People in the Niagara Falls area have two chances to see Kevin Nealon next week. He’ll be on the big screen co-starring with Adam Sandler and Drew Barrymore in Blended, or for a more up-close-and-personal look, they can check him out on stage at the Fallsview Casino Resort on May 24.
Best known for his nine-year stint as part of the ensemble cast of Saturday Night Live where he introduced audiences to characters like Subliminal Message Man, the muscle-bound Austrian jock Franz and Mr. No Depth Perception, he was encouraged to make people laugh at an early age by watching comics on television.
“I loved stand-up growing up,” he says. “I used to follow all the stand-ups on TV. I’d highlight when they were going to be on in the TV Guide. Ultimately I decided that would be a great job because I liked telling jokes and I felt kind of an ease with it.”
While honing his craft at legendary Los Angeles comedy club The Improvisation — “I pretty much lived there,” he says — he was encouraged to try acting.
“One of the co-owners said to me, ‘You ought to take acting lessons because one day a casting agent will come into the back of the room, see you and want you to read for their show.’ I had (considered acting) but was embarrassed to say so. I didn’t have any training or anything, so I took acting classes.”
These days he’s a SAG Award ensemble nominee for his work on Weeds, and can be heard doing voice-work shows like American Dad, but his early performances weren’t always so high-profile.
“There was a commercial I did that didn’t require a lot of acting. It was for Nabisco Country Crackers with (country singer) Lynn Anderson. I just had to play the banjo next to her while she fed me crackers. I remember Jay Leno saying, ‘Yeah, saw your commercial. Good for you.’
Then a week later they found copper dust particles in the crackers and had to recall them all so they took the commercial off the air.”
The family comedy Blended is his latest outing with Adam Sandler, whom he has previously appeared with in Little Nicky, Anger Management and You Don’t Mess with the Zohan, among others.
“Usually you’re on board if he’s doing something,” Nealon says of his frequent collaborator. “There was one movie I wasn’t quite sure if I wanted to be a part of. It was called Grandma’s Boy. It was so lowball and crass. I thought it might be a little embarrassing to be in that one. So
I told Sandler I’d probably pass on it and he called me and said, ‘I really hope you do this because if you don’t do it and it’s a big hit I’ll feel bad, but if you do it and it’s not a big hit, no one is going to see it anyway.’ So I said, ‘All right, I’ll do it.’”
Conspiracy theorists are going to love the new “Godzilla” film.
In this big-budget reboot of the giant lizard series “Breaking Bad’s” Bryan Cranston plays Joe Brody, head of a nuclear facility in Tokyo. When something triggers a massive meltdown at the facility tragedy, both professional and personal strikes.
Fifteen years later Brody is living on the fringes, still obsessed with the accident that changed his life.
The army, the government and mainstream media wrote off the incident as a nuclear meltdown caused by earthquakes, but Brody is convinced it wasn’t Mother Nature but something more nefarious.
When he is arrested for trespassing on the accident site his son, Ford (Aaron Taylor-Johnson), a military bomb expert on leave in the United States, travels to Japan to bail him out and bring him back to San Francisco.
Before father and son can head west Brody Sr’s wild theories are proven correct. He was right that it something other than earthquakes and tsunamis responsible for the breakdown fifteen years previous. That “something” turns out to be a Massive Unidentified Terrestrial Organism (or MUTO), a giant winged creature that feeds off earth’s natural radiation.
Unfortunately by the time his theories are validated the MUTOs have begun to wreak havoc and there is only one force on earth (or maybe just under the earth) powerful enough to battle the overgrown mosquitoes—Godzilla, king of the monsters.
In a movie like this you know that when Ford’s wife says, “You know you’re only going to be away for a few days… it’s not the end of the world,” that he’ll be gone for more than a few days and it just might be the end of the world, or something pretty close to it.
“Godzilla” plays by most of the rules of the giant lizard genre, but stomps all over 1998’s Roland Emmerich by-the-book remake. The standard kaiju kitsch is all in place—humungous monsters knock skyscrapers over with the flick of a tail and scientists talk mumbo jumbo—but director Gareth Edwards has added in some moments of real heartbreak, small sequences that underscore the huge amount of destruction the creatures cause.
Cranston hands in a dialed-up-to-eleven performance that occasionally feels like it might have worked better in Emmerich film, but supporting roles from Ken Watanabe, Sally Hawkins, Elizabeth Olsen and Taylor-Johnson are more modulated.
