GODSPELL – EVANGELICAL FLASH MOB ON STAGE AT LAKE CHARLES LITTLE THEATRE!!

SHORT TAKE:

Lake Charles Little Theatre closes out this season with Godspell, the musical of vignettes from the New Testament, which is performed like a theatrical troupe flash mob.

WHO SHOULD GO:

EVERYONE!!!

LONG TAKE:

Have you ever seen a flash mob? They’re all over Youtube. A bunch of people, appearing to be from all walks of life, converge on a public area: an airport lobby, a playground, a mall – and someone starts to play an instrument or sing a song or dance. Then, one by one, others in their group, camoflaged as passersby, join in with voice or a flute or guitar or in tap shoes and before you know it, there are dozens, if not hundreds, of people singing the "Ode to Joy" or Christmas Carols or tap dancing their hearts out, or like in the faux flash mob with actors from  The Greatest Showman, act out medleys from a Broadway show.

I am always pleased and delighted to watch these coordinated groups who, of a single mind, have the nerve and verve to perform for total strangers. And judging by the smiles, the photographs, and the applause from the suddenly blessed impromptu audience, I am not alone.

While I have never seen one in person, I would travel a considerable distance to be either a participant or an audience member, but by the very nature of the "show," most beneficiaries of these live exhibitions do not know about them ahead of time.

Musicals, like La La Land, have employed this concept since…well, since the advent of the musical. Random strangers all suddenly are inspired to break into song and  hoof coordinated complex dance routines. It's a wonderfully infectious and entertaining trope.

Now, imagine you are minding your own business at an empty baseball field – throwing a ball with your son, having a picnic, walking the family dog.  Suddenly a group of Catechism teachers from various eccumenical branches,  dressed for all walks of life, happen to converge and, inspired, cobble together a series of seemingly impromptu mini-plays, acting out stories and parables from the New Testament – from Jesus' baptism by St. John the Baptist through to Jesus' death. This is Godspell as the actors at Lake Charles Little Theatre truly personify the admonition from Matthew 18:20 that: "For where two or three are gathered together in my name, there am I in the midst of them.”

Godspell, literally from the Anglo-Saxon meaning "Good Story," refers, obviously, to the Gospel or Good News of the New Testament. The show is written as though the characters arrive together by chance unprepared and without anything but the clothes they wear, whatever happens to be lying around on the baseball field, a fervour for the Lord, and a desire to preach and teach the Gospel, enacting "on-the-spot" demonstrations of lessons from the Bible.

The show begins with the chant: "Prepare ye the way of the Lord," and features songs you will find very familiar from your high school years, if you are over forty, and might have heard your parents play or on an elevator somewhere, if you are younger. But THIS is the way you SHOULD hear these songs – live and on stage, sung by people, some of whom I know personally, who are of great faith and mean every word they sing and say.

Unlike the play Jesus Christ Superstar or movies like The Passion, where individual actors step into roles and assume the mantle of that character for the duration of the story, in Godspell the actors are NOT supposed to BE that person, but are only vehicles for the communication of the Gospel message. Ordinary people going about their daily business are inspired to teach the Word. Therefore, there is no disrespect intended when Apostles are dressed in running shorts, or for ballet practice, or in a leather jacket or lab coat, because that is how they are supposed to have showed up for this "come as you are" exercise in missionary work. The actors, thereby, communicate an additional underlying message, that EVERYONE – young, old, whatever gender, whatever your gifts, are all called to evangelize. That when the moment calls to speak up for your faith, you are not to let formality stand in the way, but just jump right in and strike while you have a receptive audience. 

And there is no "gender agenda," but only a "necessity of convenience agenda" when a group of ladies ham it up with fake beards as Pharisees or a young lady responds as Peter – there are simply not enough men in the available cast. (MORAL TO THIS PART OF THE STORY – You guys in Lake Charles – MAN UP AND AUDITION!!!)

Clay Hebert, a staple in both local independent films and community, high school and college theater for over three decades, speaks on behalf of Jesus in an Astros shirt. Unsurprisingly, he has the command of both the stage and the Gospel message. I've known Clay since he had hair and have always been impressed by him as a brilliant example of the RIVER of talent that flows through our city. Kirsten Bush, Heather Partin, Zoe LeBeau and Joseph Comeaux are very familiar figures on our Lake Charles stages. And the rest of the performers shine as well: Clay Corley, Rebecca Harris, Virginia-Kate Jessen, Theresa Hay Needham, Taylor Novak-Tyler, Liz Rentrop Trahan, and Jaylin Williams all round out a cast which embodies a wide variety of roles: from the fallen woman Jesus saves from stoning, to the wealthy merchant who will not live to enjoy their earthly treaures, to the rich man who ignores Lazarus; from Caiaphas, to a temptress Devil, to the ungrateful servant, and those healed by Jesus. All the stories these delightful actors tell will be well known and beloved to even a casual student of the Bible. It is a joy to see these stories play out and hear the  beautiful singing. These very familiar songs, which can grow stale over time with indifferent repetition, come alive with the energy of immediate re-enactment that this talented troupe brings to the stage.

