RICHARD’S WEEKEND MOVIE REVIEWS FROM CP24! FRIDAY JANUARY 23, 2014.
CP24 film critic Richard Crouse reviews “Still Alice,” “Cake,” “Strange Magic,” “The Boy Next Door” and “Mordecai.”
Watch the whole thing HERE!
Archive for January, 2015
Alan Cumming: Kids can deal with more darkness than we think
By Richard Crouse – Metro Canada
Strange Magic, a new animated jukebox musical fantasy from George Lucas, follows in the footsteps of Peter Pan, Sleeping Beauty and Cinderella. All are musicals, all are for kids and all feature a villain geared to make young pulses race.
“I do think we underestimate how much darkness kids can deal with,” says Alan Cumming, who plays the film’s chief baddie, the Bog King,
Inspired by A Midsummer Night’s Dream, Strange Magic is set in a fairy world where you can never judge a book by its cover.
Cumming’s character, with his glowing eyes and a skeleton that is more exo than endo, certainly embodies the movie’s message that beauty is only skin deep.
“All these kinds of films are based on a tradition that goes way, way back to the Grimm Brothers,” says Cumming.
“In a way, the reason these stories are told is to teach kids some sort of moral lesson. You have to scare people but ultimately show that he has a nicer side to him.”
Lucas, who has a ‘story by’ and producer credit on the film says, “with the Bog King we did tone him down a bit because it is a delicate balance. We’ve shown it to a lot of kids and most of them aren’t affected by it at all. My daughter, who is only 18 months, saw the trailer with the Bog King in it on a screen, not on a TV and she wasn’t moved by it at all. But of course 18-month-olds aren’t afraid of anything yet.
“Kids are not as fragile as you think they are. All the stuff, that it warps their brains, I’m not sure about that,” he said.
“There is a certain reality to imitative violence, which is monkey see, monkey do, and that is dangerous, but at the same time a well brought up kid doesn’t fall into that.”
Lucas, who has been working on this project on and off for 15 years — “I liked to do it in between working on Star Wars and writing scripts and things”— says there are only three moments in the movie that are “bothersome.”
“It has been my experience with my kids that if you sense something coming up you just put your hand over their eyes and usually they’re faster at doing it than you are.”
Johnny Depp moves even further from his old rebel reputation with Mortdecai
By Richard Crouse – Metro Canada
There are dozens of biographies on Johnny Depp and a surprising amount of them use the word “rebel” in the title. There’s the Passionate Rebel, the Modern Rebel and even Hollywood’s Best-Loved Rebel.
There can be no argument that Depp is a fearless actor, unafraid to tackle tough, challenging roles, but it’s hard to accept the rebel title these days. For 20 years, he wildly threw darts at the wall, making exciting movies with interesting directors.
With Tim Burton, he created the off-kilter Eds — Wood and Scissorhands. With John Waters, he produced Wade Walker, the greaser love interest in Cry-baby. And, with Lasse Hallström, he came up with Gilbert Grape, caregiver to his brother and morbidly obese mother.
Along the way, he was also Hunter S. Thompson in Fear and Loathing in Las Vegas, the world’s most successful drug dealer in Blow, and the depraved poet at the dark heart of The Libertine.
Few actors could have pulled off Ed Wood and no one does debauched like Johnny, but the carefully cultivated hip outsider image was never truly accurate. Shrouded in a cloud of Gauloise smoke, he was one of Hollywood’s too-cool-for-school kids, emitting an outsider’s aura, while astutely playing the Hollywood game.
But any remaining traces of Depp’s bohemian status were wiped away with Captain Jack Sparrow’s colourful scarves in the tetralogy of Pirates of the Caribbean movies. They made him a superstar, and wealthy enough to buy Bahamian islands, but also ushered in the damaging wig and makeup era of his career.