But who cares about the humans? They are merely the meat props that set the stage for what we’re really paying to see—the showdown between Godzilla and the MUTOs.
For the most part creature feature fans will be pleased. The MUTOs are malevolent spider-like beasts with scythe arms, a bad attitude, and worse, a need to reproduce. Godzilla is a towering figure with nasty looking spikes spouting from his back and tail, like a row of jagged mountains no man or monster will ever be able to cross.
The MUTOs are on full display, but if I have a complaint it’s that Godzilla doesn’t enter until a bit too late in the game. This whole “Cloverfield” don’t-show-the-monster thing is artistically noble, but if I wanted to NOT see Godzilla I’d go see “Million Dollar Arm” instead. For much of the movie every time we get to the cool ‘Zilla action, Edwards cuts to something else or shrouds him behind a cloud of soot and smoke. He is, as Sally Hawkins’ character says, “a God for all intents and purposes,” so we should be treated to a better look at him.
Perhaps a little Godzilla goes a long way for some, but the monster fanboy in me was greedy for more. The battle scenes, however, are top notch, shot from shifting points of view to give you the full experience of Godzilla’s awesome presence.
“Godzilla” plays like “Jurassic Park” times two, the thrills have been amped up but Edwards has managed to maintain the spirit of the original “Godzilla” movies while updating them for a new audience.
J.B. Bernstein (Jon Hamm) finds inspiration in the strangest places. The movie “Million Dollar Arm” would have us believe the down-on-his-luck sports agent channel surfed his way into an idea that would change his life and the lives of two Indian athletes.
Flipping between Susan Boyle singing “I Dreamed a Dream” on Britain’s Got Talent and a cricket match on ESPN, he is struck by the idea to scout Indian cricket players who could be converted into big league baseball pitchers.
Luckily he didn’t come across “Mad Men,” or “Million Dollar Arm” might have ended up being called “Don Draper goes Bollywood.”
Based on a true story, Hamm plays Bernstein, the founder of 7 Figures Management, a small sports management agency whose clients are being stolen by a firm with deeper pockets.
As his business situation worsens he hits on the idea of recruiting Indian crickets players by way of a contest called the Million Dollar Arm. First and second place winners will receive cash and a chance for a tryout for a US team.
After spending three months in India he finds two promising players, Rinku (Suraj “Life of Pi” Sharma) and Dinesh (Madhur “Slumdog Millionaire” Mittal), but back in the states Bernstein is told it’s not impossible that his new finds will become professional baseballers, “just highly improbable.”
“Million Dollar Arm” lays on the sentiment like a thick layer of lanoline on a new Rawlings Baseball Glove. It’s about underdogs and second chances, about finding the love of the game (and maybe some less metaphysical comforts as well). It’s about finding a balance between the business of the game versus the fun that should be inherent in the playing.
It is conventional in its approach, but hits a home run with the cast. Hamm’s gruff Don Draper-esque exterior will be familiar to “Mad Men” fans, but he has great chemistry with Lake Bell, who plays his tenant, spiritual guide and love interest.
Also appearing are Alan Arkin, who revisits his old coot routine to play baseball scout Ray Poievint, and Bill Paxton whoi is suitable stern as pitching coach Tom House.
Sharma and Mittal, who don’t speak any English until near the end of the film, wide-eyedly portray the inevitable culture clash of two young men leaving home for the first time.
Clichés aside, there is something appealingly old fashioned about how “Million Dollar Arm” wears its heart-on-its-sleeve.
SYNOPSIS: Fifteen years after the government and mainstream media claimed an earthquake caused a major nuclear meltdown, scientist Joe Brody (Bryan Cranston) discovers the responsible party wasn’t Mother Nature, both something far more nefarious. That “something” is a Massive Unidentified Terrestrial Organism (or MUTO), a giant winged creature that feeds off earth’s natural radiation. Unfortunately by the time his theories are validated the MUTOs have begun to wreak havoc and there is only one force on earth (or maybe just under the earth) powerful enough to battle the overgrown mosquitoes—Godzilla, king of the monsters!
STAR RATINGS:
Richard: 4 Stars
Mark: 3 Stars
Richard: Mark, in a movie like this you know that when the main character’s wife says, “You know you’re only going to be away for a few days… it’s not the end of the world,” that he’ll be gone for more than a few days and it just might be the end of the world, or something pretty close to it. I think the new Godzilla plays by most of the rules of the giant lizard genre, but stomps all over 1998’s Roland Emmerich by-the-book remake. What did you think?
