- RFT'S 2014 Best Movie Theater
- Neighborhood Business of the Year
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Brittany Forgler is a hilarious, friendly, hot mess of a New Yorker who always knows how to have a good time, but at 27, her late-night adventures and early-morning walks-of-shame are starting to catch up to her. When she stops by a Yelp-recommended doctor's office in an attempt to score some Adderall, she finds herself slapped with a prescription she never wanted. Forced to face reality for the first time in a long time, Brittany laces up her Converse and runs one sweaty block. The next day, she runs two. Soon she runs a mile. Brittany finally has direction--but is she on the right path?
— 3 stars (out of four)
Michael Phillips - CHICAGO TRIBUNE
Eight years ago, Jillian Bell was playing “Girl at Shower" in the hit comedy “Bridesmaids.” Now, finally, the “Saturday Night Live” writing alum and familiar supporting actress and voiceover regular has landed a new role: Woman in Title. Opening wide this week, “Brittany Runs a Marathon” has done well in limited release in LA and New York for a reason. It’s an enjoyable mainstream comedy asserting that change is possible, weight can be lost and races can be won, or at least completed: The marathon of the title refers to the New York City Marathon. It’s simple stuff in terms of narrative. But it’s amplified by a few satisfyingly complicated aspects to Bell’s character. The movie is very hard on its protagonist, and not all the obstacles, humiliations and setbacks escape the realm of cheap pathos. Bell and company keep it honest, though. The movie thrives in its detours. Brittany’s self-doubt makes it a pretty harsh experience. There’s an element (a good, funny, honest element) of Amy Schumer’s showcase feature “Trainwreck” in how “Brittany Runs a Marathon” works. As with that picture, you can feel the gears grinding when it’s uplift time. Yet the uplift is the selling point. The movie succeeds because Bell succeeds. It’s gratifying to see a so-called character actress with reliably deadly comic timing loosen up, stretch out and learn what it means to carry a movie.
The origin story behind one of Broadway's most beloved musicals, Fiddler on The Roof, and its creative roots in early 1960s New York, when "tradition" was on the wane as gender roles, sexuality, race relations and religion were evolving.
• 3½ stars out of four •
James Verniere | Boston Herald
Since its Broadway debut in 1964, the frequently revived musical “Fiddler on the Roof” has been performed somewhere on the planet every day. It was a universal tale of religion, oppression, yes, tradition, genocidal hatred and forced migration. It was a tale based the stories of Soviet-Yiddish author Sholem Aleichem about a Job-like Jew with five daughters, who had no money but was blessed with a loving wife and family. Max Lewkowicz’s documentary “Fiddler: A Miracle of Miracles” is a marvelous recollection of the beloved musical’s birth and long life as a staple of the American stage with a proud place in its national songbook. Lewkowicz assembles surviving cast members such as Austin Pendleton, who played Motel (Bette Midler played Tzeitel in the original run). The original Tevye was the great, larger-than-life Zero Mostel (“The Producers”), who was fond of ad-libbing, which drove the writers crazy. Lewkowicz’s film features animation, Fran Lebowitz, Stephen Sondheim, Jessica Hecht and Itzhak Perlman.
An understated and wonderful St. Louis gem, the Hi-Pointe Theatre was built in 1922 at the incredible intersection of Interstate 64, Clayton Road, Clayton Avenue, McCausland Avenue, Forest Avenue, Oakland Avenue and Skinker Boulevard, today also the home of the world’s largest Amoco sign and just at the southwest corner of Forest Park. Continue Reading