The pale makeup of Dark Shadows, Alice in Wonderland’s crazy oversized hat, and the raven headdress of The Lone Ranger overshadowed Depp’s performances, obscuring his character work with props and flash.
This weekend, he hides behind a moustache in the comedy Mortdecai.
As the title character, he’s pompous, bumbling — imagine Inspector Clouseau with an English accent and an attitude — and on a worldwide hunt for a painting said to contain the code to a lost bank account.
Will people be attracted to Mortdecai? Hard to know. Depp’s showy performances have, by-and-large, garnered big box office but profitability, while important to the suits who green light projects like this, is exactly what’s killing Depp’s credibility as a serious actor.
He’s not in Nicolas Cage territory yet — there’s an actor whose Western Kabuki style of acting redefines idiosyncratic — but with Pirates of the Caribbean 5 coming soon, perhaps it’s time to put Depp’s rebel actor image or reliance on props to bed.
RICHARD’S “CANADA AM” REVIEWS FOR JANUARY 23 WITH JEFF HUTCHESON.
Richard’s “Canada AM” reviews for “Still Alice,” “Cake,” “Strange Magic,” “The Boy Next Door” and “Mordecai.”
Watch the whole thing HERE!
MORTDECAI: 1 STAR. “feeds The Quirk, but leaves the audience hungry for laughs.”
Beware The Quirk! The Killer of Careers! The fearful beast is known to inhabit Southern California and frequently seen lurking in the Hollywood Hills. Easily recognizable by its overuse of make-up, strange facial hair and flamboyant dress, The Quirk lives off schtick and frequently speaks in a funny voice, seducing its victims—usually actors—with a siren song of bad jokes and vocal tics.
Johnny Depp has been outrunning The Quirk for years, narrowly missing the beast’s bony grip. Until now. The Quirk has finally claimed Depp, leaving behind a mass of exaggerated accents, silly walks, gapped teeth and lurid lip hair known as “Mortdecai.”
Based on “The Great Mortdecai Moustache Mystery” by Kyril Bonfiglioli, the movie stars Depp in the title role as a wealthy art dealer with a taste for the finer things in life, an obsessive habit of grooming his facial hair and a nearly empty bank account. He’s pompous, bumbling—imagine a jet-setting Inspector Clouseau with an English accent and an attitude—and on a worldwide hunt for a rare Goya painting said to contain the code to a lost bank account filled with Nazi gold. Along for the ride are Mortdecai’s his trusty cockney manservant Jock Strapp (Paul Bettany), Gwyneth Paltrow as Lady Johanna Mortdecai, Ewan McGregor as an MI5 agent and Jeff Goldblum as a “thick-fingered vulgarian.”
“Mortdecai” breathes the same air as “The Pink Panther” movies, with an added nod to the 1967 “Casino Royale,” an all-star heist movie most notable for featuring both Woody Allen and Orson Welles on the same marquee, but gets lightheaded when it comes to replicating the easy-breezy tone of those films. Capers flicks of a bygone era had a swingin’, hip feel of controlled chaos not overplayed farce but Depp is pedal-to-the-metal, quirking-it-up in a display completely without charm and worse, without wit. He sets the mood for the film—daft, overly mannered, arch and unfunny—and his preening feeds The Quirk, but leaves the audience hungry for laughs.
THE BOY NEXT DOOR: 1 STAR. “as generic a thriller as the bland title suggests.”
“The Boy Next Door” is the kind of movie where when someone says, “You can trust me,” you know the opposite is true. The Jennifer Lopez thriller is a lesson in not trusting neighbors, no matter how good looking they are.
Lopez is Claire Peterson, a recently separated high school lecturer who teaches the classics and wears bubblegum pink lip-gloss. Her soon-to-be ex husband Garrett (John Corbet) is slowly trying to make things work, much to the chagrin of Claire’s best friend (Kristin Chenoweth) who can’t stand him, but to the delight of her son Kevin (Ian Nelson), who misses his dad. When the neighbor’s grandnephew Noah (Ryan Guzman), a surprisingly buff and mature looking nineteen-year-old, moves in he seems like a good role model for Kevin… at first.
