot in the country for COVID cases. 

The denouement shifts briefly to the paper’s labors to survive the pandemic when “ads fell off a cliff,” and Art and John thought of closing the paper. Fortunately, with a go-fund-me and other support, The Storm Lake Times survived. With its new website, it reaches 1.2 million readers per month.

Storm Lake contains the expected filler of printing and binding papers, along with stacks dropped off in stores and machines. Occasionally, there is something meta about the documentarians shooting the television on which Art appears on a talk show. But there are wonderful extended quotes from many of Art’s insightful and passionate editorials. In addition, the documentarians know when to let the film breathe: a talk about feeding the dog, a discussion of a new shirt, or briefly watching Art pick the cashews out of a can of mixed nuts all add to the humanity.

In a world where people want their news for free, Storm Lake is a powerful and important reminder about local journalism’s responsibility, value, and contribution. The film ends on the hopeful note that good journalism elevates a community by reporting on what is good. 

“You can change the world through journalism. The reporter is the cornerstone in a functioning democracy. And without strong local journalism, the fabric of the place becomes frayed.”

For a free viewing of the film, visit www.pbs.org/independentlens/documentaries/storm-lake/.

The cover of 'Founders Day'

Reviewed by Jeffrey Sanzel

4th grade students from the Three Village School District take a tour of Setauket. Photo from TVHS

The Three Village Historical Society has published an excellent series of short works highlighting the North Shore region. Founders Day: Discovering Setauket, Brookhaven’s Original Settlement is “a walking tour guide for families who love exploring and bringing history to life.” It joins several other excellent offerings from the Society. The slender volumes are colorful and well-researched, with dozens of illustrations and photos. The goal is “to create meaningful experiences for families interested in exploring community.” Previous publications include George Washington’s LI Spy Ring, Down the Ways – The Wooden Ship Era, and Setauket and Brookhaven History (the latter two recently reviewed in TBR News Media). 

Founders Day is written by the Society’s Founders Day Committee: Katherine Downs-Reuter, Barbara M. Russell, Donna Smith, Lindsey Steward-Goldberg, and Beverly C. Tyler. The impetus (Founders Day, created in 2006) was to “enhance [the] Three Village Central School District’s fourth grade students’ understanding of local history […] using the Vance Locke murals displayed in the Setauket Elementary School auditorium.”

The cover of ‘Founders Day’

As in previous guides, there is a well-balanced combination of archival documents, paintings dating back to the eighteenth century, and historical and current photographs. The book gives clear and concise instructions, with the tour beginning in front of the Setauket School, Main Street, Setauket, and concluding at the Emma S. Clark Library. Throughout, there are detailed explanations of building markers (coats of arms, inscriptions, plaques), archaeological points of interest, and architectural details. The writers even point out errors: “The date on the plaque on Patriot’s Rock, August 23, is wrong by two days. Information on historical markers can sometimes be wrong. It is always a good idea to check with a more original source.” This detail presents a valuable and telling lesson in the pursuit of history and historical accuracy. 

Brief family genealogies are provided in appropriate circumstances. Some sites get a thorough background. The Setauket Grist Mill rightfully warrants an entire page, given its importance to the community. A detailed account of Tyler Bros. General Store receives two detailed pages that include quotes from Lucy Hart, born in February 1899. Here, there is a discussion about the lives and fates of African Americans in the Setauket area. The text is clear, concise, and descriptive, ideal for the walking tour and a stimulus for further and deeper investigations of the various locales. 

4th grade students from the Three Village School District take a tour of Setauket. Photo from TVHS

Travel and transportation, farming, fishing, and folklore are all included. In addition, the final page contains a list of vocabulary words and terms used within the book. This inclusion further emphasizes that Founders Day, along with the many works of the Three Village Historical Society, are ideal for classroom use and an opportunity for families to explore the area in which they live.

An important note. All the recent publications carry a version of this message: “We wish to acknowledge that we are sitting on the land of the Setalcott indigenous people in Setauket and we pay respect to the Setalcott people whose land is where we live, work and explore.” This note embraces an important and growing awareness, recognizing the impact of the area’s indigenous people. 

Once again, the Three Village Historical Society has produced a novel and valuable tool for community discovery.

Copies of Founders Day: Discovering Setauket, Brookhaven’s Original Settlement are available at the Three Village Historical Society Gift Shop, 93 North Country Road, Setauket and online at www.tvhs.org.

For more information, call 631-751-3730.

By Heidi Sutton

The holidays have arrived at Theatre Three in Port Jefferson with the 37th annual production of A Christmas Carol. In the lobby the garland is hung and the tree is trimmed and in the Mainstage theater the Victorian London set awaits the wonderful imagination of Charles Dickens and the beloved retelling of a classic tale of redemption.

Based on Dickens’ 1843 novella of the same name, A Christmas Carol introduces the audience to Ebenezer Scrooge, a bitter and miserly man who has chosen “the world of business” over love, friendships and community. We first meet Scrooge “of all the good days of the year” on Christmas Eve, exactly 7 years since his business partner Jacob Marley died, as he snaps at his clerk Bob Cratchit, dismisses his nephew Fred Halliwell and chases carolers away. We see Want in the corner, a specter who will haunt Scrooge the entire show.