Greg Stratton, with a resume longer than my arm, gifted actor and director, corrals all this enthusiasm into the Godspell that we enjoyed, masterfully inspiring his cast, bringing out the best of their vocal and acting talents, making the challenge of directing so many performers constantly on stage look effortless. I have had the privilege of watching Greg direct up close and his creativity, love for the theatre and respect for his performers comes through clearly. Greg has an enormous repertorie, wearing the hats on and off the stage in comedies and dramas alike.  

A theatrical master magician who, like Prospero in The Tempest, is able to make his audience weep or laugh, Greg manages to do both in this funny, joyful, and emotional modern re-presentation of Bible stories.

So go see Godspell at Lake Charles Little Theatre as soon as you can – the run is only through April 29th – and be uplifted as only a live retelling of the Bible can be where two or more are gathered in His name.

AND I APOLOGIZE FOR THE PAUCITY OF PHOTOS FROM THE SHOW – MY ACCESS TO PICTURES WAS VERY LIMITED. IF ANYONE FROM THE CAST WOULD LIKE TO CONTRIBUTE PHOTOS FROM THE PRODUCTION PLEASE SEND THEM TO MY E-MAIL AT: KBARRILLEA@SUDDENLINK.NET AND I WOULD BE DELIGHTED TO ADD THEM TO THIS BLOG IF AT ALL POSSIBLE.

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I HAVE A CONFESSION TO MAKE

OK BOYS AND GIRLS – I HAVE A CONFESSION. I wrote a two minute short and entered it into a competition – the challenge: what story could you tell in two minutes if your characters had only hours, or minutes before an Earth shattering – no last minute reprieve – meteor was going to hit Earth? I won one of the 50 spots. Stuart White, one of my guest reviewers, and, I am very pleased to say a good friend, won a spot as well. There are 50 shorts – 2 minute spots from 50 different screenwriters were or will be filmed and compose one 100 minute movie.

Although the video will not be out for a while yet as not even all the shorts have been finalized, Chris Jones – the orchestrator of the project – just released the trailer. Here it is.

So — the movie reviewer has had a hand in writing a movie. I am only one of fifty but win, lose, or draw I am complicit in Impact 50's creation.

While you won't be able to see my short until the film comes out, tell me what you think of the idea of the project in general and this trailer in particular. FYI none of the filmed portions of my short are in the trailer but there are some truly stunning bits shown.

 

 

SGT. STUBBY: AN AMERICAN HERO – COMPLETELY FAMILY FRIENDLY ANIMATED HISTORICALLY ACCURATE DELIGHT ABOUT A FOUR LEGGED WORLD WAR I SOLDIER

SHORT TAKE:

Sgt. Stubby: An American Hero is a wonderful animated history of American Sgt. Stubby, a small mixed pitbull, the only dog to achieve rank and combat advancement, who followed his master’s Yankee Division regiment into the desperately dangerous front line trenches of World War I France.

WHO CAN GO:

With rare unequivocalness, I can recommend this movie for EVERYONE of any age.

LONG TAKE:

Years ago my brother, Bill, and I watched Lethal Weapon 2 on TV. There was a scene where Gibson as Martin Riggs, his dog Sam and Riggs' girlfriend du jour were under attack – helicopters, guns, lots of shooting. Bill turned to me and knowing what my primary concern would be said, "Don’t worry the dog survives." So rest assured to any parents concerned about bringing their small children to a movie about a cute dog on the front lines in World War I trenches, I have no compunction about a spoiler to let you know Sgt. Stubby is VERY child friendly.

Directed by Richard Lanni, in his first non-documentary feature film, and written by Lanni and Mike Stokey, the latter a combat vet and experienced film consultant on everything military, Sgt. Stubby is a mostly historically accurate telling of a stray miniature pit bull mix who attached himself to the 102nd Infantry Regiment Yankee Division, especially one Private Robert Conroy. Conroy is voiced by Logan Lerman, known for Fury, the Percy Jackson movies, 2011's steam-punk version of The Three Musketeers, and the most recent (and vastly underappreciated) Noah. (As a side note see Word on Fire’s Bishop Barron’s review of Noah before coming down too hard on Noah.)