He’s polite, can fix anything and takes Kevin under his muscly wing. Unfortunately he’s also in love—some might say obsessively so—with the comely Claire. One long weekend while Garrett and Kevin are on a fishing trip Claire, feeling lonely and a bit drunk, reluctantly allows Noah to seduce her. Apparently in “The Boy Next Door” no doesn’t mean no, it means “no judgment and no rules.”
The next day Claire is filled with regret but Noah is more smitten than ever. Thus begins his form of wooing, stalking her—“I’m not following you,” he says, “I live next door!”—and finagling a spot in her class. His pursuit of her heart escalates to include cut brake lines, dirty pictures and the inevitable moment when she puts an end to the relationship… permanently.
“The Boy Next Door” is as generic a thriller as the bland title suggests. There are unintentionally camp moments of soap opera melodrama but without the kind of trashy fun that would make this a so-bad-it’s-good thriller. Instead, it is simply a bad movie and you can trust me on that.
STRANGE MAGIC: 3 ½ STARS. “an animated jukebox musical set in a fairy world.”
Everyone knows the children of George Lucas, Han, Luke and Leia, will be closing out the year with the December release of “Star Wars: Episode VII – The Force Awakens.” What is perhaps less well known is that another Lucas fantasy kicks off 2015.
Lucas was inspired by “A Midsummer Night’s Dream” to create the story for “Strange Magic,” an animated jukebox musical set in a fairy world where you can never judge a book by its cover.
Evan Rachel Wood stars as the voice of Marianne, a tough Pat Benatar-type fairy with colourful wings, leather lungs and an attitude. She wasn’t always like that, once she was a gentle fairy princess engaged to the handsome Roland (Sam Palladio) but his unfaithfulness broke her belief in love and now she is alone.
Over in the Dark Forest the Bog King (Alan Cumming), a bad-tempered cockroach looking creatures whose skeleton is more exo than endo, has also lost faith in love. “Love destroys order,” he says, “and without order there is chaos.” To make sure love does not taint his kingdom he imprisons the Sugar Plum Fairy (Kristin Chenoweth), maker of love potions.
The fairy and dark forests collide when a bootleg batch of Sugar Plum’s potion leads to kidnapping and a showdown—and sing-off—between Marianne, the Bog King and their followers.
“Strange Magic’s” story is old fashioned. It’s “Beauty and the Beast” banged together with some Shakespearean farce and even a hint of “The Dark Crystal,” but there is nothing old fashioned about the presentation. The lush animation will blow the retinas off your eyeballs. The creature design owes a debt to Jim Henson and movies like “Labyrinth,” but they are marvelously realized with state of the art CGI and inventive voice work.
Director Gary Rydstrom fills the screen with memorable images, from Marianne splayed across a bed made of a rose bud to the wild kaleidoscope psychedelia of the film’s finale.
Your eyeballs will dance, and with a wall-to-wall musical score made of pop hits from the past fifty years, you might expect your feet to follow, but it’s here the movie doesn’t always deliver. It’s all well and good to transform “I Can’t Help Falling in Love With You” into a Broadway style belter but the abominable Muzak version of “Crazy Little Thing Called Love” would have been better left in the vault. The soundtrack plays like a K-Tel album of love songs—everyone from Elvis and Bob Marley to Heart and Lady Gaga are represented—has a Moulin Rouge-ish feel but isn’t quite as effective as Baz Luhrmann’s megamix.
“Strange Magic” takes some simple ideas—beauty is only skin deep and love conquers all—and sprinkles them with fairy dust to create a musical that plays like “Moulin Rouge” for kids.
STILL ALICE: 4 STARS. ” elevated by a central performance from Julianne Moore.”
