Set in a working class neighborhood in Buffalo, New York, “Miracle on South Division Street” is about the Nowaks, a Polish Catholic family consisting of matriarch Clara, son Jimmy, and daughters Ruth and Beverly.

They always thought they were special, ever since Clara’s father, an immigrant from war-torn Poland, had a miraculous vision in his barbershop in 1942. But 65 years later, Clara’s youngest has stopped going to church, her son is dating a Jewish girl, and a deathbed confession causes a family legend to unravel with unexpected results.

The cast includes Alison Cimmet as Beverly (Westport Country Playhouse’s “Romeo and Juliet,” “She Loves Me”; Broadway’s “She Loves Me,” “The Mystery of Edwin Drood,” “Bonnie and Clyde”); Pamela Dunlap as Clara (Westport Country Playhouse’s “Love and Money,” “Absence of a Cello”; veteran of 40-plus years in theater, film, and TV, with recurring roles on “Mad Men,” “Three’s Company”); Patrick Halley as Jimmy (New York’s “The Misanthrope,” “25th Annual Putnam County Spelling Bee”; regional theater’s “Of Mice and Men,” “Peter and the Starcatcher”); and Amelia Pedlow as Ruth (Off-Broadway’s Intelligence, “The Metromaniacs,” “Tis Pity She’s a Whore,” “Pride and Prejudice”; TV’s “The Good Wife,” “Blue Bloods,” “Shades of Blue,” “The Blacklist”).

Stage directions will be read by Alexandra Rapapport. Stage manager is Page Tazewell.

Winning the Nespresso Grand Prize in the International Critics’ Week section of last year’s Cannes Film Festival — it’s the first animated film to claim that honor. And, since a record 32 animated entries were Oscar-qualified, to be among the chosen five is also quite an honor.

On the Granger Movie Gauge of 1 to 10, “I Lost My Body” is a skittering 6.

Set on a frozen island above the Arctic Circle, “Klaus” is a Santa Claus origin story, directed by “Despicable Me” co-creator Sergio Pablos and Carlos Martinez Lopez. It’s racked up seven nominations for the 2020 Annie Awards, including Best Animated Feature.

The story follows lazy, pampered Jesper (voice by Jason Schwartzmann), who is dispatched by his firm father, director of the Royal Postal Academy, to remote Smeerenburg to serve as its mail carrier. If he works hard, he’ll earn his inheritance. If not …

To his horror, Jesper discovers that Smeerenburg’s embittered residents don’t write letters. They’re too busy feuding and fighting, particularly the Krum and Ellingboe clans.

Eventually, Jesper teams up with Klaus (voiced by J.K. Simmons), a reclusive woodsman whose hobby is making toys. With no children of his own, he’s been storing them on shelves until Jesper, working with the schoolteacher Alva (voiced by Rashida Jones), has a gift-giving idea.

While Smeerenburg is a fictional village, Pablos did visit Norway’s Svalbard Island for research, which is how he learned about the culture of the Sami people. Young Margu is voiced by Neda M. Ladda, a Sami.

On the Granger Gauge, “Klaus” is an engaging, revisionist 8, destined to become another Christmas classic.

So many questions occurred to me whilst watching “Dolittle,” the live-action adaptation of British author Hugh Lofting’s beloved veterinarian who could communicate with animals.

Like, why didn’t they use its original title: “The Voyage of Dr. Dolittle?” What’s with Robert Downey Jr. bizarre accent? Why don’t the lip movements of the computer-generated creatures match their dialogue? And why have audiences never connected with cinematic depictions of this childhood hero?

The adventure begins as Dr. John Dolittle (Downey), still grieving after his beloved wife perished seven years earlier in a shipwreck, is barricaded in Dolittle Manor with his devoted menagerie.

There’s Poly the parrot (voiced by Emma Thompson), Chee-Chee the timid gorilla (voiced by Rami Malek), Yoshi the chilly polar bear (voiced by John Cena), Dab-Dab the goose (Octavia Spencer) and Betsy the galloping giraffe (Selena Gomez).

But young Queen Victoria (Jessie Buckley) is comatose, apparently dying from a mysterious illness. As Dr. Blair Mudfly (Michael Sheen), continues to apply leeches, he’s encouraged by villainous Lord Thomas Badgley (Jim Broadbent).