In a delightful surprising supporting role, the amazing French actor, Gerard Depardieu brings Gaston Baptiste to life. Depardieu, with over 233 credits to his name is, to my mind, of note for the best Cyrano de Bergerac (short of the updated romantic comedy by Steve Martin, Roxanne), the funniest Porthos from 1998's Man in the Iron Mask, and the almost unique appearance of the character Reynaldo in Branagh’s unabridged Hamlet. Depardieu, leading man in both French and American movies, accomplished winemaker and restauranteur, has appeared mostly in historical dramas and romantic comedies. Baptiste, drawn to loosely look like Mr. Depardieu, is a large gentle giant of a veteran Frenchman who, in his civilian life, is a chef and takes Conroy, Stubby and Conroy’s closest human friends under his wing to help them survive in the trenches.

Stubby became the mascot of the Yankee Division, wandering onto the grounds of Yale University in New Haven, Connecticut where the troops were training. Stubby ended up going with the men to the front lines in France for 18 months – in the trenches, raising morale, chasing out vermin, locating the injured, alerting the men to incoming bombs and impending gas clouds, and warning of approaching Germans. He was the most decorated dog in World War I and the only dog to ever achieve rank and then a combat promotion which he won for heroics during battle, including receiving a war wound.

Sgt Stubby is told through the medium of letters written home to Conroy’s sister Margaret, voiced by Helen Bonham Carter. Carter is best known for her scary roles including Bellatrix Lestrange in the Harry Potter franchise, the Red Queen in 2010's Alice in Wonderland, and Madam Thenardier from Les Mis. She is not quite as well known for some truly lovely and far gentler roles, such as the devoted wife of George VI in The King’s Speech. Her narration as Margaret in Sgt. Stubby ranks with her performance as Queen Elizabeth.

Sgt. Stubby reminded me of the old Disney and Warner Brothers animated shorts made during World War II promoting patriotism, explaining rationing, and cautioning against "loose lips". It was delightful to see that kind of straight forward common sense view of America and her allies against a common enemy AND with all the benefits of beautiful modern animation, all structured by the genuinely amazing events of this little dog.

From what I have read there were SOME historical liberties taken – for example Stubby does not manage to get onto the ship alone through sheer will and determination to find his master, but was smuggled onto the ship by Conroy. However, MOST of the other notable adventures really occurred – of which I hesitate to mention for fear of spoilers and ruining some surprises.

This is a VERY VERY child friendly movie. Even the battle injuries sustained by the soldiers are "shown" through mild reactions of other soldiers, or occur off screen or simply are just not shown but spoken of as one might during a stage play without actually showing any blood or wound. My two year old grandson, who ADORES dogs and is especially fond of our American Staffordshire mix, was not upset by any of the proceedings. During suspenseful moments he occasionally spoke a word of encouragement to Stubby but was otherwise transfixed. Two ten year old little girls who came with us and all the moms found the movie equally enjoyable. My ten year old "co-reviewers" both gave Stubby a definite "two thumbs up".

One of the other moms noted to me that, not only was Stubby a good and wholesomely entertaining movie, but it was genuinely educational. Maps of France, the trenches, the battle front lines, the advances and retreats were clearly drawn and animated, making it quite easy to follow the progress of the war. Details of uniforms and weaponry, the barbed wire, insignia on the bombs, movement of weaponry and conditions of the trenches seemed to be very carefully considered.

So I’d say – bring your dog obsessed two year old, bring grandma whose grandfather might have fought at Chemin des Dames, bring your older teen majoring in history at college, bring a girl on a first date, bring your friends to watch a feel good patriotic movie about the true exploits of brave American and French soldiers – both two and four footed, who fought selflessly to protect their countries and each other.

BISHOP BARRON: A QUIET PLACE – MODERN BOOK OF REVELATION

While my review of A Quiet Place focused on the monsters as allegory for all of the evils from which we, as parents, try desperately to protect our children, Bishop Barron, in breathtaking insightfulness recognizes the allegory of Revelation used by the Polish/Irish Catholic raised Krasinski to structure the story.