Later that evening Scrooge is visited by Marley’s ghost who offers him a precious gift — one last chance at redemption. Draped in the heavy chains he has forged in life, Marley warns Scrooge he will be visited by three spirits — the ghosts of Christmas past, present and future – in an attempt to save his immortal soul.

In one of the most important parts of the show, the Ghost of Christmas Past shows Scrooge “the shadows of things that have been” — a series of events that led him to become the man he is today — from his mother dying at childbirth; his time at Wellington House, the boarding school where he spent many Christmases alone as a boy; his loving relationship with his sister Fan and his apprenticeship with the kind-hearted Fezziwig where he proposes to his first and only love, Belle.

The shadows also reveal the exact moment when he chooses to go into a business partnership with Marley (“and so it began”) and is overtaken by greed; when Belle walks out of his life; how he turns on Fezziwig; and the death of Fan.

The cheeky Ghost of Christmas Present arrives to teach Scrooge the joys of mankind. The first stop is Bob Cratchit’s home where he finds out about Tiny Tim’s failing health and that Cratchit’s oldest daughter works long hours in the workhouses to help the family pay their bills. Scrooge’s concern is evident. The mood lightens at a dinner party hosted by his nephew where the guests mock him in spirit during a game and compare him to a bear.

A daunting 14-foot Ghost of Christmas Yet to Come shows Scrooge the shadows of what is yet to come, including his own death and how it affects those he has wronged. The frightening notion is exactly what the miser needs to turn his life around. His transformation on Christmas Day, especially in his interaction with Want, is a joy to watch. In the end, Scrooge discovers that old Fezziwig was right all along and that love is the only thing in life worth having.

Adapted for the stage by Theatre Three’s Executive Artistic Director Jeffrey Sanzel, the show evolves and changes every year, keeping it fresh and exciting. This year the show features a revised underscoring created by musical director Brad Frey, slight changes to the opening and closing, a shivaree, and due to COVID regulations, Tiny Tim is a puppet, designed by gifted puppet designer Austin Michael Costello. 

The entire cast is excellent, with many playing multiple roles. Sanzel, who has played the role of Scrooge in over 1400 performances, is fascinating to watch. Slightly hunched over, his character walks slowly with a cane and eases into a chair with a groan. But when the Ghost of Christmas Past brings him to Fezziwig’s Christmas Party, he jumps out of the shadows with a straight back and becomes a young man again dancing the night away with Belle. 

Special mention must also be made of Douglas J. Quattrock in the role of Scrooge’s loyal clerk Bob Cratchitt (a role he has played over 750 times) whose love for his family and the holidays is unconditional. His character’s attempt to be strong for his family while his child is very sick tugs at the heartstrings.

The Victorian set, designed by Randall Parsons, is most impressive with fireplaces that glow, a four-poster bed that tucks away neatly into the wall when the set transforms to the London streets, a church with stained glass windows, and a living home decked out for the holidays. The period costumes, also designed by Parsons, are perfectly on point and the lighting and sound design by Robert W. Henderson Jr. is truly magical, a word that also best describes the entire production.

Sanzel says it best in his director’s notes.“A Christmas Carol is a beautiful reminder that we are members of a community and that our responsibilities go beyond ourselves. Scrooge’s pledge to Tiny Tim’s future shows his ability to help those in his life; his embrace of the specter of Want shows his commitment to the world entire. Dickens’ message is one not just for Christmas but for always.”

Don’t miss this beautiful show.

Arrive early and be treated to a selection of Christmas carols by the actors on the Second Stage on the lower level and stay after for a Polaroid photo with Scrooge for $5 to support the theater’s scholarship fund or take one with your cellphone at no charge. 

Theatre Three, 412 Main St., Port Jefferson presents A Christmas Carol through Dec. 26. A special abridged sensory-sensitive performance will be held on Nov. 28 at 11 a.m. Running time is 2 hours with one intermission. Tickets are $20 each in November; $35 adults, $28 seniors and students, $20 children ages 5 to 12 in December. For more information or to order tickets, call 631-928-9100 or visit www.theatrethree.com.

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Pablo Pauly and Bill Murray in a scene from the film. Photo from Searchlight Pictures

Reviewed by Jeffrey Sanzel

Auteur Wes Anderson’s works are an eclectic mix. From Rushmore and The Royal Tenenbaums to The Fantastic Mr. Fox and Moonrise Kingdom, his voice and vision are unique among filmmakers. Quirky characters in fast-paced comedies carry an underlying melancholy and introspection. His films have received a total of fifteen Academy Award nominations. The Grand Budapest Hotel (2014) received nine nominations and won four.

Now Anderson has written and directed a star-studded omnibus, The French Dispatch of the Liberty, Kansas Evening Sun. Newspaper editor Arthur Howitzer, Jr. (Bill Murray) dies of a heart attack, leaving instructions to close the paper following a farewell issue. The final publication is to feature three articles from past editions, along with Howitzer’s obituary.

This thin framework is the basis for an anthology of three peculiar tales from the Liberty, Kansas Evening Sun’s French foreign bureau, located in Ennui. Each vignette focuses on one of the staff writers. Perhaps the stories are meant to be a send-up of a particular genre; the overall tone is firmly tongue-in-cheek, more spoof than satire.