After conferring with the octopus that dwells in a tank near her bed, Dolittle believes the Queen has been poisoned and the only antidote is the fruit of the mythical Eden tree.

Meanwhile, young Tommy Stubbins (Harry Collett), appears on Dolittle’s doorstep with an injured squirrel he accidentally wounded. Before long, Stubbins becomes Dolittle’s apprentice as they sail off on their quest.

Among the obstacles Dolittle must face are his former father-in-law King Rassouli (Antonio Banderas), a troubled tiger (Ralph Fiennes) and a fire-breathing dragon suffering from severe gastric distress.

Co-written and directed by Stephen Gaghan (“Syriana”), this production has encountered many difficulties, necessitating 21 days of reshoots following disastrous test screenings in which audiences failed to respond positively to the comedy and computer-generated elements — reportedly bloating the budget to $175 million.

FYI: Back in 1967, Dolittle’s first screen adaptation, starring Rex Harrison, was a box-office bomb and Eddie Murphy’s 1998 version wasn’t much better.

On the Granger Gauge, “Dolittle” is a sweetly eccentric 6 — for family viewing.

(Editor’s Note: Westport resident Susan Granger grew up in Hollywood, studied journalism with Pierre Salinger at Mills College, and graduated from the University of Pennsylvania with highest honors in journalism. In addition to writing for newspapers and magazines, she has been on radio/television as an anchorwoman and movie/drama critic for many years. See her reviews at www.susangranger.com.)

An overflow crowd tonight jammed the Ralph Sheffer Room at the Westport Library for Miggs Burroughs’ artist-to-artist interview of renowned Westport photographer Larry Silver (r). The event was held in conjunction with Silver’s exhibit “At the Water’s Edge: Beach Photography in Westport & Beyond.” (CLICK TO ENLARGE) Dave Matlow for WestportNow.com

Tickets for the VIP reception are $100 each and include refreshments and a private reception with Rocca as well as preferred seating in the Forum. Tickets may be purchased at https://www.eventbrite.com/e/trefz-newsmakers-series-featuring-jeff-pegues-in-conversation-with-mo-rocca-tickets-82657267111.

The 2019-2020 Newsmakers Series is made possible thanks to a generous donation from Christian J. and Eva W. Trefz.

In advance of the performance, a free-of-charge, interactive program, “Story Explorers,” featuring a book reading of “Charlotte’s Web” and activities surrounding the show’s themes, will take place on Saturday, Feb. 8, at 10:30 a.m., Fairfield Public Library, 1080 Old Post Road, Fairfield; on Sunday, Feb. 9, at 9 a.m., Westport Weston Family YMCA, Schine Meeting Room, 14 Allen Raymond Lane, Westport; on Wednesday, Feb. 12, at 11 a.m., Westport Weston Family YMCA, Schine Meeting Room, 14 Allen Raymond Lane, Westport; Saturday, February 15, at 9 a.m., SONO Branch Library, 10 Washington Street, Norwalk; Saturday, February 15, at 11 a.m., Westport Library, 20 Jesup Road, Westport; and Saturday, February 15, at 1 p.m., Bridgeport Public Library - North Branch, 3455 Madison Avenue, Bridgeport.             

The one-hour Story Explorers” program is led by staff from Broadway Method Academy, the resident conservatory of Westport Country Playhouse. “Story Explorers” promotes childhood literacy while also enhancing children’s experiences of attending the Playhouse’s Family Festivities shows.

“Story Explorers” is sponsored by United Bank Foundation and presented by Westport Country Playhouse and Broadway Method Academy.

Westport Country Playhouse’s four-show 2019-2020 Family Festivities Series is presented on selected Sundays from December through March, featuring productions with music based on classic and contemporary children’s stories. 

The final Family Festivities show of the season is “The Pout Pout Fish,” produced by TheaterWorksUSA on Sunday, March 15, as Mr. Fish sets out on a sweeping oceanic quest to find Miss Clam’s missing pearl, and discovers there is more to him than his permanently plastered pout.

In conjunction with the Family Festivities Series, the Playhouse will once again host a book collection for Read to Grow, Inc., a statewide nonprofit organization that provides free children’s books to families with limited access and to community resources that serve them. 