PLEASE READ BISHOP BARRON'S FAR SUPERIOR REVIEW:

(PLEASE BE ADVISED THAT THERE ARE A LOT OF MAJOR SPOILERS IN BISHOP BARRON'S REVIEW)

BISHOP BARRON'S REVIEW OF A QUIET PLACE

CLEO – WHERE REEL LIFE AND REAL LIFE EXPLOSIVELY COLLIDE ON THE ALLEY THEATER STAGE

SHORT TAKE:

Cleo is a brilliant stage dramedy, playing through April 29, 2018 at the Alley Theater in Houston, Texas – written by Lawrence Wright and directed by Bob Balaban, about the filming of the movie Cleopatra as seen from the perspective of the explosive affair between Elizabeth Taylor and Richard Burton, who play the cinematic lovers Cleopatra and Marc Antony.

WHO SHOULD GO:

Adults. Burton, Taylor and their relationship became the short hand definition of a passionate, torrid love affair. In addition, the movie they were filming, Cleopatra, pushed the MPAA ratings of that time to the edge of the envelope. So to show less than Mr. Balaban does would be like trying to demonstrate an atomic bomb with a birthday candle. But this means it is not appropriate for youths.

LONG TAKE:

I have rarely seen life so poetically and entertainingly imitate art and that art so analogously reflected back than in the play Cleo currently running at the Alley Theatre in Houston, Texas. And I have NEVER seen such a story more skillfully manifested. Masterfully written by Lawrence Wright and brilliantly directed by the multi-talented Bob Balaban, Cleo is about the romance that volcanically erupted between Elizabeth Taylor and Richard Burton during the shooting of the movie Cleopatra.

Cleopatra, for anyone under 40 and not an old movie aficionado, is a classic, epic, bombastic, spectacular that was filmed in 1963 with three of the heaviest hitting stars in Hollywood at the time – Elizabeth Taylor, Richard Burton, and Rex Harrison, and populated with some of the most solid and talented supporting actors of their era including   Martin Landau, Carroll O'Connor, Roddy MacDowell and Hume Cronyn.

The stories surrounding this legendary moving disaster area are legion. However, Messieurs Wright & Balaban tackle the central fuse that wove its way through the making of the movie – the romance that began between the couple who for the next two decades would be known in one breath, almost as one word – Liz and Dick. Married and divorced twice to each other and many times to others they became inseparable. Toxic to each other but unable to stay away from each other, they remained close for the rest of their lives, whether married to each other or not. Cleo tells the story of the beginning of this incendiary relationship.

Cleo is funny, bittersweet, bawdy, fascinating, historically interesting, and somehow also whimsically endearing. Lisa Birnbaum, as Elizabeth Taylor, radiates all of the subtleties of Taylor's voice and body mannerisms without creating the caricature that could have so easily emerged. The same for Richard Short as Richard Burton. I loved the accents Short was able to swing into and out of – Burton's normal Welsh versus the high British posh that we are so used to hearing him speak. 

All the subtlety but unmistakable familiarity of these personalities reincarnated on stage for us is a massive credit to both the skillful writing of Mr. Wright whose dialogue lends itself to revelations and foretelling, and to the insightful direction by Mr Balaban. In other hands this could have ended up as a farce. But the affection and respect Wright and Balaban have for these subjects shines through. Mr. Balaban's understanding and perceptive observation of these creatures of Hollywood who are also deeply human beings is personified in the choices which he has made with these actors in particular and the production in general.

Mark Capri portrays Rex Harrison and is given a bit broader license to portray the man who was both Dr. Dolittle and Henry Higgins. Capri's larger than life performance offers a counterpoint and some comic relief to the intense proceedings sparking around him. Brian Dykstra as Joe Mankiewicz occupies a Machiavellian type father position, who both struggles to keep peace amongst his cast but also tends to stir the pot just enough to elicit the dialogue and performance of which he knows these intensely talented movie stars are capable. Adam Gibbs as the cuckolded clueless Eddie Fisher, the man who left his wife Debbie Reynolds for Elizabeth Taylor, provides just the right combination of posturing famous singer and schlemiel who is the last one on the train to recognize that he has lost his wife. Gibbs' Fisher reminds me of the sad clown husband character from Chicago who devotedly would have kept his straying wife but is ultimately abandoned. But unlike the husband in Chicago we know Fisher's hands are not at all clean and that there is a certain poetic justice to the affair lighting up between his erring wife and the Welsh actor.

Bob Balaban, the director, is one of those faces you recognize but don't always remember his name. He has been in a wide range of movies, as a wide range of characters – from the oddly named but sweetly thoughtful Dr. Chandra in 2010, to the corrupt federal investigator in Absence of Malice, to the charmingly out of his depth cartographer in Close Encounters, to the ill-fated film critic in Lady in the Water and the art connoisseur in The Monuments Men. Mr Balaban has had a long career in Hollywood as a gifted actor, director, writer and producer. He even has a singing credit in Woody Allen's Deconstructing Harry. But this directorial outing of Cleo will stand out as one of his best works.

