Tuesday, July 22, 2025

Reverend’s Reviews: Good vs Evil



Superman is currently flying high at the global box office in his first solo movie since 2013.  Naturally but rather dully titled Superman, it is the first entry in DC’s new “universe” of superhero films supervised by writer-director James Gunn (formerly of the Guardians of the Galaxy series). While it definitely has its flaws (see below), Superman has clearly proven to be a crowd-pleasing adventure.

Wisely avoiding the origin story approach of most previous movies about the Man of Steel, the new film (written and directed by Gunn) drops viewers and even Supes himself—literally--into a scenario taking place approximately 3 years after the adult hero has identified and endeared himself to the world. He soon finds himself battling arch-nemesis Lex Luthor, who is manipulating world events as well as a pocket dimension he has discovered in an attempt to destroy him.  Various other familiar names/faces include Lois Lane, Jimmy Olson, Perry White, and Ma and Pa Kent. There is also my personal favorite, Eve Teschmacher from the first two Christopher Reeve-led Superman films.

Among the frankly too many new names and faces in the movie are DC heroes Metamorpho, Hawkgirl, Green Lantern Guy Gardner, Rick Flag and Mr. Terrific. TV’s Peacekeeper also makes an appearance. And then there is the army of villains employed by Luthor, including the otherworldly Engineer. That we aren't given the backstories for any of them here requires viewers to be familiar with the original comics and/or various TV series in which some of them have previously appeared.

The one truly delightful addition for which little introduction or backstory is required is Krypto, the rambunctious superdog being “fostered” by Superman in the film. Both kids and adults will thoroughly enjoy his antics. Krypto adds needed comedy to the story’s darker moments and serves as necessary backup at one point to the kryptonite-poisoned leading man.

Speaking of the lead, David Corenswet makes a convincing, earnest and darn handsome Superman. He also conveys well the still-young hero’s naivete and overly trusting nature. Rachel Brosnahan, best known til now as TV’s Marvelous Mrs. Maisel, has good chemistry with Corenswet as the new Lois Lane.

The biggest liability in the movie is Nicholas Hoult’s Lex Luthor.  Although I blame Gunn’s writing and the direction as much as Hoult, this version of the villain is excessively sadistic, humorless and histrionic. It made me yearn for the late great Gene Hackman’s campier take on the character.

Superman also struck me as excessively violent in general, especially during its big video-gamey battle scenes. Thankfully, Gunn’s approach is more colorful and faster-paced than director Zack Snyder’s dreary films featuring Henry Cavill’s dull performance as the hero. 

Supergirl makes a brief appearance toward the end of the current film, setting up her own adventure due in theaters next year. I’m looking forward to it if somewhat cautiously.  Hopefully, Krypto will also get his own movie at some point!

Reverend’s Rating: B-


Cabaret at the Kit Kat Club (Now playing at the August Wilson Theatre in NYC through October 19th)

It has been playing for over a year now but I was only recently able to partake in this immersive, Tony-nominated revival of the classic musical.  With a memorable score by the great Kander & Ebb and book by Joe Masteroff, the show—which was first performed on Broadway in 1966—has received numerous revised productions. It also inspired the Oscar-winning 1972 movie.

What finally inspired me to visit the current, beautifully designed Kit Kat Club was queer country singer Orville Peck’s temporary run through July 20th as the show’s mesmerizing Emcee. Peck brought a physically stronger and more menacing presence in the role, certainly more so than this production’s original Emcee, Eddie Redmayne. Peck also sang the role beautifully and with fewer vocal flourishes than Redmayne, especially the second act’s “I Don’t Care Much.” Perhaps most notably for his longtime fans, Peck did not wear his trademark mask throughout his Broadway debut.

Matching him vocally and dramatically was Eva Noblezada as Sally Bowles, also through July 20th. They were very well paired, and their genuine admiration for each other was apparent during the curtain call of the performance I attended. I found Noblezada’s rendition of the show’s title song over the top during said performance, but this was a rare misstep on her part. 

