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    Welcome home Li

    Li Cunxin gets a grand homecoming at screening of Mao's Last Dancer

    Clifford Pugh
    Aug 1, 2010 | 2:51 pm
    • Asia Society programming director Fritz Lanham, left, Li Cunxin, MFAH directorof special gifts Valerie Grenier
      Dave Rossman for Museum of Fine Arts, Houston
    • Li Cunxin acknowledges the audience after the screening of "Mao's Last Dancer"
      Dave Rossman for Museum of Fine Arts, Houston
    • In his search for authenticity, actor Kyle MacLachlan, left, said he sought outCharles Foster's class ring to wear. Foster flashed the "Hook 'em Horns" sign toindicate he attended the University of Texas.
      Dave Rossman for Museum of Fine Arts, Houston
    • Elizabeth Mackey, left, Anne Culotta
      Dave Rossman for Museum of Fine Arts, Houston
    • Gigi Huang, Li Cunxin
      Dave Rossman for Museum of Fine Arts, Houston
    • Bruce Greenwood, MFHA film curator Marian Luntz, Kyle MacLachlan
      Dave Rossman for Museum of Fine Arts, Houston
    • Ben Stevenson, Charles Foster
      Dave Rossman for Museum of Fine Arts, Houston
    • Sharon Adams, Kyle MacLachlan
    • Shantha and A.P. Raguthaman
      Dave Rossman for Museum of Fine Arts, Houston
    • Kyle MacLachlan, left, Charles Foster, Li Cunxin
      Dave Rossman for Museum of Fine Arts, Houston

    Amid laughter and a lot of tears, former Houston Ballet dancer Li Cunxin and many of his close Houston friends watched a movie detailing his amazing life Saturday night at the Museum of Fine Arts, Houston.

    The pre-release screening of Mao's Last Dancer drew capacity crowds at two showings. Two of the movie's stars, Bruce Greenwood and Kyle MacLachlan, mingled with the crowd, along with the men they portrayed in the movie, Houston Ballet artistic director emeritus Ben Stevenson and Houston immigration attorney Charles Foster, respectively.

    "I'm absolutely thrilled with the film," Li told the audience after the first screening, as he pointed out several of his former Houston ballet dance partners and his first wife, Elizabeth Mackey. "How [director] Bruce Beresford squeezed 20 years of my life into a two hour movie is absolutely a miracle."

    Li flew in from his home in Australia for the screening, arriving just before it started.

    The movie, which opens Aug. 20 at the River Oaks Theatre, details Li's journey from China, where he was plucked away from his family at an early age and sent to study dance at a school for students with great potential, to his first trip to the United States, where he was an exchange student at the Houston Ballet. In 1981, Li married Mackey and defected to the United States. He was detained at the Chinese Consulate on Montrose Blvd. in what threatened to become an international incident until the Chinese govenment reversed course and allowed him to stay in the United States.

    Scenes of Houston figure prominently in the movie, with exteriors of Miller Outdoor Theatre, Wortham Theater Center, China Garden restaurant, the Chase Building, and the Houston Ship Channel. Most interior scenes were shot in Australia, since that's where most of the film's financing came from, said Houston Film Commission director Rick Ferguson.

    Afterwards at a museum reception featuring champagne and delicacies from Gigi's Asian Bistro, the principals mingled with the crowd that included former Houston Ballet principal dancer Lauren Anderson, Lynn Wyatt, Greater Houston Convention and Visitors Bureau director of corporate affairs Sharon Adams, Carolyn Farb, Houston Ballet general manager Jim Nelson and former Houston Post critic Carl Cunningham, who covered Li's career. The screening was presented by MFAH, Houston Ballet, The Asia Society Texas Center, the Houston Film Commission, and the Greater Houston Convention and Visitors Bureau.

    Greenwood said he had only met Stevenson the previous night. The actor based his performance on conversations he had had with former Houston Ballet dancers. "I was overwhelmed with the love they had for him," Greenwood said.

    The actor, who also stars in Dinner For Schmucks (the No. 2 movie this weekend), was in Houston for less than 36 hours. On Sunday, he returned to Mexico, where he is filming Cristiada with Andy Garcia and Eva Longoria Parker.

