Everyone's favorite cat comes to mischievous life in ZACH Theatre’s production of the Dr. Seuss classic. Sally and her brother are stuck home in the rain, when a Cat comes knocking at the windowpane. But the Cat has brought friends, Thing One and Thing Two, who make messes and problems and oh, what to do?
A new self-guided tour showcasing the Fort Worth Stockyards’ many star-studded appearances in cinema throughout the years recently debuted in time for the 16th annual Lone Star Film Festival, which took place earlier this month in the Stockyards for the first time.
Called Stars of the Stockyards, the eight-stop, go-at-your-own pace walking tour guides folks to famous film sites where celebrities have stepped foot in front of Hollywood cameras. Visitors to the Stockyards can access the PDF tour map on their smart phones via QR codes (no app required) posted throughout the district, namely at hotels and tour kiosks.
"The Stockyards is a historic and celebrated destination for many reasons, but one that may be lesser known is its popularity as a filming location for some of our favorite movies and TV series," said Ethan Cartwright, VP of marketing for Stockyards Heritage Development Co.
The tour and corresponding QR codes are a permanent addition to the district, he said.
Stops on the map include the iconic White Elephant Saloon, a hotbed for Hollywood performances including several by legendary actor and martial artist Chuck Norris in the longtime TV series, Walker, Texas Ranger when the watering hole was portrayed as the fictional CD Bar. The White Elephant was also graced by country music superstar Tim McGraw and Academy Award-winning actor Billy Bob Thornton for their appearances in Paramount Plus’ hit series 1883.
Also in 1883 and featured on the tour is Hookers Grill, hidden in the less flashy West side of Exchange Ave. The burger shack transformed into a gambling den in the show called The Texas House of Liquor & Sport. It’s the only building in the Stockyards that preserved the façade constructed by 1883’s production team. During operating hours, customers can order at the outdoor burger window and dine at patio tables within the two-story structure.
Cowtown Coliseum is marked on the map for its appearances in the 1983 film Tough Enough, where actor Dennis Quaid played an amateur boxer. It’s also the home of the final rodeo scene in the 1992 movie Pure Country starring country music legend George Strait.
Billy Bob’s Texas, the Stockyards Hotel, and even unassuming historic cattle pens also make the list on the tour, along with notations for the Texas Trail of Fame, which features more than 240 bronze markers honoring contributors for preserving and perpetuating the Western way of life.
Veteran actors Sam Elliot and Robert Duvall, both stars in the megahit TV series Yellowstone, are among the most recent Texas Trail of Fame inductees.
For more information and to get started on the tour, go here.
In Austin, the bell of the ball is the rockstar. Black Fret, a nonprofit that creates gigs and organizes funding for local musicians, makes sure these rock stars get their spotlight at the annual Black Fret Ball, now in its ninth year, and this time with some unexpected help from a burger bar.
Staff at Hopdoddy Burger Bar (a local favorite for lovers of toppings) got to nominate their favorite artists from across the country for a total of $50,000 in grants, an initiative called “Tuned In.” The restaurant asked guests to vote on favorites and landed on a group of nine final artists, including one from Austin.
Bonnie Whitmore, an Austinite, a singer, and a bassist, makes nostalgic country and Americana with bold, feminist themes. Although her candid tone matches that of the pop stars taking over the industry from their bedrooms, she’s been an active member of the music industry for more than 20 years.
Other Texas musicians made the final nine: Gold Fighter, from Dallas, leans back into the good old days of pop punk; Piñata Protest, from San Antonio, also plays pop punk while moving the needle more into Tejano traditions; and Will Van Horn, from Houston, makes the pedal steel languidly cool and a little psychedelic. (Listeners may recognize Van Horn’s work in records by the unique and popular Houston trio Khruangbin.)
The Black Fret Ball is returning for its first in-person year since 2019, on Saturday, December 3 at ACL Live at the Moody Theater. The fundraiser will distribute grants totaling $250,000 to 20 local artists, with performances from all but two. The 2022 class of musicians includes Whitmore, rap duo Blackillac, blues guitarist Buffalo Nichols, R&B singer Mélat, and one of Austin’s most frequently booked and buzzed about bands, Quentin and the Past Lives.
Black Fret members ($750 annually) are invited to join the ball at 6 pm. See the local lineup at hopdoddy.com.
When it comes to movies themed around Christmas, there are an infinite number of heartwarming films and a surprising number of horror movies. But, unless you are among those who count Die Hard as a Christmas movie, there are almost no holiday action films, and even fewer where Santa Claus is the hero at the center of it.
That makes Violent Night a unicorn of a film, one in which Santa (David Harbour) is a disillusioned, drink-addled mess whom we first meet downing beers in a bar on Christmas Eve. After stumbling through house after house, complaining all the while about kids’ obsession with video games, he makes his way to the estate of Gertrude Lightstone (Beverly D’Angelo).
Instead of seeing a happy family, he encounters two jealous siblings and their families, and a coordinated attack by an outside group led by a man nicknamed Scrooge (John Leguizamo) looking to steal $300 million in cash. Somewhat reluctantly, Santa uses his holiday magic – and long untapped military experience – to take on the bad guys and ensure a merry Christmas for those who deserve it.
Written by Pat Casey and Josh Miller (the team behind the two Sonic the Hedgehog movies) and directed by Tommy Wirkola, the film more than lives up to its title, splattering much of its running time with enough blood to satisfy any hardcore action fan. The creative ways in which villains are killed or maimed are numerous, including a fantastic final death and an homage to Home Alone that’s only slightly more graphic than the sequences in that classic kids movie.
Photo by Allen Fraser/Universal Pictures
David Harbour in Violent Night.
It’s surprisingly easy to accept Santa Claus as a vengeance-seeking action hero. Harbour is clearly having a ball in the role, and because he plays Saint Nick as grizzled and grumpy, there’s no disconnect between the kindly version we know and love and this more intense one. He also gets the majority of the laugh lines in the film, with a good number (though less than expected) giving a fun twist on holiday clichés.
The problem with the film is that it can’t sustain the momentum of the Santa mayhem scenes. The filmmakers try to have it both ways, pairing ultra-violence with a (dysfunctional) family story, using a cute girl who still believes in Santa as the bond between the two tones. The lack of attention paid to the dialogue of the Lightstone family is glaringly evident, especially since all of their roles, with the exception of D’Angelo, are filled by relatively unknown actors.
Anytime Santa Claus is on the screen – which is less than you might think – the film works. But any other time, it’s clear that they’re just trying to come up with something – anything – for the characters to do until they can get back to Santa kicking ass. And most of the time, what they’ve come up with is so eye-rollingly stupid or poorly written that you wonder why they included it in the first place.
Harbour is the glue that keeps the film watchable, committing himself 100 percent to the idea of the role. He doesn’t go overboard with the typical Santa elements, and the fact that he looks different from your typical Santa Claus also helps with the believability factor. Almost no one else is worth mentioning, save for maybe Leah Brady, the aforementioned cute girl who shines amid the depravity.
The potential for an alternative holiday classic was there with Violent Night, but the filmmakers focused too much on balancing the film instead of delivering on what the concept promised. If there is a next time, they should just let go of the reins and let Santa Claus go completely loose.