In the first (“The Concrete Masterpiece”), J.K.L. Berensen (Tilda Swinton) tells of an artist, Moses Rosenthaler (Benicio del Toro), serving a prison term for double murder. While incarcerated, he paints a series of prison guard Simone (Léa Seydoux), that comes to the attention of another prisoner, Julien Cadazio (Adrien Brody). Cadazio (based on controversial British art dealer Lord Duveen) feels he has found the ideal modern artist. When released, he approaches his uncles (Henry Winkler and Bob Balaban) to embark on an exhibition of Rosenthaler’s work. The fly in the ointment is that Rosenthaler has painted the works on the prison walls.

In “Revisions of a Manifesto,” Lucinda Krementz (Frances McDormand) is a correspondent reporting on the “Chessboard Revolution.” While becoming involved with a much younger Zeffirelli (Timothée Chalamet), the bumbling leader of the revolt, she claims that she can maintain journalistic distance and integrity. In addition to their romantic liaison, Krementz rewrites Zeffirelli’s manifesto, including an appendix. 

The final chapter is “The Private Dining Room of the Police Commissioner.” Reporter Roebuck Wright (Jeffrey Wright), a nod to James Baldwin and A.J. Liebling, recounts the kidnapping of Gigi (Winston Ait Hellal), the son of the Ennui police commissioner (Mathieu Amalric), by a criminal syndicate. Police officer/noted chef Lt. Nescaffier (Stephen Park) becomes the hero through an elaborate poisoning. 

The plots are simple: a send-up of modern art (with a prison movie slant); a parody of young rebels and pointless causes; and a cops-and-robbers noir. But the telling is either brilliantly twisted or frustratingly convoluted, depending on the point-of-view. While ostensibly an homage to the day of the printed magazine (i.e., The New Yorker), the visual gymnastics are the driving force. Both cinematically steroidal (including rich black-and-white and vivid pop-art color, an awareness of the artifice of the sets, and even an animated car chase) and meta-theatrical (tableaux vivant), The French Dispatch is an often absorbing, wholly strange, and indefinable two hours.

The first-rate cast is clearly game for Anderson’s world. They play in a style that could be described as hyper-low key—sly, wry, and somehow conscious of the audience. In addition to the previously mentioned, appearances include an extraordinary ensemble in roles both large and small: Owen Wilson, Elizabeth Moss, Jason Schwartzman, Fisher Stevens, Lois Smith, Larry Pine, Christoph Waltz, Liev Schreiber, Edward Norton, Willem Dafoe, and Saoirse Ronan. Anjelica Huston is the omniscient narrator.

Some will find The French Dispatch a delightful and engaging absurdist meringue, visually striking, playing on multiple levels. Others might see it as a pretentious shaggy dog story, an in-joke of epic and head-scratching proportions. In any case, it would be impossible to experience this movie and not have an opinion.

Rated R, The French Dispatch is now playing in local theaters.

Erica Cirino with her book, ‘Thicker Than Water.’ Photo from Erica Cirino

Reviewed by Jeffrey Sanzel

“Plastic shapes human identity and speeds up the rate at which we move across the world and through our days, connecting people and allowing us to express who we are to each other. And yet plastic also helps us destroy. Plastic has saved our lives while taking others’ away. Plastic is a miracle. Plastic is a scourge.”

Author Erica Cirino

Erica Cirino’s Thicker Than Water (Island Press) is a frank and pointed examination of one of the most toxic elements of our “throwaway” culture. “Almost every single person alive today uses plastic on a daily basis, most of which is designed for minutes or seconds of use before it no longer serves a designated purpose.” Cirino, a gifted author whose writings have been featured in Scientific American and The Atlantic, has penned a smart, passionate exploration of one of the most troubling and challenging issues. Subtitled “The Quest for Solutions to the Plastic Crisis,” the book examines a problem of overwhelming global impact.

The book’s first part focuses on Cirino’s 3,000-mile journey on the S/Y Christianshavn to the Pacific Ocean’s Great Pacific Garbage Patch. Located in the turbulent North Pacific Gyre, this is “the most notoriously plastic polluted stretch of ocean in the world.” And while “the patch” has been described as a “static, floating pile of plastic” (i.e., a “plastic island”), the reality is much graver. “These waters are more akin to a soup to which humanity has added an unknown number of plastic items and pieces. The plastic is commonly suspended right below the surface, pushed just of out sight, constantly and unpredictably stirred by the rolling sea.” Her thesis is clear: While plastic defines our culture, it should not be allowed to determine our future. 

The book features vivid descriptions. Whether depicting a meal or the rescue of a sea turtle from “ghost fishing,” nothing escapes her insight, expressed in often lyrical prose:

“Out at sea, time is not measured in hours or minutes, but by the intensity of the burning sun, the oscillating fade-sparkle-fade of thousands of stars and specks of glowing algae, the size and shape of the moon, the furor or calm of the sea […] The sea can show us what it is in life we need, and what we can live without.”

But the writing never masks the underlying and driving force of the dire situation.

Throughout, Cirino investigates the shift from the historical use of plants and animals to fossil fuels. She traces the involved reliance on the latter and the products created from it. She shares a comprehensive understanding. “Plastic is so permanent because of its structure on the molecular level.” She clarifies both microplastic and the even smaller particles—nanoplastic—and their invasion of the food chain.

