04 Oct 2005

Pulp Friction: "A History of Violence," "Oliver Twist," and "Serenity"

By Mike Schulz

Viggo Mortensen in A History of ViolenceA HISTORY OF VIOLENCE

I was completely rapt by the austerity and dread of David Cronenberg's A History of Violence - for the first five minutes. In the film's beautifully sustained opening sequence, we watch as two men - one middle-aged, in a black suit, and another, younger and sporting a T-shirt and jeans - exit their motel room. They load up their car, and the older gentleman drops off the room key while the other - slowly, slowly - pulls the car up to meet him. Moments later, the older man returns, having had, he says, "a little trouble with the maid." But before they leave, they need water. The younger man enters the motel office to replenish their supply, and as he does, we finally see the image that Cronenberg has thus far denied us, and that we in the audience have properly anticipated - the motel manager and maid lying dead in pools of blood. A frightened little girl, gently stroking the hair of her doll, enters the scene and makes eye contact with the younger killer. And the man, smiling gently, tells her not to be afraid, slowly aims his revolver at the girl's head, and fires.

27 Sep 2005

Heaven Help Us!: "Meshuggah-Nuns!" at the Circa '21 Dinner Playhouse

By Mike Schulz

My parents, being good people, raised me to believe that if you couldn't say something nice, you shouldn't say anything at all. Of course, they couldn't have imagined I'd wind up a reviewer, nor that I'd wind up having to devote 700 words to Meshuggah-Nuns!

27 Sep 2005

A Momentary Fix for the Film-Fest Deprived

By Mike Schulz

For die-hard movie fans in the Quad Cities, film festivals are always around. And therein lies the disappointment. They're around, they're just not here. In April, Cedar Rapids presented an independent film festival.

27 Sep 2005

Foster Soars, but "Flightplan" Is Earthbound: Also, "Tim Burton's Corpse Bride" and "Just Like Heaven"

By Mike Schulz

Jodie Foster in FlightplanFLIGHTPLAN

Movies such as Flightplan are hell to review. How do I explain, exactly, why the film doesn't work without giving away the plot secrets that prevent it from working? Like last fall's already-forgotten The Forgotten, director Robert Schwentke's airborne thriller involves a missing child. During a trans-Atlantic flight from Berlin to America, Jodie Foster's newly widowed Kyle lays her six-year-old daughter Julia (Marlene Lawston) down for a nap, falls asleep herself, and wakes to find the girl missing. Obviously, escape from the plane is impossible, but Julia is nowhere to be found, and, more disturbingly, no one on the flight seems to remember her being aboard. Could Julia have merely been a figment of Kyle's imbalanced imagination?

20 Sep 2005

"Murderball" Is the Best of Eight - and of the Year: Also, "The Exorcism of Emily Rose," "Jane Goodall's Wild Chimpanzees," "Lord of War," "An Unfinished Life," "The Constant Gardener," "Cry Wolf," and "The Man"

By Mike Schulz

MurderballMURDERBALL

I've seen a lot of sublimely satisfying documentaries this year, but none with the scope and passion of Murderball. Like last year's brilliant Metallica: Some Kind of Monster, the film's title and ostensible subject matter - quadriplegic rugby - are probably enough to frighten off the audiences who would love it the most, which I pray won't happen; Murderball, currently playing at the Brew & View Rocket, is, thus far, the most invigorating, fascinating, surprising, and deeply human movie of 2005.

20 Sep 2005

Maintaining Balance on a Bumpy "Road": New Ground Theatre's "Scotland Road"

By Mike Schulz

(Warning: Though I've tried to be circumspect, details on Scotland Road's mysteries may slip out. Proceed with caution.)

The psychological drama Scotland Road, the first production in New Ground Theatre's 2005-6 season, is both entertaining and disheartening - entertaining because of the skill of director Michael Oberfield and his cast, disheartening because playwright Jeffrey Hatcher's work doesn't quite seem to deserve their skill.

13 Sep 2005

Riverssance 2005: Art, Music, Comedy, and "Spirits" Soaring

By Mike Schulz
Attendance for the 16th annual Riverssance Festival of Fine Art in 2003 - the first year the event was presented in conjunction with MidCoast Fine Arts - was estimated at about 15,000 people. But last year's festival drew roughly 12,000 attendees, a number that Riverssance Director Larry DeVilbiss admits was well below expectations.
13 Sep 2005

Artistic Trial by Jury

By Mike Schulz
At Riverssance, collectors and connoisseurs of art have the opportunity to purchase the works they most love, but their creators are competing with one another for more than just a sale. They're also competing for a share in the festival's $3,000 awards purse.
13 Sep 2005

"Noises Off," Ghostlight Is On

By Mike Schulz
As the adage goes, "Dying is easy; comedy is hard." Noises Off sure is. Saying that Michael Frayn's farce requires precision is like saying a fish requires water or Jennifer Lopez requires publicity; the show's very survival rests on the hairbreadth timing of its repartee and comic business. Frayn's work is so tightly structured and its momentum so dizzying that the slightest inappropriate pause can completely knock you out of the show's rhythm, and so I applaud Ghostlight Theatre for not only for tackling the script but often triumphing with it. Dying is easy, comedy is hard, and Noises Off is freakin' hard.
13 Sep 2005

Missed Connections: "The Nerd" at the Playcrafters Barn Theatre, and "Broadway Bound" at the Old Creamery Theatre

By Mike Schulz

The Nerd at Playcrafters Barn Theatre Through September 25

As the lights come up on Playcrafters' production of Larry Shue's The Nerd, we find ourselves in the Terre Haute, Indiana, living room of architect Willum Cubbert (Josh Kahn), whose pseudo-girlfriend, Tansy (Jessica Nicol), and drama-critic friend, Axel (Chris White), are throwing him a surprise birthday party. For about 20 minutes, the three characters chat, and all the while, the light from the evening sky - seen through Willum's living-room windows in the rear of the stage - is going through the most amazing transformation. The reddish-pink hues from outside begin to subtly shift to a lovely magenta, and within time, they will have morphed into a deep, midnight blue with a hint of purple; it's a beautiful, subtle effect, well-achieved by designer Jennifer Kingry.

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