“Still Alice” has a Disease of the Week Movie plot but is elevated by a central performance from Julianne Moore. Her portrayal is deeply nuanced, self-aware but most of all, heartbreaking.
Moore plays the title character, a linguistics teacher at Columbia University in New York. She has a career, a loving husband (Alec Baldwin), three grown children Anna (Kate Bosworth), Lydia (Kristen Stewart) and Tom (Hunter Parrish) and early onset Alzheimer’s. She’s a woman who reveled in intellectual success, proud of her vocabulary and mental prowess but lately she can’t remember the small things. She blanks on people’s names and gets lost in familiar places.
Before she becomes incapable of looking after herself she records a message to her future self. In it she describes a contingency plan, a way to end the suffering that will be easy on her and the family.
Later in the film, when we finally see the video message, we are struck by the duality of Moore’s performance. The transformation from early onset to full blown Alzheimer’s has been subtle but constant. Placing her afflicted self side-by-side with her healthier being displays the depth, beauty and subtly of Moore’s work. It’s a showstopper of a sequence that cleverly displays Alice’s deterioration and Moore’s mastery of the character.
Also notable is Kristen Stewart who delivers a rough hewn but tender version of a daughter who is occasionally frustrated by her mother’s situation but slowly come s to form a deeper relationship with her than anyone else in the film. Her reading of a passage from “Angels in America” and the emotional heft that comes with it should mute the ”Twilight” jokes once and for all.
“Butterflies have short but beautiful lives,” Alice says, and while “Still Alice” doesn’t have the raw intensity of films like “Iris” and “Away From Her,” it is a showcase for a beautiful portrayal of a woman who has everything stripped away from her.
CAKE: 3 STARS. “a great showcase for the new, dramatic Aniston.”
Career gearshifts are tough. For every McConaissance there is a Gerard Butler or Katherine Heigl who can’t seem to make the change from rom coms to more serous roles.
For a while it looked like Jennifer Aniston was stuck in the same rut. Forgettable movies like “Love Happens” and “The Bounty Hunter” seemed to pigeonhole her as an American Sweetheart type in a movie market filled to bursting with dramatic darlings.
Lately though she’s been doing some career busting, appearing in raunchy comedies like “Horrible Bosses” and “We Are the Millers” and now “Cake,” a low budget drama about putting the broken pieces of a shattered life back together that should put Rachel on the shelf forever in favor of the more daring work she used to do in movies like “The Good Girl” and “Friends with Money.”
She plays Claire, a churlish woman suffering with chronic pain brought on by a car accident that crushed her leg and took the life of her son. The near death experience blew apart her marriage to Jason (Chris Messina), leaving her alone with her tough-but-tender housekeeper Silvana (Adriana Barazza) and the members of her support group. When Nina (Anna Kendrick), a member of the group, commits suicide Claire becomes obsessed with Nina’s life and death. Her search for answers leads her to Nina’s husband’s (Sam Worthington) door and to a new way at looking at life.
“Cake” has many nicely played dramatic scenes. Putting Aniston’s crusty Claire next to Barazza’s warmhearted Silvana is inspired. Their scenes are by far and away the best things in the movie. When they aren’t sparking off one another the movie loses much of its sizzle.
Not that Worthington fails, he doesn’t, but as part of the Nina/Claire-redemption story arc he’s the engine that drives the most predictable and least interesting part of the story.
Aniston, however, is terrific. The pain that wracks her body and tortures her psyche is evident in every movement, in every word that tumbles from her lips. That doesn’t mean she can’t still deliver a funny line. Ten seasons of sit com work honed that skill to a fine edge so when she asks if Nina’s husband where he got the granite for her gravestone because, “I’m thinking of putting a kitchen rail in my backyard,” it’s prickly but hilarious.
“Cake” is a great showcase for the new, dramatic Aniston but it isn’t a great film. In it’s final moments the movie grasps for a feel good ending which is just slightly out of reach.