The facts are harrowing. “About 40 percent of the plastic used today is actually not even really used by people—instead, as packaging, it covers or holds the foods and goods we purchase and is simply torn off and thrown away so we can access what’s inside.” The flimsy, disposable plastic is tossed, sometimes after a few moments’ use. “In 2015, experts estimated the amount of plastic in the oceans would outweigh fish by the year 2050 […] By 2020, humans had created enough petrochemical-based plastic to outweigh the mass of all marine and land animals combined, by a factor of two.”

And while the material presented is alarming, Cirino is never alarmist, never resorting to sensationalism. Instead, facing such devastating research, she maintains a fair and fairly objective view.

‘Thicker Thank Water’

When on shipboard or in the laboratory, she presents the science to inform and engage the reader. There is a wealth of data from the manufacture of plastics to the associated chemical pollution, from oceans to fresh waters. For example, she depicts the research done on human-ingested plastic with a mannequin that emulates human breathing. Postdoc Alvise Vianello, from Denmark’s Aalborg University, states: “From what we can tell, it’s possible people are breathing in around eleven pieces of microplastic per hour when indoors.”

The third part of the book tackles the frequently ignored environmental racism. Industrial plants are commonly erected in minority communities. Cirino focuses on Welcome, Louisiana, and its environs. The area of Louisiana is home to about one hundred and fifty industrial plants, dubbed Cancer Alley. There is a great deal of corruption surrounding these factories and complexes, with the companies permanently damaging the communities with chemical pollution. Furthermore, often the factories are built on top of presumed burial grounds of enslaved African Americans. This section highlights both environmental and sociological devastation. 

Cirino connects the dots from plastic production to climate change. She has a sense of the irony that the pandemic briefly lowered our carbon footprint. Additionally, as renewable energies rise, fossil fuel corporations—notably big oil and gas—counter the lack of demand by turning ancient carbon stocks into plastic. 

The final section of the book, “Cleaning It Up,” centers on solutions. Technical invention (trash wheels, booms, grates, etc.) and grassroots work (simply picking up garbage) are important. But, ultimately, the solution is a combination of public awareness through education, science, and systemic change of using less, or ideally, no plastic. “You wouldn’t just mop up water off your floor if your bathtub were overflowing,” says Malene Møhl of Plastic Change. “You’d turn off the tap.”

Taxes, bans, and other legislation, combined with the search for biodegradable resources (even using bacteria, fungi, and algae), face pushback from large industries, the complexity of plastic recycling, and our own desire for convenience.

It would be impossible to read this powerful book and not look at the world differently, both in the larger picture and day-to-day life. Contents of Thicker Than Water can be overwhelming—even paralyzing. But, in the end, Erica Cirino’s ideas stimulate thought, raise awareness, and, most importantly, are a call to action.

Thicker Than Water is available at IslandPress.org, Amazon.com, or BarnesandNoble.com. For more information on the author, visit www.ericacirino.com.

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Anya Taylor-Joy, left, and Thomasin McKenzie in a scene from the film. Photo courtesy of Focus Features

Reviewed by Jeffrey Sanzel

Director Edgar Wright’s best-known work includes Hot Fuzz, Shaun of the Dead, Scott Pilgrim vs. the World, and Baby Driver. In a strong departure from his more satiric work, Last Night in Soho is an entertaining psychological thriller, mixing familiar tropes with clever, original ideas. Wright nods towards British horror films of an earlier era and a shadowy look at the “Swinging Sixties.” If the ending does not quite live up to its potential, it is a minor cavil in a fast-paced two hours.

Eloise (a riveting Thomasin McKenzie) leaves her sheltered Cornwall home for London to study fashion design. After her mother’s death (due to an unspecified mental illness that drove her to suicide), “Ellie” was raised by her grandmother (fluttering and supportive Rita Tushingham). Ellie has two passions: fashion and the 1960s, illustrated in a spot-on (if a bit on-the-nose) opening with her dancing in a newspaper gown to the sounds of “A World Without Love.” However, rather than feeling precious, there is more than a hint of frailty and even menace in a seemingly benign sequence.

Anya Taylor-Joy, left, and Thomasin McKenzie in a scene from the film. Photo courtesy of Parisa Taghizadeh / Focus Features

While anxious to have a career in high fashion to which her mother aspired, scholarship student Ellie finds the cutthroat university world overwhelming. Her roommate, mean girl Jocasta (Synnøve Karlsen, doing the best she can with the caricature), drives her out of their shared student housing. 

Ellie rents a top-floor apartment from the no-nonsense Ms. Collins (the final performance of the great Diana Rigg). Once ensconced in the bedsitter, Ellie begins having visions of Sandie (The Queen’s Gambit’s Anya Taylor-Joy, radiant and disturbed in equal measure). Sandie is a self-assured would-be singer in an idealized, peripatetic 1960s London.