Mark: The Emmerich Godzilla was a forgettable remake. This one is more exciting, more nuanced, and has better CGI. But so many monster movies have the same tired tropes. There’s always a hero just trying to get back to his imperiled family; always a fusillade of army bullets that are fired for naught; and always a monster from the depths of space, ocean, or time. And this movie is no different. Except that Juliette Binoche wears a snazzy trench coat that I should probably source for my wife.
RC: I agree that the standard kaiju kitsch is all in place—humungous monsters knock skyscrapers over with the flick of a tail and scientists talk mumbo jumbo—but director Gareth Edwards has added in some moments of real heartbreak, small sequences that underscore the huge amount of destruction the creatures cause. It’s a balancing act to maintain the spirit of the original Godzilla movies while also updating them for a new audience.
MB: Oh, Richard, I forgot. And there has to be a scene on a bridge. It’s in the contract. This scene on a bridge is a good one, though. Oh, and a scene with a train on a high trestle. This standard scene is also well done. Let’s not forget the scene where the big city where the citizens look in awe at the monster approaching between skyscrapers and then run for their lives. Again, well done here, although the original Godzilla invented the scene. But I think the filmmakers succeeded at the most important task in the movie—making us marvel at the sheer size of the thing. And this is done very, very well.
RC: The MUTOs are on full display, but if I have a complaint it’s that Godzilla doesn’t enter until a bit too late in the game. This whole Cloverfield don’t-show-the-monster thing is artistically noble, but if I wanted to NOT see Godzilla I’d go see Million Dollar Arm instead. For much of the movie every time we get to the cool ‘Zilla action, Edwards cuts to something else or shrouds him behind a cloud of soot and smoke. He is, as Sally Hawkins’ character says, “a God for all intents and purposes,” so we should be treated to a better look at him.
MB: Godzilla has always been an enigmatic presence. He’s got that “good monster/bad monster” thing going. Or maybe he’s just bipolar.
Everybody loves movies. Everybody really loves FREE movies so why not check out Bay Street Video‘s (1172 Bay Street in Toronto, 416. 964. 9088) latest initiative.
From their Facebook page:
Hello everyone, we have exciting news – the new ‘Films for Free @ BSV’ theme has begun… SLEEPER HITS (as chosen by Toronto Film Critics)!
Because our primary reason behind ‘Films for Free @ BSV’ is about giving back to the community, we felt it would be appropriate to have locals choose the titles. So, we got in touch with Toronto film critics, explained our initiative, and asked if they’d like to be a part of it. Lo and behold they like our initiative and graciously agreed to participate. How fantastic are Toronto film critics? Well, let’s put it this way, pretty damn fantastic as far as we are concerned.
By definition, “Sleeper Hits” is subject to interpretation. To some people it means films that didn’t have large production and/or advertising budgets or weren’t expected to do well, but ultimately did become hits. To others it means lesser heard of films which are very much worth seeing. Either way, they’re underdogs that won us over.
No matter your definition, there is now a whole new whack of really great films available for you to borrow absolutely free! To view the new list of titles available for free on DVD & Blu-ray, please visit our website here: https://www.baystreetvideo.com/films_for_free.php
We would like to extend HUGE THANKS to the following Toronto film critics for submitting their personal favourites so that others may explore and enjoy them as well: Norm Wilner, Glenn Sumi, Rad Simonpillai, Andrew Parker, Jason Gorber, Andrew Dowler, and Richard Crouse. We are extremely grateful for your participation.
As you might expect, we appreciate (hint, hint) your help spreading the word about ‘Films for Free @ BSV’ (sharing on social media, etc). Equally as much, we would love to hear your feedback. Have you been borrowing them? Have you enjoyed the films you’ve seen? Are you happy with the themes and selection? Please don’t be shy, let us know!
Happy viewing!
– Bay Street Video staff, management and Toronto film critics.
Richard will host a screening of the lost fantasy epic “Black Angel” with Academy Award winner Roger Christian at The Royal Theatre (608 College Street) in Toronto on Tuesday May 20, 2014 at 7 pm.
From the royal.to: AT LAST! THE LOST FANTASY EPIC THAT ONCE PRECEDED THE EMPIRE STRIKES BACK!
Sir Maddox, a medieval knight, returns from the Crusades to find his home rife with sickness and his family gone. As he journeys through this mystical realm he encounters a mysterious and beautiful maiden, who appears to him as he is drowning. Sir Maddox learns that the maiden is being held prisoner by a black knight and in order to free her must confront her captor, the Black Angel.