Another criticism of the current show is that the first act is too long at an hour and 45 minutes. To be fair, this isn’t necessarily the revival’s fault.  Two of the film version’s original songs have been added to the stage rendition over the decades, and at least one of them (“Mein Herr”; the other addition is “Money, Money”) is excessive/unnecessary at this point.

Cabaret’s still entertaining but ultimately disturbing depiction of the Nazi party’s anti-Semitic rise in 1930’s Germany has previously proven timely in light of various world events. In 2025’s MAGA-infested USA, though, the musical registers as more frighteningly relevant than ever. I pray we all heed its lessons.

Reverend’s Rating: B+


Heathers: The Musical (Now playing at New World Stages in NYC through at least January 2026)

One of Reverend’s all-time favorite movies is 1989’s Heathers, a bitterly dark yet hilarious exploration of good vs evil and “teen-angst bullshit” written by the great Daniel Waters. I was aware since 2014 that it had been adapted into a stage musical since its off-Broadway premiere that year and had subsequently listened to the cast recording, but I just last week was able to experience it live for the first time. And what an experience it was!

The show began before even entering the theater. There were a large number of female teens, young adults, and queer people in Heathers-inspired attire present—most of them clearly too young to have seen the movie when it was first released. As soon as the lights went out in the theater and the initial musical notes sounded, they cheered as if at a rock concert. Their loud vocal enthusiasm continued undimmed (unvolumed?) throughout the performance.

I loved the audience’s enthusiasm and I generally loved the performance despite its flaws.  Similar to Cabaret above, the first act is too long with at least one song (the misogynist Ram and Kurt’s more recently added “You’re Welcome”) completely unnecessary. Anyone who has seen the film knows what happens to Ram and Kurt, so better to just cut to the chase.

But the rest of the score, by screen-to-stage auteurs Kevin Murphy (Reefer Madness) and Laurence O’Keefe (Legally Blonde), has several powerful interludes. The extended opening number “Beautiful” establishes the show’s tone and lead characters well; “Candy Store” solidifies the domineering Heathers’ raison d’etre; “Our Love is God” epitomizes the deeply dysfunctional relationship between ethical-leaning Veronica (played by & Juliet’s Tony-nominated Lorna Courtney) and her emotionally scarred boyfriend J.D. (Casey Likes, who headlined Broadway’s Back to the Future as Marty McFly last year); and the wistful “Seventeen” transported this 50-something year old critic back to my idealized vision of high school during the 1980’s.

Bottom line: If one doesn’t find this high-energy revival of Heathers: The Musical affecting, infuriating or amusing (and probably all of the above), you must have eaten a brain tumor for breakfast.

Reverend’s Rating: B

Tuesday, July 8, 2025

Reverend’s Reviews: Pride 2025 on Stage and Screen

Pride month has come and gone, but for many LGBTQ people Pride is—and should be—a 365 days a year celebration!  Even with the forces of political darkness weighing down upon us, there are artistic forces continuing to lift our community up beyond the month of June.  Huge thanks go out to the latter!


To illustrate this, Reverend highly recommends these new streaming productions and live, off-Broadway plays:



Prince Faggot (Now playing at Playwrights Horizons in NYC through August 3rd)

A provocative---and provocatively titled--world premiere written by Jordan Tannahill, who is making his NY debut as a playwright. It imagines the real-life Prince George of Wales, who is currently 11 years old, as an adult gay man struggling with both having a relationship and accepting his destiny as future king of the UK. Grown-up George is personified on stage by John McCrea, who originated the title role in the acclaimed London musical Everybody’s Talking about Jamie.


Other factual characters include Prince William, Duchess Kate and Princess Charlotte. Curiously absent is younger Prince Louis, which one of the players humorously notes. They intermingle with fictional characters, notably George’s lover (played by the captivating Mihir Kumar). Adding to Tannahill’s blending of the real and imaginary are periodic monologues delivered by the actors as themselves. The cast, most of whom play multiple roles, is excellent.