Whether Ellie is transported back to 1965 or is having visions (or both) is part of the premise. Sometimes she sees herself reflected as Sandie. Other times, Ellie is outside Sandie, watching her. In any case, she experiences what Sandie does. At first, Ellie is delighted, finding joy in the new feelings. But quickly, the encounters turn. A talent manager, Jack (Matt Smith, oily and dangerous), engages Sandie. But Jack is a vicious, manipulative pimp, and Sandie’s life becomes a nightmare from which Ellie cannot escape.

Terence Stamp makes the most of a mysterious gentleman who seems to straddle both worlds, haunting Ellie in the pub where she has taken a job as well as the neighborhood itself. Michael Ajao’s John is warm and fully present as the fellow student who has feelings for Ellie. He owns the tricky balance of supporting Ellie but not furthering what he perceives as her delusions. 

Rigg mines depth in the wry and knowing landlady, with a final scene that skirts predictability through a dimensional, effortless, and mesmerizing performance. 

The film is strongest when it leans into the psychological elements of the story. The screenplay, by director Wright, along with Krysty Wilson-Cairns, presents two conflicted heroines. 

Ellie battles with inner demons that prevent her from adjusting to city life. The struggles are fully awakened—and acerbated—by her presence in the room where Sandie lived. Sandie fights the terrors of her horrific day-to-day life of fear and forced prostitution. Wright has created a relationship that is complementary and symbiotic and that somehow runs parallel and intersects. 

Both McKenzie and Taylor-Joy give extraordinary, textured performances, showing two individuals in search of identity. (There are some obvious but nonetheless telling moments dealing with names.) Both actors palpably manifest a powerful connection in their disconnected worlds.

Wright has used his soundtrack to great advantage, using the songs as commentary on the narrative. The nearly two dozen numbers include “Wishin’ and Hopin’,” “You’re My World,” “Puppet on a String,” “(Love Is Like a) Heatwave,” “Don’t Throw Your Love Away,” and Taylor-Joy’s acapella rendition of Petula Clark’s signature “Downtown” which is simultaneously alluring and chilling.

Clearly, Roman Polanski’s Repulsion has inspired Wright; the 1965 Catherine Deneuve film dealt with sex, violence, and a descent into madness. Where Last Night in Soho is weakest is in the horror department. The spirits take on an almost creature-feature appearance and undermine the more cerebral, edgier aspects. Cinematographer Chung-hoon Chung presents a muted present-day London while the flashbacks are initially vivid and colorful before shifting to darker hues as Sandie’s world crumbles.

While by no means a perfect film, Last Night in Soho is an excellent antidote for mindless slasher films (Halloween Kills) that seem to spring up this time of year. The film offers strong performances and an entertaining, twisty addition to the world of psychological thrillers. 

Rated R, Last Night in Soho is now playing in local theaters.

Above, Kerriann Flanagan Brosky kicked off her Fall book tour at the Country House Restaurant in Stony Brook hosted by owner Bob Willemstyn on September 30.

Reviewed by Jeffrey Sanzel

The versatile Kerriann Flanagan Brosky’s works include Historic Crimes of Long Island (reviewed in this paper October 2017), Ghosts of Long Island, The Medal, and Delectable Italian Dishes for Family and Friends, among others. Haunted America (a division of The History Press) presents her latest work, Haunted Long Island Mysteries, a well-crafted overview of various sites of supernatural activity from Sag Harbor to Port Washington. Brosky has once again teamed up with medium and paranormal investigator Joe Giaquinto to explore a range of “spirited” hauntings. 

Author Kerriann Flanagan Brosky

This is Brosky’s fourth ghost book: “The journey of investigating over one hundred presumably haunted locales on Long Island has led me to understand many things, including the importance of these spiritual beings and how they relate to our past and history, to the continuity of life after death and to the ability to communicate with our loved ones after they have passed.” Brosky finds the place where history and the spirit world eloquently intersect with the paranormal.

Both Brosky and Giaquinto come from a grounded and focused point of view. They are not looking for converts. Instead, they ask the reader to keep an open mind. “We are simply putting our research and investigations out there for one to ponder while at the same time teaching you about local history and the importance of preserving it.”

Each chapter focuses on a specific location: a house, an inn, a cemetery, a restaurant, etc. From Setauket to Patchogue, Babylon to Stony Brook — many of these places (18 in all) will be familiar to the readers from reading about or even visiting them. 

First, Brosky provides a meticulously researched background, with detailed notes on the construction and physical elements. Next, she succinctly proceeds to accounts of the occupants’ lives throughout the years—the families, the marriages, the breaks, the affairs. Finally, having established context, she arrives at the present, interviewing caretakers, directors, docents, and board members. She then connects past to present, highlighting any of the unusual occurrences. 

The final section of most chapters is composed of Brosky and Giaquinto’s actual work in the location, including photography, video, and, most interesting, the use of a ghost box. A ghost box (also known as a spirit box) contacts spirits using radio frequency. The result is EVP (Electronic Voice Phenomena): human-sounding voices from an unknown source heard on recorded data from an audiotape, radio station noise, or other electronic media. The book contains portions of transcriptions, but readers may listen to the actual recordings by visiting www.ghostsoflongisland.com, then clicking on Haunted Long Island Mysteries.