    MacLachlan said he had come to Houston previously to meet with Foster and tape recorded much of their conversation to properly study Foster's accent. "The one word that helped me was 'sno-cone,'" the actor said.

    He also noticed that Foster was always wearing his class ring from the University of Texas. Foster offered to lend his ring to MacLachlan for the movie, but the actor tracked one down instead.

    At a reception hosted by Foster and his wife Lily at their Courtland Place home Saturday night, the attorney said he was impressed with MacLachlan's portrayal.

    "You're always worried that the thing is going to go Hollywood, but the movie is so authentic and powerful," Foster said. "[MacLachlan] could have played it as a cowboy or a gunslinger. But he wanted authenticity. And that's what I wanted. What could be better?"

    In between greeting longtime Houston friends at the Foster home, Li reflected on the emotional evening.

    "Houston recognized one of their own son's stories," he said. "That's all I really hoped for."

    He has already seen the movie 11 times and will likely see it several more times as he promotes it in Germany, Poland and Japan. Could China be next?

    "I hope so, because it's a personal story between China and the West," Li said.

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    Movie Review

    Over-the-top thriller The Housemaid revels in camp, chaos, and excess

    Alex Bentley
    Dec 22, 2025 | 6:00 am
    Amanda Seyfried and Sydney Sweeney in The Housemaid
    Photo courtesy of Lionsgate
    Amanda Seyfried and Sydney Sweeney in The Housemaid.

    Both Amanda Seyfried (the upcoming The Testament of Ann Lee) and Sydney Sweeney (Christy) are starring in movies with Oscar ambitions this year. By sheer coincidence, the two actors are also co-starring in The Housemaid, a thriller coming out within weeks of their more ambitious works, one that is likely to be seen by many more people than those prestige plays.

    Sweeney is given top billing as Millie, a down-on-her-luck ex-convict looking to land any type of job so as not to break her parole. She finds a too-good-to-be-true lifeboat with Nina (Seyfried), who hires her to be a housemaid for her large house on Long Island, where she lives with her husband, Andrew (Brandon Sklenar), and daughter, Cecilia (Indiana Elle).

    After a warm interview, Nina almost immediately becomes highly erratic, whipping back-and-forth between happy-go-lucky and rageful. It seems clear that Nina is suffering from mental health issues, as she’ll often accuse Millie of misplacing or stealing items that she didn’t take. Andrew, apparently used to Nina’s tirades, tries to protect Millie from the worst, something that grows increasingly difficult as Nina ups the ante.

    Directed by Paul Feig (A Simple Favor) and adapted by Rebecca Sonnenshine from the bestselling book by Freida McFadden, the film is likely the trashiest mainstream movie to come out in 2025. The first half of the movie relies not on story but on moments as Nina embodies the word “hysterical” to an unbelievable extent. The resigned acceptance of the abuse by Millie, as well as the saintly patience of Andrew, make almost every scene laughable, as nobody seems to be acting anywhere close to how a person would normally react to such extreme situations.

    The scenes and the performance of Seyfried are so over-the-top, in fact, that it’s clear that the filmmakers are in on the joke. It’s next to impossible not to have a little bit of fun while watching the actors react to outrageous incidents as if nothing is out of the ordinary. The worse Nina acts, the more Millie and Andrew retreat into their chosen roles, and the funnier the film becomes.

    Fans of the book will know that the story changes course, eventually turning into a more stereotypical thriller that also has some relatively gnarly visuals to offer. But the trashiness continues, with Sweeney’s, um, assets repeatedly on display in both clothed and unclothed ways. The sex appeal of the R-rated movie makes it an outlier, as recent studio films have shied away from asking their big stars to disrobe completely.

    Both Seyfried and Sweeney are far from their Oscar hopeful roles here. Seyfried is given free rein to act as brazenly as she pleases, and she takes full advantage of that ability. Sweeney seems to have been told to be much more reserved, and unfortunately that results in too many wooden line readings. Sklenar continues his breakout streak (It Ends with Us, Drop) with a role that allows him to show more range than either Seyfried or Sweeney.

    The Housemaid is an unusual type of movie to be released at a time of year when most films are either those aiming for awards or more family-friendly fare. Despite its many flaws, it’s still an enjoyable watch that features a variety of crazy scenarios not typically seen in movies nowadays.

    ---

    The Housemaid is now playing in theaters.

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