There is no whitewashing or lionizing of Taylor and Burton's scandalous behavior, the drunkenness, or the betrayal of their spouses. There is a scene in the stage play Lion in Winter in which Queen Eleanor reminisces to her son Richard about the first meeting between herself and his father, Henry II. Eleanor had been married, at the time, to King Louis of France. However, Eleanor recounts of Henry: "He came down from the North to Paris with a mind like Aristotle and a form like mortal sin. We shattered the commandments on the spot." This line echoed in my head as I watched Cleo. The violent passion between Taylor and Burton washes over the audience, exposing both their strengths as well as their all too human weaknesses. We see behind the Wizard's curtain and much like the fascination one might have for a slow motion train wreck, it is not always pleasant to see but it is absolutely captivating and mesmerizing to watch.

The movie, Cleopatra, destroyed the careers and health of two directors, wrecked at least two marriages and almost bankrupted 20th Century Fox. Cleopatra was drastically behind schedule and grostesquely over-budget when Joseph Mankiewicz took over the director's chair from Rouben Mamoulian. Without a viable shooting script to this disaster on wheels, rewrites were occasionally not completed until the night before, organization was poor and money was thrown willy-nilly at problems that should never have arisen. The entire cast and crew, trying to recreate the hot dry Egyptian climate in chilly damp London was moved to Rome. One scene was to be shot on the beach at Anzio. Rights were obtained, permissions were granted, and construction workers were killed from the detonation of a live mine left over from World War II. Shooting was once again delayed as a minesweeper had to be hired to prevent another tragedy. Elizabeth Taylor almost died from double pneumonia during the shoot. Established famous character actors had to be hired and paid for, in some cases months beyond the time for which they were originally contracted, as delays mounted one upon another.

BUT, as amusing as these scenarios and anecdotes are, most are wisely not addressed in Cleo. They do, howeverprovide a fitting backdrop of catastrophic ambiance to the Ground Zero of this nuclear romance.

During a Q&A before the performance, Mr. Bob Balaban spent an hour giving generously of his time to provide some background about the making of this play, spin stories about his personal life in New York as his family founded a string of movie houses, and field questions from an appreciative audience. He was extremely gracious, patient, open, warm, articulate, and friendly. Sort of like how you might imagine Mr. Rogers were he a theatrical director. He very kindly agreed to allow photos, videos and audios be made of the mini seminar. He also waited for anyone who wished afterwards to have a word and a photo. I was one of those who benefited from his affability, and assuming my technical crew can make the transfer, I will have audio and video excerpts up soon.

For the record, I used to think Elizabeth Taylor was a bubble-headed movie star. And to some extent, yes, she was. She made some very bad choices in her life, she drank, she took drugs, she lived to excess. However there was another part of her which I did not know about until doing research in anticipation of seeing the play and writing this blog. Elizabeth Taylor was a convert to Judaism. She was quite devoted to Israel and her outspokenness actually got her banned from Egypt even for the production of Cleopatra so that scenes were filmed in Rome with her and exterior shots only were filmed in Egypt without her. She spent the latter part of her life, after her film career, in well known philanthropic projects, including AIDS research, children's education, and raising money for Israel. However the most astonishing and courageous thing that I discovered she did was something I had never even heard a whisper about before. 

In 1976 Muslims hijacked an airline carrying 248 passengers. They rerouted to Entebbe, Uganda and threatened all the passengers with murder unless fellow terrorists were released. All of the non-Jewish passengers were released. Elizabeth Taylor, then one of the most famous faces on Earth, offered herself in exchange for the remaining 100 Jewish hostages. The terrorists refused the offer. Not just a PR stunt, the Israli Ambassador to the United States, Simcha Dinitz publically thanked her at the Jewish National Fund Gala, presenting her and her then husband Jack Warner with a certificate for a forest which would be planted in her honor, saying: "The Jewish people will always remember." It was an extremely brave thing to do. Had these Muslim terrorists accepted there is no telling what they would have done to her. Instead Israeli Defense Forces successfully released almost all of the hostages safely and took out the terrorists.