The book contains accounts of orbs of light, dark silhouettes, footsteps in the middle of the night, and slamming doors. There are rooms where the temperature is exceptionally and inexplicably cold. There are scents with no source. But it is not about things that go bump in the night (though many do, including the voice of a screaming woman). Instead, it is about the energy and the presence (perhaps more blessed than haunted). Most of the encounters are with benign and even welcoming entities. Whether focusing on a member of the Culper Spy Ring, a library custodian, a mother guilty of filicide, or victims of a shipwreck, Brosky shows respect for her mission. 

For believers, the book presents an ideal blend of history and mystery. For others, the exceptional scholarship provides an undeniably detailed examination of a range of Long Island settings. The work celebrates the scientific, not the sensational. This world is not populated by fanatics or conspiracy theories but people who have experienced events and connections for which they cannot find an explanation. 

Brosky offers many perspectives in the dozens of interviews. “People always ask us if we have ghosts,” states Frank Giebfried, a docent and board member at Meadow Croft in Sayville. “I have not really experienced anything, just a little voice here or there, but nothing that I would attribute to anything supernatural. I’m a skeptic, but I’m not going to not believe the things people tell me they experience.”

Brosky honors groups like the Bayport-Bluepoint Heritage Association, the Ward Melville Heritage Organization and the Oyster Bay Historical Society for their work in preserving these historical sites and making them available to the public.

The last two chapters are devoted to the Sundance Stables in Manorville, with the final chapter focusing on Rebecca Weissbard, who died in 2016 at age twenty-two. A gifted equestrian, “Becca” died in a horseback riding incident. Her detailed story is the ideal coda because of the resonance of its deeply personal nature.

Giaquinto best sums up Haunted Long Island Mysteries: “There is something for everyone in this book. If you love history, it’s in the book. If you like to read ghost stories and urban legends, there are many to peruse here. And if you’ve ever been curious how a paranormal researcher does their work, you’ll find it here as well.”

Haunted Long Island Mysteries is available online at Barnes and Noble and Amazon. Learn more about the author at www.kerriannflanaganbrosky.com.

Nick Castle as Michael Myers in a scene from the film. Photo courtesy of Universal Pictures

Reviewed by Jeffrey Sanzel

The Halloween franchise boasts eleven films, including seven in the first series (with the third an unconnected entry), a reboot, and a continuation of its premiere track. The most recent, Halloween (2018), is now joined by Halloween Kills.

Jamie Lee Curtis and Judy Greer in a scene from the film. Photo courtesy of Universal Pictures

While falling into the category of “slasher movie,” Halloween (1978) remains one of the finest thrillers. Taut, brooding, and atmospheric, it relied on shadows, tension, and an unforgettable score to create its horror. John Carpenter directed and co-wrote the film that remains definitive in the genre. In addition, the film catapulted its lead, Jamie Lee Curtis, to Scream Queen stardom. She presented Laurie Strode as a self-actualized and resourceful heroine. Curtis would reprise the role four more times in addition to Halloween Kills and Halloween Ends (projected for release in 2022).

Ignoring much of the mythology developed during the progressively less inspired sequels, the well-received Halloween (2018) picked up forty years after the original film, with institutionalized killer Michael Myers (once again Nick Castle and James Jude Courtney) escaping while being transferred to a maximum-security prison. After returning to Haddonfield and embarking on a killing spree, he “dies” in Laurie’s burning home. The film emphasized Laurie as a wounded survivor, finding the inner strength to confront her living nightmare. The script—by Jeff Fradley, Danny McBride, and David Gordon Green—honored the story’s roots. Carpenter praised the outing, noting the strength of the screenplay and Green’s direction.

It would be easy to say things like Halloween Kills … an hour and forty-six minutes of your life. Or Halloween Kills … the desire to go to the movies. Or Halloween Kills … a franchise. It would be easy to pick this low-hanging fruit. So, I won’t say any of those things. 

Halloween Kills is a movie cobbled together with brutal violence and an absence of actual conflict. It serves as a placeholder between the first film, which reintroduced the characters, and the third (and hopefully final) chapter that concludes Laurie’s journey. That Michael Myers must survive to complete the trilogy is a given. Nevertheless, it does not need to be so painfully generic. In the first fifteen minutes, Michael slaughters an entire team of first responders. What follows is one meaningless killing after another.

The film makes the egregious error of showing flashbacks to the Halloween (and Halloween) of 1978. However, these newly shot scenes lack the meditative, shadowed world of the original. Instead, they are overwrought, introducing information with only the slightest nod towards character development. Additionally, the use of footage of Donald Pleasance (the powerful, understated Dr. Loomis of the source film) is a reminder of the complete absence of style and substance in this newest incarnation.

Having been stabbed in the abdomen, Laurie spends almost the entire film in a hospital bed (shades of Halloween II’s hospital location). Sidelining the strongest character is a mistake. Saddling an actor of Jamie Lee Curtis’s caliber with embarrassingly clumsy dialogue is a crime.

The roster of townspeople is a mix of new characters and shout-outs to minor characters in the original. Some of the 1978 cast returns to play themselves forty years later; others are the grown-up versions of the children hunted that fateful night. 