At each Family Festivities performance, bins will be located in the Playhouse lobby for donations of gently used and new children’s books which will be given to families and programs in the greater Fairfield County area through Read to Grow.

Family Festivities Series Corporate Sponsor is Pitney Bowes.  The Family Programming Sponsor is Bankwell. The Family Festivities Series is also supported by the Westport Young Woman’s League.

Everyone in the audience requires a ticket. For more information and to buy tickets, visit http://www.westportplayhouse.org or call the box office at (203) 227-4177, toll-free at 1-888-927-7529, or visit Westport Country Playhouse, 25 Powers Court, off Route 1, Westport.

It’s wonderful to see the two of them discussing sin and guilt in Castel Gandolfo’s gardens, watching soccer after dinner, communing in the Sistine Chapel and enjoying pizza and Fanta in its sacristy. “Whenever I try to be myself, people don’t like me very much,” Benedict sadly concludes.

Jonathan Pryce embodies Bergoglio, the tango-loving reformer who gives Communion to the divorced and speaks out in favor of refugees and against climate change, while as traditionalist Benedict — aka Joseph Aloysius Ratzinger — Anthony Hopkins shows unmistakable glee, speaking in Latin when he delivers difficult news because so few of the Cardinals understand it.

How much is fact and how much is fiction? According to George Weigel, author of “Witness to Hope,” a biography of Pope John Paul II, “They had nothing remotely resembling the relationship suggested by the film…it’s inconceivable and totally false.”

On the other hand, in his book “Wounded Shepherd,” Francis Austen Ivereigh maintains: “The 266th successor of Saint Peter enjoys a close relationship with the 265th, one that long predates his election.”

On the Granger Movie Gauge of 1 to 10, “The Two Popes” is an intriguing, entertaining 8, a holy alliance.

It’s unconscionable in this day and age to release the female-led buddy comedy “Like a Boss” that’s so misogynistic and sexist in its interpretation of female empowerment.

Best friends since Middle School, enterprising Mia (Tiffany Haddish) and Mel (Rose Byrne) run a small cosmetics shop. Mixing their own artisanal formulas and marketing them in gimmicky gift packages, they enjoy modest success with their employee — Barrett (Billy Porter) and Sydney (Jennifer Coolidge).

While Mia comes up with ideas like the single-use makeup kit called “One Night Stand”, Mel tries to keep the books. Problem is: their business is $500,000 in debt!

Enter Josh (Karan Soni), representing mercenary Claire Luna (Salma Hayek), who offers to clear their debts in return for 51% of their business. Mia’s unhappy with giving anyone 51%, so they settle for Claire owning 49% unless, of course, Mia and Mel dissolve their partnership.

Immediately, nasty Claire, golf club in hand, begins sowing nefarious discord between Mia and Mel and asserting her influence by urging: “Inspire the ugly people to buy their way into gorgeousness.”

Jennifer Coolidge’s Sydney delivers the best zinger, describing Salma Hayek’s Claire as looking like “an angry carrot.”

It’s painfully obvious that the R-rated, raunchy script was written by two men – Sam Pitman and Adam Cole-Kelly – and directed by a third – Miguel Arteta. And no one in this testosterone trio seems to have a clue either about the beauty business or how women behave at baby showers.

Their depiction of a celebratory cake with a newborn’s head popping out of a bloody vagina boggles the mind!

Lisa Kudrow does a cameo as Claire’s former partner, while Jessica St. Clair, Ari Graynor, Natasha Rothwell and Jacob Lattimore lend much-needed support, along with Ryan Hansen and Jimmy O. Yang.

On the Granger Gauge, “Like a Boss” is a frisky 4, filled with reprehensible stereotypes.

The vampires and werewolves Kristen Stewart faced in “Twilight” pale in comparison with the gigantic aquatic creature that’s after her in “Underwater,” a silly deep-sea dirge.

Channeling Sigourney Weaver’s Ripley in “Alien,” Stewart plays Norah, a mechanical engineer working seven miles beneath the ocean’s surface when a catastrophic accident floods the huge drilling rig.

Fleeing with other crew (Jessica Henwick, Mamoudou Athie, John Gallagher Jr., T .J. Miller) and their captain (Vincent Cassel), Norah and these survivors of the initial explosion realize that they must make their way to an abandoned outpost if they ever hope to reach the surface again.

