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    Cirque du Soleil splashes into Houston with new high-flying show

    Tarra Gaines
    Jan 10, 2019 | 10:10 am

    The high-flying Cirque du Soleil always makes a big splash when it sets up the tent at Sam Houston Race Park, but with its latest show, Luzia, real rainstorms and liquid pools become intrinsic parts of the performances. Inspired by the landscapes and culture of Mexico, Luzia is the first Cirque du Soleil big top touring show to incorporate water throughout the production.

    Taking audiences into a dream world of ancient architecture, the golden age of Mexican cinema, spirit animals, dance salons, soccer fields, and liquid cascades, Luzia will also give surrealist and watery twists to many of the acrobatic wonders Houston Cirque fans come every year to see. The performances explore various themes related to Mexican culture and mythology including speed, rain, nature, and a poetic vision of reality in may forms.

    The show begins with parachutist falling into his own memories and then takes the audience through a magical journey into Mexican landscapes from myth and imagination. Along the way expect hoop-diving on treadmills, hand-balancing 20 feet above the stage, and a football (aka soccer) dance. Later in the show, look for a revolving Russian swing act, sending performers tumbling 33 feet into the air; mast and pole acrobatics; a high-swinging lucha libre wrestler taking to the air; juggling; clowns scuba diving, and a uproarious fiesta finale.

    Several of the high-flying performances plunge these gravity-defying kinetic magicians into watery depths or shower them with rain. Cyr wheel artists spin across the stage and a trapeze aerialist twirls and dances in midair all the while drenched in a resplendent downpour.

    In another section of the show, an artist representing a demigod of rain performs an aerial strap act, after emerging from a pool created to resemble the naturally occurring sinkholes the Mayans believed were gateways to the afterlife. Continuing his aerial dancing in the straps, he interacts with the life-sized puppet of a jaguar.

    While audiences might marvel at this vibrant dreamscape onstage, another type of engineering artistry backstage (and under-stage) happens to create such spectacle. For example, according to the Luzia technical information, the stage floor has 94,657 holes through which the water drains into a 3,500-litre basin hidden underneath. The water must be filtered and disinfected everyday. Kept at a constant 82 degrees for the the artists health, all 1,585 gallons used during any performance will be recycled for the entire duration of this Houston run. 


    And though the overall vision might celebrate Mexico, an international cast and crew from 25 countries including, of course, Mexico, come together to create this Luzia surrealist world filled with vivid storms of color, music, comedy, and dance on earth and midair.

    ---

    Cirque Du Soleil's Luzia runs at Sam Houston Race Park January 10-February 24. Visit the official site for tickets and showtimes.

    A gravity defying balancing act is inspired by the golden age of Mexican cinema.

    Cirque du Soleil: Luzia, Canes
    Photo by Matt Beard
    A gravity defying balancing act is inspired by the golden age of Mexican cinema.
    theatermusicdancecomedy
    news/entertainment

    Movie Review

    Five Nights at Freddy’s 2 doesn't match the first movie's enthusiasm

    Alex Bentley
    Dec 4, 2025 | 3:45 pm
    Five Nights at Freddy's 2
    Blumhouse
    Five Nights at Freddy's 2.

    Blumhouse Productions first made their name with the Paranormal Activity series, establishing themselves as a leader in the horror genre thanks to their relatively cheap yet effective movies. In recent years, they’ve added on “soft” horror films like M3GAN and Five Nights at Freddy’s to draw in a younger audience, with both films becoming so successful that each was quickly given a sequel.

    Five Nights at Freddy’s 2 finds Mike (Josh Hutcherson) and his sister Abby (Piper Rubio) still recovering from the events of the first film, with Abby particularly missing her “friends.” Those friends just so happen to be the souls of murdered children who inhabit animatronic characters at the long-defunct Freddy Fazbear’s Pizza, children who were abducted and killed by William Afton (Matthew Lillard).

    A new threat emerges at another Freddy Fazbear’s location in the form of Charlotte, another murdered child who inhabits a creepy large marionette. Mike, distracted by a possible romance with Vanessa (Elizabeth Lail), fails to keep track of Abby, who makes her way to the old pizzeria and inadvertently unleashes Charlotte and her minions on the surrounding town.

    Directed by Emma Tammi and written by Scott Cawthon (who also created the video game on which the series is based), the film tries to mix together goofy elements with intense scenes. One particular sequence, in which the security guard for Freddy Fazbear’s lets a group of ghost hunters onto the property, toes the line between soft and hard horror. That and a few others show the potential that the filmmakers had if they had stuck to their guns.

    Unfortunately, more often than not they either soft-pedal things that would normally be horrific, or can’t figure out how to properly stage scenes. The sight of animatronic robots wreaking havoc is one that is simultaneously frightening and laughable, and the filmmakers never seem to find the right balance in tone. Every step in the direction of making a truly scary horror film is undercut by another in which the robots fail to live up to their promise.

    It doesn’t help that Cawthon gives the cast some extremely wooden dialogue, lines that none of the actors can elevate. What may work in a video game format comes off as stilted when said by actors in a live-action film. The story also loses momentum quickly after the first half hour or so, with Cawthon seemingly content to just have characters move from place to place with no sense of connection between any of the scenes.

    Hutcherson (The Hunger Games series), after being the true lead of the first film, is given very little to do in this film, and his effort is equal to his character’s arc. The same goes for Lail, whose character seems to be shoehorned into the story. Rubio is called upon to carry the load for a lot of the movie, and the teenager is not quite up to the task. A brief appearance by Skeet Ulrich seems to be a blatant appeal to Scream fans, but he and Lillard only underscore how limited this film is compared to that franchise.

    Five Nights at Freddy’s 2 is better than the first film, but not by much. The filmmakers do a decent job of making the new marionette character into a great villain, but they fail to capitalize on its inherent creepiness. Instead, they fall back on less effective elements, ensuring that the film will be forgettable for anyone other than hardcore Freddy fans.

    ---

    Five Nights at Freddy's 2 opens in theaters on December 5.

    moviesfilm
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