Anthony Michael Hall is the adult Tommy, the boy Laurie was babysitting. The role edges to slightly more than one dimension. At a bar talent night(!), Tommy shares the story of “The Bogeyman,” who terrorized the town. His character misfires on every level, trading trauma for campfire whimsy and rally-round-the-pitchfork-boys. Among the new victims for the stalk-dispatch-repeat are an African American couple (she’s a doctor; he’s a nurse) and a gay couple (Big John and Little John). Please don’t get too invested in the diversity; they are all undefined fodder for the knife.

Worst of all, in a nod to topicality, the creators introduce the dangers of mob mentality and vigilante justice. “Evil dies tonight!” they chant. Multiple times. Declarations such as “No, he’s turning us into monsters,” “The more he kills, the more he transcends,” and “He is the essence of evil” don’t elevate the situation.

The performances never overstep the awkward script. Judy Greer (as Karen Nelson, Laurie’s daughter), Andi Matichak (as Allyson Nelson, Laurie’s granddaughter),  and Will Patton (as Deputy Frank Hawkins) continue their paths from Halloween (2018). Greer, a talented actor, is a cipher. It is also hard to believe that her husband was murdered by Michael this same night. It is as if the year between the release of the films has allowed her to accept it. The storyline and timeline are bizarrely disconnected. 

For those looking for a predictable, sadistic bloodbath, Halloween Kills might be for you. But, for those hoping for plot, motivation, thought, tone, and engagement … well, there’s always next Halloween. Rated R, the film is now playing in local theaters.

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Other seasonal fair to consider: the Candyman reboot; Malignant, the twisty thriller from James Wan; Lamb, the story of a human/sheep hybrid; Last Night in Soho, a psychological time-travel film with a horror overtone; malevolent forces in Shepherd; and the supernatural creature-feature Antlers, starring Keri Russell. (Please note: These films have not been reviewed by TBR News Media.)

By Heidi Sutton

October is such a great time of year with  the lovely weather, the changing leaves, mums, pumpkin and apple picking and trick or treating. It also means the return of the holiday treat A Kooky Spooky Halloween at Theatre Three. With emphasis on the power of friendship and the importance of helping others, the original musical, written by Jeffrey Sanzel and Steve McCoy, runs through Oct. 30.

The star of the show is a nice ghost named Abner Perkins (Steven Uihlein) who has just graduated from Haunting High School. Awarded a medallion of invisibility, he is given the coveted assignment of haunting Ma Aberdeen’s Boarding House, famously known for being the most haunted house in Harrison County U.S.A … and for serving the best toast! Abner must abide by two rules — he can only haunt at night and he can’t lose the medallion or he’ll become visible and lose his powers.

There’s only one problem — Abner is afraid of the dark, which is “like a vampire who’s afraid of necks!” according to his best friend Lavinda the Witch (Alanna Rose Henriquez). She gives him a night light as a graduation present and promises to help him adjust to his ghostly duties.

When Abner and Lavinda arrive at the boarding house, they find the Petersons — Paul (Liam Marsigliano), his wife Penelope (Stephanie Moreau) and son Pip (Darren Clayton) — and Kit Garret (Heather Rose Kuhn), who has just come “from a small town to the big city with a suitcase in my hand and hope in my heart,” in the kitchen helping Ma Aberdeen (Ginger Dalton), the finest toast maker in the land, prepare treat bags for Halloween.

In one of the funniest moments in the show, Abner casts a speed spell on the group, making them dance, sing, spin like a top, quack like a duck and do jumping jacks in fast motion. His final spell of the night is to have them “join together like birds of a feather.”

Things are going hauntingly well until fellow graduate Dora Pike (Beth Ladd) appears out of thin air. Filled with jealousy, (she was hoping to be assigned to Ma Aberdeen’s boarding house) Dora steals Abner’s night light and medallion and threatens to drop them into Black Ridge Gulch, the deepest, darkest gorge in the entire world (where it’s really, really dark).

Still stuck to each other, the group can now see Abner who must convince them to help him retrieve his medallion and undo the spell. What follows is a “Golden Goose” moment throughout the theater that will leave you in stitches!

Peppered with Halloween riddles and jokes, the show is wonderful on so many levels. Directed by Jeffrey Sanzel, the 8-member adult cast know their target audience well and deliver standout performances with special mention to Ginger Dalton as Ma Aberdeen, a character she has played since the musical originated in 2017. I can’t imagine anyone else playing that role. 

Accompanied on piano by Douglas Quattrock and choreographed by Sari Feldman, the song and dance numbers are the heart of the show, especially “Into the World I Go” by Abner, “A Witch Is a Person” by Lavinda, and the fun group numbers, “A Need for Speed” and “It’s Ma Who Makes the Toast.”

Jason Allyn’s gorgeous costumes are on fleek, from the ghosts dressed from head to toe in flowing white and the witch’s purple dress and pointy hat, to the Peterson’s coordinating orange and black outfits and the spooky lighting design by Steven Uihlein sets the mood and ties everything together perfectly.

Halloween is always such a fun holiday for children. This year, make it extra special and take them to see A Kooky Spooky Halloween. They’ll love you for it.

Snacks and beverages are available for purchase during intermission and costumes are encouraged. Souvenir cat, pumpkin, Frankenstein, Dracula and ghost dolls will be available for purchase before the show and during intermission for $5. Meet the entire cast in the lobby for a group photo.