While the events in the play Cleo take place over a decade before this real life drama at Entebbe, Cleo's backstage pass look at one of the most infamously known, adulterous affairs in history, reminds us that there is often much more to the players involved than is commonly known. Thanks to Mr. Wright and Mr. Balaban, we have an opportunity to warm our hands by a still shot, an intimate and affectionately humorous peek, at the megaton conflagration that was Taylor and Burton

In 90 minutes the craft of this play is such that we, as the audience, come away feeling we have known these people for years, not just because we have read critiques, seen the movies, scanned articles and sadly noted obituaries about them. But we know these people because we have been given a look at them in their smallness, in the sinful activities of which we are all subject in this Fallen World. Great literature makes one feel that one is a better person after having seen it. That can come in two forms. The story can be of either a good example or a horrible warning. I think you can probably guess into which category this amusing, sad, bittersweet and mesmerizing play falls. As the play Cleo demonstrates, in this backstage pass look at one of the most infamously well known adulterous affairs in history, there is often much more to the players involved than is commonly known.

I predict Misters Wright and Balaban have a justifiably massive hit on their hands. Cleo will only be playing at the Alley Theater through April 29, 2018 so hurry to see it there. It will, undoubtedly find a national run in the near future as word gets out about this emotionally expressive and delightful play, but why wait??!! Treat yourself to a one-of-a-kind experience in Cleo as stars in reel life and real life collide on the Alley Theater stage.

A QUIET PLACE – BLESS YOU FOR THE REMINDER JOHN KRASINSKI

SHORT TAKE:

Brilliant and terrifying sci fi analogy to the terrors every parent faces in trying to protect their children from this dangerous world.

WHO SHOULD GO SEE IT:

Older teens and up ONLY, and then only ones who can manage Alien without having to use a nightlight for a month.

LONG TAKE:

Parent World – where everything can go wrong, go wrong, go wrong… (apologies to Michael Crichton), where a simple accident, a misjudgement or even a well-intentioned but ill advised act of kindness can rain unintended and unanticipated disaster upon your family.

Some movies are quite difficult to watch but they should be seen anyway. Some because they are history and we should be witness to the events even if it can only be done from a vicarious distance, such as Saving Private Ryan or Schindler's List. Some for the sheer artistry of the writer/director like Alfred Hitchcock's Psycho. Others, and many of these are based on classic literature, because they teach us lessons – Dracula, Frankenstein, Dr. Jekyll and Mr. Hyde. And some for the sheer roller coaster thrill of having the pants scared off of us – like Alien.

In a small way John Krasinski's A Quiet Place fits into all of those categories.

A Quiet Place is set. almost theatrically, within the confines of a small farm in an unnamed area, populated by a family of unnamed characters only identified in context by their relations to each other: Mom, Dad, Sister, Older brother, Younger brother. This is deliberate, I understand, in order that the message will apply to any family and every family. The members of this close knit family are survivors of a world wide cataclysm wrought by an invasion of creatures heretofore unknown on this planet. Where they came from – lab experiment gone awry like in Stranger Things, alien invasion, some critter from beneath the earth – is never explained. That too is on purpose, I think. These creatures are lightning fast, have skin of armour, razorsharp stilleto claws and multilayered teeth which would make your average Alien envious. As abandoned blowing newspapers declare they are impervious to bullets or bombs. But they are blind. They have astonishingly acute hearing and will only hunt you if they hear you. And the smallest noise – a cracked twig, a dropped glass, a clink of a belt buckle WILL be lethal, especially if you are out in the woods. So the family moves in total silence – walking on sand paths laid meticulously out, food served on lettuce and eaten with the hands, games of Moonpoly played lying on a floor with puff balls. No animals, little metal, no running machinery. The family communicates with sign language and code lighting strung around the farm.

John Krasinki and Emily Blunt, married to each other and parents to two daughters, usually known for their comedies – respectively entries likeThe Office and The Devil Wears Prada – have created a masterpiece of horror fiction which ranks up there with the classics. Bridging the gap between their comedy days and this have been some significant serious movies, almost as though in preparation for their roles in A Quiet Place, which have allowed them to portray bad-ass characters, such as, respectively 13 Hours and Live, Die, Repeat.  A Quiet Place tells not just a frightening story to scare the kiddies, it tells a story intended to reflect the terror that every parent feels about trying to protect their children from the vastness of horrors, evil, and dangers of this fallen world in which we live. I know this is deliberate because Krasinski has stated as such in interviews – it is a "love letter" to his and Blunt's two (and future) children – to show what lengths good and heroic parents must go to to protect their children.

