Sam Worthington and Jessica Chastain in The DebtTHE DEBT

After her moving, memorable performances in The Tree of Life, The Help, and the current John Madden thriller The Debt, I'm beginning to think that Jessica Chastain can do almost anything. As evidenced by the actress' latest (though not last) 2011 release, however, one thing she cannot do is pass for a younger version of Helen Mirren, or at least Mirren as she appears here; beyond their ill-matching features, Chastain's empathetic soulfulness and emotional accessibility bear little relation to the detached calm and haunted inscrutability of her more seasoned counterpart.

Having said that, if one of your few complaints about a movie lies in the casting of Jessica Chastain and/or Helen Mirren, obviously you have very little to bitch about.

Gene WeenMusic

Gene Ween

Rock Island Brewing Company

Thursday, September 8, 8:30 p.m.

 

You know how there are particular bands and performers you listen to when you're happy, and others that you listen to when you're sad, and others that you listen to when you're stuck in road-construction traffic and people are honking their horns and refusing to merge correctly and you need to hear something soothing before you rip the freakin' steering wheel off with your bare hands?!? (Not that, you know, any of us in the Quad Cities has ever experienced that feeling.)

The Adler Theatre's touring production of The New Mel Brooks Musical Young FrankensteinThere's a common misconception that, once the musical- and comedy-filled summer season is over, our area's theatrical output becomes a lot more demanding. But that's absolutely not true. For example, this autumn brings with it the Western charmer Make Me a Cowboy. And the showtune pastiche Give My Regards! And the fairy-tale spoof Honk! And ... .

Hmm. "Make Me"? "Give My"? "Honk"? That all sounds pretty demanding.

'Til Death Do Us Part: Late Nite Catechism 3The Timber Lake Playhouse's 'Til Death Do Us Part: Late Nite Catechism 3 opened this past Thursday, and it seems a little rude to describe just how staggeringly hysterical the performance was, because unless you were one of the evening's many other cackling patrons, there's literally no way you'll be seeing the same production I did. In theatre, of course, no two shows are ever exactly alike. Yet this one-woman comedy may be a special case in that regard, because not only is 'Til Death Do Us Part dependent on audience interaction, but several audience members are so directly involved in the proceedings - and so spectacularly, riotously well-involved - that they could make legitimate claims for co-star billing, and maybe even deserved paychecks. (As it stands, they're instead treated to lovely parting gifts.)

Katie Holmes and Bailee Madison in Don't Be Afraid of the DarkDON'T BE AFRAID OF THE DARK

When a horror movie is really working, you tend to feel a tightening in the gut - a means of preventing you from audibly reacting to the intensity. When a horror movie is really not working, at least at the cineplex, you also tend to feel this clenching of the stomach muscles, but not because you're trying to avoid screaming. It's because you're trying to avoid laughing.

Jim Sturgess and Anne Hathaway in One DayONE DAY

When Emma (Anne Hathaway) and Dexter (Jim Sturgess) first meet in director Lone Scherfig's One Day, it's the morning after their 1988 university graduation, and a few minutes before the happily drunken pair tumbles into Emma's bed. They don't wind up consummating their flirtation, but the young Brits - and best-friends-to-be - seem perfectly content to smile and snuggle while the sun rises, and Emma makes the observation that the new day, July 15, is the English near-holiday of St. Swithin's Day. Or, as Scherfig's comedy/drama/romance might cause me to think of it from now on, St. "Well, Isn't That an Astounding Coincidence?" Day.

Lyrics BornMusic

Lyrics Born

The Redstone Room

Friday, August 26, 9p.m.

 

On August 26, Davenport's Redstone Room presents a special evening with record producer, songwriter, and hip-hop and rap artist Lyrics Born. I'm sure the man's parents are thrilled about his success, because if you christen your child "Lyrics" and he doesn't go into the music industry, it's really just a waste of the name.

Katie Wesler, Marcia Sattelberg, and Erica Vlahinos in the Timber Lake Playhouse's The Spitfire GrillOn Thursday, I attended the Timber Lake Playhouse musical The Spitfire Grill, and caught another presentation of the piece - this time at the Richmond Hill Barn Theatre - the very next night. I'm actually somewhat disappointed that no additional area venues staged the show over the weekend, because even after two outstanding Spitfire Grills in a row, I would've happily made time for more.

Emma Stone, Octavia Spencer, and Viola Davis in The HelpTHE HELP

Based on Kathryn Stockett's much-loved bestseller, The Help concerns the tenuous relationships between black domestic workers and their privileged white employers in early-'60s Mississippi, and it's a fairly obvious movie, with director Tate Taylor opting for broad brushstrokes over subtlety, and the occasionally wrenching drama sitting, rather uncomfortably, alongside klutzy jokiness. Yet offhand, I can't think of another popular entertainment whose flaws matter less than this film's, because everything that's lacking in the picture is more than made up for in the fearless, emotionally precise, and oftentimes devastating portrayals of Taylor's cast. The Help is easy to complain about, but all it takes is one of the magnificent Viola Davis' fierce, tearful stares - or a blast of Octavia Spencer's anger, or a flash of Emma Stone's heartbreak, or a burst of Jessica Chastain's joy - to make your complaints feel positively moot.

Nicholas D'Agosto and Emma Bell in Final Destination 5FINAL DESTINATION 5

Because the quality has been noticeably, if not altogether damagingly, dipping with each new installment, there was reason to expect Final Destination 5 to be the horror series' most tired and underwhelming entry to date. Yet like some long-running TV series that suddenly finds new life after years of going through the motions, this fifth in the popular Death-has-been-cheated-and-he's-pissed franchise is a terrific return to sick-joke form, the most enticingly queasy and legitimately funny Final Destination since the second outing in 2003.

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