This unique dramatic approach is well-orchestrated by director Shayok Misha Chowdhury, even if some monologues and scenes run a bit long (the show runs 2 hours with no intermission). There are compelling, often graphic discussions and depictions of political intrigue, trans lives, BDSM, racial/ethnic discrimination, and finding modern meaning in the play’s title slur. The overall effect reminded me of Tony Kushner’s modern classic Angels in America, which is subtitled “a Gay Fantasia on National Themes” and similarly intermingles fictional and non-fictional characters.  Prince Faggot could well be subtitled “a Gay Fantasia on British (even Global) Themes.” It is a timely, intriguing and important show.

Reverend’s Rating: A-



Beau: The Musical (Now playing at Theatre 154 in NYC through July 27th)

This heartfelt, engaging tale spans three-plus decades and centers on a young, gay aspiring singer named Ace (a very good Matt Rodin) who meets the grandfather he didn’t know existed. He subsequently learns his grandfather, Beau (Chris Blisset, suitably gruff yet endearing), is also gay but naturally from an era when homosexuality had to be kept in the closet. It doesn’t help that both Beau and Ace live in Tennessee.


Director-Choreographer Josh Rhodes’ production has a nice, organic feel to it.  From the immersive set by Daniel Allen to Devario D. Simmons’ versatile costumes, Adam Honore’s lighting design to the cast’s affecting performances (the cast members double impressively as the show’s band), audience members feel a part of the environment and part of the action.


One can justifiably accuse the book by Douglas Lyons (Chicken and Biscuits) of being overly earnest, and the songs co-written by Lyons and Ethan D. Pakchar of being unmemorable though catchy and/or touching upon first listen. But the show will resonate with older gay or bi men, and maybe even younger men with southern roots.

Reverend’s Rating: B



Aichaku (Now streaming via Prime and Freevee)

I hadn’t heard of this charming gay-themed indie film before it popped up on my streaming recommendations list. I’m so glad I checked it out. Set in rural Japan, it features Christopher McCombs (who also wrote the perceptive screenplay) as Lucas, an English teacher from the US who is struggling to carve out a life there. He unwittingly begins to cross paths with Ken, a Japanese construction worker (played by hunky, soulful Christopher Nishizawa) who is trying to figure out his own path in life. They gradually fall into a tentative romance, with various locals as well as Lucas’s mother in the US providing equal parts opposition and encouragement.


Sensitively co-directed by previous TV collaborators Raito Nishizaka and Michael Williams, Aichaku offers a welcome international perspective as well as a more mature approach to first love between two men from very different backgrounds. It is certainly sexy at times, as well as disarmingly funny. Many of the laughs are generated by Yayoi Fujiwara and Kaori Takeshita as Lucas’s hosts. Search for it now!

Reverend’s Rating: A-



Lost Boys and Fairies (Now streaming via Prime and BritBox)

Best of all is this lovely, 3-episode BBC series from 2024 that is just now making its stateside debut. Created by Daf James and directed by James Kent, it tells the story of gay couple Gabriel and Andy (superbly played, respectively, by Sion Daniel Young and Fra Fee) who have been together for eight years and are eager to adopt a child. Andy is excited about the prospect of becoming a father whereas Gabriel, a drag performer, is hesitant. This is not only due to Gabriel’s past issues with drug addiction but also because of his unhappy childhood, which was marked by his mother's early death and his father's homophobia.


Although the couple initially sets out to adopt a girl, they meet and begin to grow fond of Jake (the adorable Leo Harris), who was placed in foster care after being removed from his own violent father. With the guidance of a sympathetic social worker and support from their chosen family, Andy and Gabriel’s dream of becoming parents starts to come true.


Be warned: The series features some devastatingly emotional moments as well as some truly hilarious situations. There are also fantastic musical numbers performed by Gabriel and additional cast members.  Some viewers may find the tonal transitions jarring. Don’t let this scare you away! Watching Lost Boys and Faeries is ultimately a beautiful, hopeful experience…not unlike life itself.

Reverend’s Rating: A

All reviews by Rev. Chris Carpenter, resident film & theatre critic of Movie Dearest and Rage Monthly magazine. He is also a founding & voting member of GALECA: The Society of LGBTQ Critics (galeca.com).


Reviews by Rev. Chris Carpenter, resident film and stage critic of Movie Dearest and Rage Monthly Magazine