Other authors have attempted similar stories. Stephen King, for example, wrote Pet Semetery (sic) as a cathartic exercise to help him deal with the possibility of losing a child. But in that story, the parents act selfishly in order to assuage their own guilt and grief, wrecking supernatural havoc in the process. They do not ever seem to think about what would be best for their children, or even each other. But in A Quiet Place, everything these parents do, everything they must suffer together, every choice they make, every precauition they take, every bit of research they do, every exercise they perform is geared to seeking ways to help their children survive in this cruel and lethal world – just as every good parent does even when not faced with superhuman horrors.

Mom and Dad homeschool their children. There is one almost whimsical scene in which Blunt's character as Mom is teaching her oldest son to divide. All communication is done through sign language. Dad wants the boy, rightly frightened to go outside the confines of his familiar home, to go out fishing with him so he can learn to feed himself and his siblings, as the Mom explains when she is aged and pitiful, miming being old and toothless. The underlying bittersweet message is that, as things stand, it is unlikely any of them will live to die of old age. It's a gentle scene but the point is made. Mom and Dad tell their Older Son in as light a way as possible: If and when we must die for you the legacy we leave is to have taught you how to provide and protect yourselves as best we can.

In an act of incredible bravery the Mom gets pregnant and they decide, as a matter of course without question, to bear the child. All provisions and plans are made to perform this extremely dangerous activity – child birth and caring for a newborn – in silence. If you have ever given birth, just imagine trying to do it without making a sound and you will have an appreciation of to what heroic lengths these parents will go to bring forth and protect their children's lives.

The acting is terrific. Almost ALL of the conveyance of emotion and communication are done with body language and expression. While they do have sign language subtitles you really don't need them to get the drift of what they are saying. The fourteen year old daughter (Millicent Simmonds) really is deaf and her performance is stunning. Noah Jupe plays the older brother and Cade Woodward plays the youngest child. All the kids have a natural affinity and chemistry with Blunt and Krasinski – so much so that I had to check to see if any of them really are their kids – they aren't.

This is a brilliant parable embodying in the form of a sci fi the dangers parents MUST try to protect their children from. I could imagine this being the fevered nightmare of a worried new parent – where, no matter how careful you are or what preparations you make, the slightest mistep can bring down calamity and catastrophy. A neighbor who makes an unwise decision, poisons in the medicine cabinet of a friend's house, predatory humans who masquerade as care givers, car accidents, wild animals, burst appendix, an unforeseen accident, a fall down a stairs. Then there is the concern of, even if you do everything right and protect them from all of the external terrors, what can you do to teach them the right things, educate them, guide them to being able to care for themselves spiritually and physically after you are gone. And blessedly there is at least SOME acknowledgment of God. The family joins hands in a palpably sincere and faith filled plea of thanksgiving and bequest for safety – without a word being spoken or even mouthed. 

The aliens represent everything and anything that can endanger your child and how quickly and unexpectedly tragedy can swoop down undeservedly upon them, until the only thing you can do is stand between them and catastrophe to the best of your ability, no matter how hopeless it sometimes seems. And that the only guarantee you can give them is your unconditional love.

This is a brilliantly artful movie Krasinski has written and directed  – gorgeous outdoor scenes which still remind you of the sword of Damocles over their heads by the silence with which they move in it, minimalizing the communication down to only that which is most essential and it works incredibly well to draw you into their family. Krasinski's thoughtful effectiveness in his use of sound and silence is occasionally breathtaking – taking advantage of the deaf daughter's vantage point where she hears nothing, playing counterpoint to the sounds and potential sound around her as she tries to navigate in a tremendously sound lethal world. As though she is blind in a darkened room but does not see the flashes of lights around her which can make her a target for the predators nearby.

Despite some plot holes in the premise, within the Universe Kransinski has created the story is airtight and skillfully crafted to maximum effect. The slightest sound is incredibly significant, a heartbeat has the impact of a drumroll in Beethoven's Ninth Symphony, and a single human scream has vastly more effect than even a Godzilla's roar in a "normal" movie. These noises, so casually easy to ignore, take on monumental importance, just as the intimacy of parent to child is magnified here in the visible incarnation of the intense constant danger which surrounds us in the real world. Careless driving drunks, rabid wild animals, cancer, lightning strikes on a sunny day, all coalesce into the nightmare vision of this one hideous monster, who can whisk your child away from you, before you can adequately react to protect them, and even as you look on in horror. It is as suspenseful as Hitchcock, as roller coaster of scares as you might ever want in a movie, and has all the earmarks of a classic – an endorsement of understanding to parents who are already watchful and alert, a slap of cold water reality of the terrible consequences which are possible to parents who may not be so attentive.

