Crum on Showbiz

[The following review was published in The Kansas City Kansan on Dec. 23, 1994. Since The Kansan was a local newspaper, the editor included the fact that I was also teaching at a local high school.]

By Steve Crum

It is the innocence of Nell in Nell that will squeeze tears out of most viewers. In fact, it is sometimes a rating experience to watch Nell because we know the at any minute Nell’s world will be invaded, her private life savaged. 

Jodie Foster is Nell, and Jodie Foster will surely be nominated for an Oscar. Bank on it. Foster, who also produced, is stunning as the backwoods child-woman whose link with humans has been almost solely through her late mother. Since her mother was partially paralyzed and her speech grossly distorted, Nell’s speech is similarly impaired through exposure. Add to that the mother abusive control over Nell. (She was never permitted to leave the house in daylight.) 

So what happens when a local doctor (Liam Neeson) is called to trek the boondocks after the mother’s corpse is discovered? He finds Nell in hiding, and is obsessed with trying to communicate with her. A local psychiatrist (Natashia Richardson) is also involved. Piecing together Nell’s language and personality, the two are fearful early on of a media circus once Nell’s existence is known.

Another Oscar envelope, please, to Neeson. Neeson is a fascinating actor. As Oskar Schindler in last year’s Schindler’s List, Neeson underplayed with powerful reserve. Now he excites us about discovering what makes Nell tick. He makes us care that he cares. That he knows too well how vulnerable Nell is only frustrates us more.

1948’s Johnny Belinda is the story of a deaf-mute young woman whose innocence was corrupted. Thanks to a sensitive local doctor who teaches her sign language, Belinda is able to tell him and community her story.

The parallel to Nell is striking. The joy of communication lives in both films. Nell’s doctor is driven in similar was as Belinda’s, and once the truth is known, then what? The doctor has become the protectorate—or as Nell calls Neeson’s Lovell, her “guardian angel.” It is at this point, the last third of the film, that Nell becomes contrived. Blame

the writers, William Nicholson and Mark Handley, for tacking on an epilogue (“Five years later…”). Tack on director Michael Apted as well. 

But it is the first two-thirds, encompassing the discovery of Nell that spotlights Foster, Neeson and Richardson’s ensemble performances, that clinches. 

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GRADE on an A-F Scale: B+

(Steve Crum is the journalism teacher at Washington High School.)

By Steve Crum

The Secret Agent is a fascinating, at times confusing, historical political thriller set in Brazil during 1977. Corruption and turmoil abound with a military dictatorship in power. What a not so great time for widower Armando Solimões (well played by Wagner Moura) to return home to his young son Fernando (Enzo Nunes). 

Incidentally, much of the story confusion is attributed to the film’s Brazilian Portuguese language. Sure, it is subtitled in English, but…be aware. The plot centers on Armando, who left the country some time ago due to both the death of his wife as well as his work with anti-government resistance. His son has been staying with elderly relatives. Because the police are still searching for Armando, he uses the alias Marcelo. 

It doesn’t take long for Armando/Marcelo to encounter crooked police as he stops for gasoline on the outskirts of Recife. A man’s rotting body is partially covered by a sheet as it lies where it has been for several days. And that’s a few feet from the gas pumps! No doubt the police killed him. I won’t go into detail about all the violence in The Secret Agent, but it is plentiful—based on the facts of that time. 

Produced, written and directed by Kleber Mondonça Filho, The Secret Agent follows Armando as he reconnects with his son, becomes active once again with his dissident friends, and eludes being killed when a contract is placed on his life. The action becomes even more intense and bloody. 

Along the way, expect mini-adventures with a severed leg (which makes headlines in local news), a man-eating shark, a hungry pack of dogs, open sex on the streets, and great comradery among the dissidents. 

There is also a clever conclusion, per se epilogue, featuring Wagner Moura in another surprising role. 

A supporting cast led by Carlos Francisco, Tânia Maria and Robério Diógenes are pluses. Add Evgenia Alexandrova’s cinematography. And tack on that yellow VW Beetle! 

At the film’s beginning, 1977 Brazil is described as a “period of great mischiefs.” Indeed so. 

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GRADE on an A-F Scale: B+

By Steve Crum

A young priest is assigned to a small-town parish to assist a monsignor with a very negative reputation. What follows is a study in deception, cult behavior and eccentricity. Add to that some very dark humor. And override all of that with murder. The result is an involving ride with an internationally known private detective in quest to discover the guilty. 

The heavily layered plot makes for a riveting 144 minutes of Wake Up Dead Man, the third film of the “Knives Out Mystery” series. Once again, Rian Johnson produces, writes and directs. He reestablishes himself as the premiere movie crime-mystery creator of our time…much as his obvious mentor, Agatha Christie, was of her authored books. 

The who-done-it (once again) stars Daniel Craig as master detective Benoit Blanc. He is called to upstate New York to help local police investigate the murder of Monsignor Jefferson Wicks (Josh Brolin), the brash and outspoken pastor of Our Lady of Perpetual Fortitude. Brolin is terrific.

The list of suspects, like any stereotypical murder mystery, varies from the wild to the weird. No surprise that the guilty seems to vary from one to another, and back again—the sign of a good murder mystery. Clues overlap and disappear to the extent that Detective Blanc explodes his frustration: “I cannot solve this case!”

Nonetheless, church parishioners, including assistant priest/former boxer Jud Duplencity (Josh O’Connor), have their individual quirks and possible motives for doing in the domineering Wicks. 