Theatre Three, 412 Main St., Port Jefferson presents A Kooky Spooky Halloween on Saturdays, Oct. 9, 16, 23 and 30 at 11 a.m. and Sunday, Oct. 17 at 3 p.m. Children’s theatre continues with Barnaby Saves Christmas from Nov. 20 to Dec. 26, Puss-In-Boots from Jan. 15 to Feb 5, and a brand new production, Dorothy’s Adventures in Oz, from Feb. 23 to March 26. All seats are $10 and COVID protocols are in place. For more information or to order, call 631-928-9100 or visit www.theatrethree.com.

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Michael Gandolfini as a young Tony Soprano and Alessandro Nivola as Dickie Moltisanti in a scene from the film. Photo courtesy of Warner Bros.

By Jeffrey Sanzel

“It’s not T.V. It’s HBO.” 

This promotional phrase captured the viewing public’s attention, promoting a shift in the nature and caliber of the small screen. With Oz, Six Feet Under, Curb Your Enthusiasm, The Wire, Sex and the City, and Game of Thrones, the subscription service elevated quality and expectations. 

But, perhaps the show that truly launched the revolution was The Sopranos (1999-2007). And no anti-hero captured imaginations more than Tony Soprano, vividly brought to life in an award-winning performance by the late James Gandolfini. For eighty-six episodes, over six seasons, the New Jersey mob boss struggled with personal and professional demons. 

The Sopranos transformed the gangster/crime genre into an event that was perpetually brutal, darkly humorous, and almost always surprising. The ensemble cast, headed by Gandolfini and Edie Falco, was nothing short of flawless. Yet, even when it strayed from its strengths, it was still the most watchable and addictive show on television.

A scene from the film. Photo courtesy of Warner Bros.

Sopranos creator David Chase has co-penned the screenplay (with Lawrence Konner) for The Many Saints of Newark, a prequel spanning 1967 to the mid-70s. Focusing on Dickie Moltisanti (father of The Sopranos’ Christopher, played by Michael Imperioli, who narrates from beyond the grave), the story draws on the same well as its source: allegiances and betrayals, violence, and family. 

Once again, it is a realm of street shootings, hypocritical funerals, heaping trays of pasta, neglected wives, and abused mistresses. Adding texture and weight to the narrative are the race riots of Newark, as seen through the eyes of Harold McBrayer (Leslie Odom, Jr., making every moment count), an African American associate of the crime family. Though not fully realized, the unrest reflects our contemporary turbulent times.

While Tony’s father, Johnny (Jon Bernthal), is shown going to and returning from prison, the film keeps him surprisingly in the periphery. Dickie’s relationship with his father (a slightly over-the-top Ray Liotta), his father’s immigrant wife (Michela De Rossi, finding depth), and Tony (played by William Ludwig as a boy and James Gandolfini’s son, Michael Gandolfini, as a teenager) are the driving forces. 

As Dickie, Alessandro Nivola embodies bravado affected by doubt and guilt. Some of the strongest moments featured his father’s imprisoned twin brother (played with a fascinating edge and subtlety by Liotta). Like The Soprano’s Tony, the shadow of doubt and the battle with moral conflict enrich Nivola’s hoodlum.

The draw in The Many Saints of Newark comes from familiarity with the world Chase created. Saints is, in theory, a standalone film, but the mythology is rooted in what comes next. It is unlikely that people new to The Sopranos will be intrigued enough to explore the original; the film is fan-centric and for devotees. 

The most entertaining moments are the ones that reference the characters’ latter selves. John Magaro, as Silvio Dante, finds Steven Van Zandt’s peculiar walk and definitive speech pattern. While given very little to say, Samson Moeakiola’s Big Pussy is a ringer for a young Vincent Pastore. However, with their screen time, these almost feel like cameos or Easter Eggs. 

A scene from the film. Photo courtesy of Warner Bros.

Glimpses of Janice, Carmela, Jackie Aprile, and Artie Bucco are more a Where’s Waldo? than resonating additions to the overall landscape. (Corey Stoll as Junior Soprano fails to capture the essence of Dominic Chianese’s eccentric second fiddle.) The result is recognition of familiar lines or reactions rather than engrossment in the complexity of character.

Vera Farmiga is the exception. She consistently evokes Tony’s elder monster-mother Livia (the indelible creation of Nancy Marchand). Farmiga finds the broad strokes as well as the nuance in the mercurial Soprano matriarch. A simple kitchen interaction with the teenage Tony (Gandolfini) embodies the relationship core to the entire series.

The film conjures the era, shot with a brisk pace and an eye for detail by veteran Sopranos director Alan Taylor, and the gritty, period cinematography of Kramer Morgenthau (whose work has included Boardwalk Empire and Game of Thrones).

If anything, the movie offers new life to a departed show that was universally mourned by its faithful followers. It is less a driving narrative and more meditative (though violently so): Chase offers a slice of Mafia life. And while there is an arc, there is no sense of finality. 

Without James Gandolfini, a return of the television show seems unlikely. So rather than a reboot, Saints heralds a possible film series exploring what led up to where The Sopranos began. Whether these come to fruition remains to be seen. In the meantime, The Many Saints of Newark compellingly sheds some light on what came before.

Rated R, the film is now playing in local theaters and streaming on HBO Max.