If this review alone has put you on edge and if the movie makes you just that much more concerned and wary for your children's safety, and a single child is rescued by a parent prodded even subliminally into a more wary watchfulness, then I think Krasinski has done the job he set out to do and is owed a grateful thank you. A small price to pay for the demonstration of watchful anxiety for his children to us, which mayhap makes us more watchful over our own. Thanks John.

PAUL, APOSTLE OF CHRIST

SHORT TAKE:

Moving and informative portrayals of Saints Paul and Luke in the last days before St. Paul's execution.

WHO SHOULD SEE IT:

Everyone…eventually! But be advised that mid to younger teens should be taken with parental discretion because of the examples of Roman brutality and persecution against the Christians.

LONG TAKE:

Saint Dominic once declined an offer to go with his fellow monks for an outing in order to pray the rosary. Upon his friends' return, Dominic was still meditating. When they asked how much longer he could possibly be praying one rosary he replied he had not gotten past the Our Father. Upon exclaiming their surprise that he would spend so much time on one prayer he corrected them, explaining, that – no I have not gotten past being overwhelmed by the first two words – "Our Father".

Paul, Apostle of Christ is like that. The Bible is a vast library of stories, historical anecdotes, poetry, parables, love songs, love stories and wisdom. Each line contains an infinity of grace and one can spend lifetimes contemplating even the smallest part. Paul, Apostle of Christ invites the audience to join in just a few of the final days of St. Paul (James Faulkner – lifelong Angelican who started out as an in-demand chorister and soloist at the Royal College of Church Music at Addington Palace and who has graced the big and small screens in everything from Zulu Dawn to Game of Thrones and the voice of Severus Snape for video games) as he is visited by his disciple, St Luke (James Caviezel – devout Catholic and talented actor as Jesus in The Passion of the Christ, Frequency, and The Count of Monte Cristo) .

St. Luke is so determined to glean even the tiniest bit more wisdom from his mentor in Christ, that he is willing to sneak INTO Mamertine Prison – a Roman dungeon, uninvited, to get it. This is Rome, in the days of the Emperor Nero, when Christians were thrown to wild animals in the Circus and burned alive to light the streets of Rome. This is the period after which Nero accused the Christians of burning down half of the city and persecutions were so rampant that even the soldiers questioned (very quietly) the public relations wisdom of the extremes to which their Emperor was expressing his hatred of Christians.

A small band of Christians live quietly on the outskirts of the city, living on the knife's-edge of discovery, reluctant to abandon Rome to the darkness into which it has plunged. Luke travels back and forth between the two worlds – the Christian community and the dungeon of St. Paul – the conduit of faith and hope each recipient of which sustains each other. He brings encouragement to St. Paul in his sufferings, assuring him that the Christian teachings will be passed on as The Acts of the Apostles even as St. Paul faces death. The Christian community bears witness to the sufferings of fellow Christians as well as nurturing, copying, and transporting the wisdom of St. Paul in the papyrus transcribed writings which will one day be known as letters from St. Paul to Galatians, Corinthians, Romans, Phillipians and Thessalonians, among others.

No doubt, some dramatic license has been given to this story – there is no definitive evidence, for example, of how St. Paul died but it is accepted Christian tradition based on history and logic that he was beheaded. But the essence of who St. Paul was and his impact and influence on the Jews, Gentiles and even Romans at the time is portrayed by director Andrew Hyatt with dignity and love of the subject matter.

For example, a subplot involving St. Luke's healing of the Roman prison commander's daughter using his natural gifts, (St. Luke is  one of the patron saints of doctors), may or may not have happened but the incident as portrayed in the movie is a beautifully dramatic vehicle to demonstrate the charity of the followers of Christ, as well as the influence that the Christian exercise of love had on even their jailers. It is also a clever construct for dialogue between St. Paul as representative of Christ and Mauritius as a representative of the Roman Empire, and how, utimately, the Roman Empire's future generations would eventually turn, in its sickness, to Christianity, for healing, not just of its body but its soul.

Paul's agony of regret for his former life as a fellow sinner, as Saul the persecuting Pharisee, (Yorgos Karamihos – Theo from Durrells in Corfu), is also reviewed in both Paul's tormented dreams and in the ecstacy of grace which he understands God so generously bestows on all of mankind.

Paul, Apostle of Christ is an inspiring moment in the vast storehouse that is the brilliant breathing lighthouse of Christianity in this darkened world; a glance at the Judeo-Christian theology and mankind's relationship with the Trinity of God, His Divine Son, and the Holy Spirit. And time spent contemplating this profound example of God as Our Father of forgiveness and mercy is more than worth our time.