When I was nine, my mom bought me the novel Jurassic Park. The film had just come out that summer and took the world by storm. Granted, I was a nine-year-old reading a techno-thriller intended for adults, but I still fell in love with the concept of dinosaurs. Nevermind that I could barely comprehend half the words in the book. It was all about the tyrannosaurus rex. Rexie stole the show.
Fast forward 20 years, and the advancements in CGI mean the dinosaurs should be more realistic, right? We should be able to make life-like dinosaur models on our damn cell phones. Meanwhile, as the world anxiously awaits the release of Jurassic World, we have to turn to smaller, lower-budget quality dinosaur films to tide us over. Poseidon Rex is not one of these. Poseidon Rex is a great film if you hate your life or are family of one of the cast.
It’s Reel Spoilers #46 in which we learn that America wants to see kids dying more than they want to see Tom Cruise dying… or something like that. The movie du jour (which technically means “of the day” but I don’t know how to say “of the week” in French, and I don’t feel like Googling it – so just deal with it) is Edge of Tomorrow.
We’ll also talk about The Fault in Our Stars because that’s what the kids really care about.
All this plus an accidental Video Recovery and Tom shamelessly plugs the fact that he’s now a published author.
It’s Reel Spoilers #46 – Edge of Tomorrow.
You’ve been warned.
Enter for your chance to receive a pair of passes to a special advance screening!
From director Clint Eastwood comes the big-screen version of the Tony Award-winning musical “Jersey Boys.” The film tells the story of four young men from the wrong side of the tracks in New Jersey who came together to form the iconic 1960s rock group The Four Seasons. The story of their trials and triumphs are accompanied by the songs that influenced a generation, including “Sherry,” “Big Girls Don’t Cry,” “Walk Like a Man,” “Dawn,” “Rag Doll,” “Bye Bye Baby,” “Who Loves You,” and many more.
Cast: John Lloyd Young, Erich Bergen, Michael Lomenda, Vincent Piazza, Christopher Walken
Director: Clint Eastwood
“Groundhog Independence Day”
Time travel movies have always fascinated me. What if you could go back in time, change the past and right the wrongs? What if you could forever alter history for the better? The possibilities are endless. Then there are movies like Groundhog Day, one of the all-time great comedies. While not traditional “time travel,” the character is stuck in a time loop – forced to repeat the same day over and over. We already know that this can mean comedy gold, but what if you apply it to a big-budget action movie? Enter Edge of Tomorrow.
Major William Cage (Tom Cruise) is the public face of military recruiting, yet he has never actually been in combat. After successfully recruiting hundreds of thousands of new soldiers for the war against a technologically advanced alien race who has invaded Earth, General Brigham (Brendan Gleeson) wants to embed Cage in the action to gather PR footage. When he declines, going as far as to basically blackmail the general to get out of duty, he is put under arrest and ends up tased by military police. When he wakes up, he meets Master Sergeant Farell (Bill Paxton) who is the opposite of sympathetic to his situation. Cage ultimately ends up on the battlefield, unskilled and untrained, and dies minutes after landing on the ground. But unlike most deaths, his results in waking up at the moment he was detained by MP. Everything is exactly the same, and eventually he finds that no matter what he does – he is living the same day over and over after each death.
Chances are that if you’re watching live theatre in the Midwest, more often than not it’s tough to be genuinely surprised. That doesn’t mean there is any lack of talent or amazing shows that come through town. And we have a great theatre community in St. Louis. Yet there is a huge difference between seeing a show that you know will be amazing – and feeling completely surprised by something risky and new. Most shows we see are already proven, and who can blame them? It’s expensive to put on a show, and especially to bring us something new from Broadway. Yet this isn’t the case with New Line Theatre, who time after time produces shows that are different and widely unknown. Artistic director Scott Miller has a true talent for recognizing the potential in shows we might otherwise have never seen, and filling them with some of the best actors in town. With that being said, I introduce you to their latest success: Hands on a Hardbody.
Based on a documentary film which follows true events from 1995, Hands on a Hardbody takes the audience to Longview, Texas for an annual competition of endurance. The prize? A brand new pickup truck. And it’s a musical. How wonderfully strange and fantastic the synopsis sounds. But you haven’t seen or heard anything until you’ve been to the show.
Songwriter Amanda Green is no stranger to bringing us this sort of unexpected gem. My first introduction to New Line Theater was in 2012 with their production of High Fidelity, based on one of my favorite films. But a musical? Green was responsible for those lyrics, and the show was an absolute blast. And how about the surprise Broadway hit “Bring It On The Musical,” based on a 2000 high school comedy about cheerleaders? Green teamed up with the mega-talented Lin-Manuel Miranda (In The Heights) and Tom Kitt (High Fidelity, Next to Normal) on that one, which completely caught me off-guard with how fun it was. And now Green, along with Trey Anastasio (Phish) and a book by Doug Wright (Quills, The Little Mermaid), has done it again. This time with a musical about a contest to win a truck. On paper, it’s hard to imagine that the show could be so amazing. But I’ve learned to trust both New Line and Green by now, and both have yet to let me down.