There’s constant terror, coping with changing air pressure and faulty diving equipment, as they struggle across the sediment-clouded sea floor.

And when they capture a mysterious pink creature that’s been munching on a human corpse, it’s obvious that its angry mother will soon appear to wreak vengeance.

“We did this!” a marine biologist screams. “We took too much! We’re not supposed to be down here!”

Brian Duffield and Adam Cozad’s sci-fi action/thriller script sets up the claustrophobic disaster but disintegrates as director William Eubank and cinematographer Bojan Bazelli get mired down in murky mayhem, utilizing far more jump scares than necessary.

With her hair buzz-cut to white/blond fuzz, Stewart runs around in her underwear whenever she can shed the clunky deep-sea exoskeleton suit. Fetching but far-fetched.

On the Granger Gauge, “Underwater” sinks to an incoherent, unintelligible 2.  Glub-glub …

(Editor’s Note: Westport resident Susan Granger grew up in Hollywood, studied journalism with Pierre Salinger at Mills College, and graduated from the University of Pennsylvania with highest honors in journalism. In addition to writing for newspapers and magazines, she has been on radio/television as an anchorwoman and movie/drama critic for many years. See her reviews at www.susangranger.com.)

Included in her talk were the 1999 police fatal shooting of unarmed Amadou Diallo, the 2014 Ferguson, Missouri riots in the wake of Michael Brown’s death and the 2015 racist shootings at Emanuel African Methodist Episcopal Church in Charleston, South Carolina that left nine worshippers dead.

But Anderson, an African American studies professor at Emory University, did not limit her thesis to extreme examples, but to subtle systemic racism.

She said voter suppression was exemplified in Ferguson where 67% of the population is black and only 6% of the black community voted in 2013. Anderson added that Ferguson police have targeted black motorists for minor traffic violations, not white drivers, to bolster city coffers.

Students from Regional Center for the Arts performed at the celebration. (CLICK TO ENLARGE) WestportNow.com photo

She even took aim at the “war on drugs,” saying it came on the heels of the civil rights and voting rights acts as a means to deny African Americans the right to vote.

“We have locked up those who are the least who use and sell drugs,” she said. “If you have a felony conviction, you can’t vote, and you can’t get a student loan.”

She said what while the media often portray “black rage in the flames” of riots, such as those in Ferguson, “white rage is the kindling.”

“With white rage, the target is black people with ambition, those who demand their full citizen rights,” Anderson said.

Even the 2008 election and 2012 reelection of Barack Obama as the 44th president, did not negate the presence of white rage, Anderson said.

“People ask, ‘How racist can America be?’” she said. “We put a black man in the White House.”

Anderson, however, credited the votes of 15 million black, Latino, Asian, poor and young people for Obama’s victory. She said white Americans have not overwhelmingly voted for a Democratic president since 1964.

“It’s time to defuse the power of white rage,” she said.

Though Anderson’s speech was far from celebratory for an event that had been billed as a celebration of King, the program did have its high points.

It was almost a full house today for the Dr. Martin Luther King, Jr. celebration at the Playhouse. (CLICK TO ENLARGE) James Lomuscio for WestportNow.com

Helena Brown, a soprano accompanied by Jill Brunelle at the keyboard, brought several rounds of applause for her operatic “Ride On, King Jesus” and later “Balm in Gilead.”

Applause also filled the room following a dance performance titled “Need You Now” by students from the Regional Center for the Arts.

The 15th annual event, though listed as the 14th in promotions and programs, was a joint presentation by the Playhouse, TEAM Westport, the Interfaith Council of Westport and Weston and the Westport Library.

Westporter Sybil Steinberg (l), a contributing editor and former book review section editor for Publishers Weekly, tonight interviewed Julia Phillips, a 2019 National Book Award Finalist for her debut novel, “Disappearing Earth.” The Westport Library conversation on the book, now published in 14 countries, highlighted Steinberg’s selection of it in her semi-annual best books of 2019 list and its inclusion on The New York Times 10 best books list of 2019. Phillips, 32, is a former Fulbright fellow who spent two years in Russia’s Kamchatka province, the setting for the thriller novel. (CLICK TO ENLARGE) Dave Matlow for WestportNow.com