Black Angel was a 1980 short film that was shown before the theatrical release of Star Wars Episode V: The Empire Strikes Back in certain locales. It was the directorial debut of Star Wars art director Roger Christian and was thought to be lost until the film was rediscovered in December 2011. Witness the return of this extraordinary fantasy film to the big screen, in the company of its director and on a newly minted and restored digital print!
Runtime: 25 min + Q&A moderated by Richard Crouse with autographs, meet & greet to follow.
Richard walked through the Game of Thrones exhibit at the TIFF Bell Lightbox for Canada AM this morning. Join him as he has a look at the swords, skulls and augmented reality!
“I still get such a bang out of it,” says Buck Weaver (John Cusack) in Eight Men Out, “playing ball.”
Given the number of sports movies that have been released in the last 30 years, apparently audiences also get a bang out of watching films about baseball.
This weekend, Jon Hamm stars in a new ball picture, Million Dollar Arm. The Mad Men star plays real-life sports agent J.B. Bernstein who recruited Indian cricket players Rinku Singh and Dinesh Patel for the Pittsburgh Pirates.
It’s an unconventional baseball movie, but there seems to be something about the sport that lends itself to fantastic stories and fables.
Roger Ebert called Field of Dreams, “a religious picture,” then added, “but the religion is baseball.” In this 1989 hit Kevin Costner plays an Iowa corn farmer who hears a mysterious voice. “If you build it, he will come.” The “it” is a baseball diamond and the “he” is Shoeless Joe Jackson, the legendary outfielder for the disgraced 1919 Chicago White Sox.
The movie uses a baseball theme as a backdrop for a story about following your dreams, believing in the impossible and the idea that baseball was “a symbol of all that was once good in America.”
The film struck a chord with audiences and tourists alike. Since its release, the field built for the film in Dubuque County, Iowa has attracted hundreds of thousands of people, and spawned new restaurants, shops, a hotel, all in a town of only 4,000 people.
Robert Redford’s film The Natural looks to Arthurian legends for its story. Redford plays Roy Hobbs, a young pitcher with natural ability. Cut down in his prime by a tragic accident, he disappears, only to return many years later to become a star at an age when most players are hanging up their gloves. “It took me 16 years to get here,” he says. “You play me, and I’ll give you the best I got.”
The Holy Grail of baseball
Based on a novel by Bernard Malamud, the characters in The Natural each represent a person from ancient literature.
There are elements of Round Table Knight Percival’s pursuit of the Holy Grail present in Hobbs’ story. He’s a Knight (literally, his team is called The Knights) who must bring back the Grail, or pennant, to team manager Pop Fisher, whose name is an alias for the Fisher King, keeper of the Grail.
If you think that is reading too much into the story, perhaps Woody Allen in Zelig is more your speed. “I love baseball. You know it doesn’t have to mean anything, it’s just beautiful to watch.”
Monday May 12,2014 Richard interviewed Alex and Roy Jr Orbison after a screening of their documentary “Mystery Girl: Unraveled” at the Varsity Theatre in Toronto!
Mystery Girl: Unraveled, directed by Alex Orbison, offers unique insight into the creation of Roy Orbison’s Mystery Girl album through rare and intimate archival footage and the memories of those who were there. New and never-before-seen interviews capture appearances and on-screen commentary from Tom Petty, Bono, Jeff Lynne, Steve Cropper, Billy Burnette, Barbara Orbison, Jeff Ayeroff, John Carter Cash and Mike Campbell, along with sons Wesley, Alex and Roy Orbison Jr. Archival studio footage of Roy Orbison in Mike Campbell’s garage, where much of Mystery Girl was recorded, makes this one of the most authentic and compelling music documentaries of our time.
The documentary concludes with footage illuminating the creation of the track The Way Is Love, produced by John Carter Cash and engineered by Chuck Turner. Roy Orbison’s vocals on the song were sourced from a newly discovered work tape, and taken to Johnny Cash’s Cabin Studio in Tennessee to be reworked. Realizing a life-long dream to record with their late father, Wesley and Roy Jr. played guitar on the song with Alex handling the drums, and all three sons bringing background vocals to the mix.
“Cutting a track with my brothers was more incredible than I can describe,” said Alex. “I have been looking forward to this for my entire life.”
“The reason Alex and Wesley and I are musicians was to play in dad’s band when we got older,” noted Roy Jr. Wesley summed it up, adding, “I think we really got something special with this project.”
By Richard Crouse – Metro Canada 