Part of the enjoyment of Wake Up Dead Man are the well known actors who play suspects—referred to as a “flock of wolves.” Consider Glenn Close as the creepily devout church lady Martha Delacroix. Maybe the guilty party is Nat Sharp (Jeremy Renner), the alcoholic physician? Perhaps it is Kerry Washington’s Vera Draven. Andrew Scott’s author, Lee Ross, is suspicious. The list goes on. 

It’s also a kick to watch Jeffrey Wright as a bishop; and Thomas Haden Church as groundskeeper and Martha’s lover. 

Then there is Mila Kunis as the business-only local police chief. 

Wake Up Dead Man is an enticing journey through familiar plot structure that will pull the audience into a revealing and satisfying  epilogue. 

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GRADE on an A-F Scale: B+

By Steve Crum

Let’s get right to it. Blue Moon is a fascinating bomb of a movie. It is essentially 100 minutes of nearly non-stop talking by Ethan Hawke as the legendary lyricist Lorenz Hart. Press materials label the film “a biographical comedy-drama.” I consider it a biographical-drama that borders on tragedy. It is also tragic that this is what director Richard Linklater and writer Robert Kaplow give us as either entertainment or, really, information. Blue Moon amounts to a depressing psychological study. 

Considering only Hawke’s extraordinary portrayal of famed lyricist Lorenz Hart, Blue Moon is genius. But it plays out in a nearly non-cinematic format. Presenting Blue Moon on stage MIGHT have worked. 

The story’s opening moments occur on March 31, 1943 in an alley. The remainder plays out in flashback beginning minutes earlier, during a singing sequence from the premiere of Rodgers and Hammerstein’s Oklahoma! Standing in the back of the theatre is Lorenz Hart, Richard Rodgers’ musical collaborator for two decades. Hart’s alcoholism and unreliability have prompted Rodgers to team with Oscar Hammerstein II for this new venture It turns out to be a very successful venture. 

In the meantime, Hart leaves the show and retreats to a near empty Sardi’s to await Rodgers, Hammerstein, actors, and audience members to arrive and celebrate opening night. So goes the plot as the sober Hart immediately wanders to the bar and exchanges quips, stories, and grievances with the bartender, Eddie (Bobby Cannavale). Hart was known for his clever language and witticism. It is Hawke’s expertise at dialogue that carries the picture. Lorenz Hart was an unattractive, comb-over hair guy who stood only five feet tall. And Ethan Hawke pulls it all off perfectly. (The height issue is accomplished through body language, camera angles and actor double.) 

What occurs within Hart’s time in Sardi’s depends on both who is already in the bar (Eddie; a WWII soldier [played by Jonah Lees] on leave and playing piano; and various restaurant employees. The talkative, friendly, and growing drunk Hart speaks with them all.) When the Oklahoma! crowd wanders in, Hart tries to converse with everyone, even his new rival Hammerstein (Simon Delaney). Hart is particularly on the prowl for 20 year-old Elizabeth (Margaret Qualley), who he clumsily tries to impress. 

On several occasions, he approaches his former partner Richard Rodgers (Andrew Scott) to re-team. Kudos to all the actors in Blue Moon. 

As for all those great Rodgers and Hart songs from Broadway and Hollywood, we get to hear barely a smattering of them as piano background—infrequently. It is ironic that 1948’s spectacular musical Words and Music was jammed with Rodgers and Hart music while the team’s personal stories were either fabricated or missing.

Blue Moon has limited appeal except for a target audience of show biz/theatrical fans. I love Rodgers and Hart’s musical legacy, particularly their superb song “Blue Moon,” but not this sad telling. 

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GRADE on an A-F Scale: C+

By Steve Crum

I love June Squibb. The affair began when I first saw her on screen in 2013. Now 96, Squibb is superb in her second starring role since 2024’s Thelma. As in her Oscar nominated Supporting Actress turn as Bruce Dern’s wife in Nebraska (2013), her every scene is lively and compelling. 

She runs the proverbial gamut in 2025’s Eleanor the Great. Whether the scenes involve deep friendship or crushing sorrow, Squibb delivers. 

Her delivery can be stinging as well as sassy—as befits her role as Eleanor Morgenstein. She is a widow undergoing a major life change following the death of her best friend and roomie, Bessie Stern (Rita Zohar). 

Adjusting to her new lifestyle, Eleanor soon moves in with her daughter Lisa (Jessica Hecht) and grandson Max (Will Price) in New York City. The results are immediately familiar and expected, as told in Tory Kamen’s screenplay. It’s no surprise that the opinionated Eleanor is looking for a new place to stay. Along the way, she stumbles into joining a support group of Holocaust survivors. But there is a major problem inherent. Such is the crux of the plot. 

Adding to the complexity of Eleanor’s challenges is a friendship she acquires with college journalism major Nina Davis (Erin Kellerman) and her renowned TV news anchor father Roger Davis (Chiwetel Ejiofor). Much like Eleanor, he is reeling from the recent death of his wife. Nina wants to write about Eleanor for her journalism class, which Eleanor at first rejects. They become close pals. 

Kamen’s plot lines eventually weave together—sometimes surprisingly, sometimes predictably. Incidentally, Dustin O’Halloran’s subtle and appropriate score is a plus. 

But a big credit for the success of the film goes to renowned actress Scarlett Johansson. She makes her directorial debut with Eleanor the Great. 

At this writing, June Squibb has recently closed a successful play run on Broadway in “Marjorie Prime.” It is hard to believe that she began her career in 1959 on the Great White Way stage in “Gypsy,” playing a singing stripper. 

Moreover, this study in the psychology of grief and loss is what makes Eleanor so great. 

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GRADE on an A-F Scale: B+