The idea behind “The Brothers Grimsby” was to make an outrageous comedy with all the earmarks of an all-out action flick. “The Transporter” helmer Louis Leterrier knows his way around a car chase and can blow things up real good, but can Sacha Baron Cohen provide the laughs to go along with the action?
The “Borat” star plays Grimsby native “Nobby” Butcher, a lager-loving football hooligan from northern England, with a Liam Gallagher hairdo and eleven kids. He hasn’t seen his baby brother Sebastian (Mark Strong) in twenty-eight years and has no idea his long-lost sib is now a high-powered MI6 agent. When they do reunite Nobby inadvertently puts in motion a series of events—including almost killing a World Health Organization ambassador for peace in the Middle East—that see the estranged brothers team up to do battle with a deadly assassin, travel the world and hide inside an elephant (you read that right, that is NOT a typo) in an effort to save the world.
“Yesterday I was down at the pub having a regular day with my mates,” says Nobby. “Today I’m with my brother, running, swimming, jumping and doing all sorts of cardio.”
If “Borat” and “Bruno” made you laugh like a hyena on a nitrous oxide binge you’ll know what to expect from “The Brothers Grimsby.” The new film doesn’t have the same cutting edge innovation as Baron Cohen’s best-known work, but it still has plenty of edge. It’s the kind of movie that uses a blocked toilet as a plot point and finds delight in HIV jokes, registered sex offender gags and too many bodily fluid quips to count. It should be a bonanza for those who enjoy their humour on the gastrointestinal side.
Nobby is Baron Cohen’s least developed character yet, a comedy concoction who feels like he might not be that out of place in a particularly raunchy “Carry On” movie. He uses Nob’s idiot temperament to make some social comments—“I understand why you like guns so much,” Nobby says after shooting a gun for the first time. “They completely detaches you from the guilt of your actions.”—but the character has none of the danger and few of the interesting quirks that came along with his mockumentary creations.
Mark Strong waffles between his action man pose and wild slapstick and pulls off both but I’m afraid the image of him covered in elephant ejaculate will stay with me the next time I see him trying to play it straight in a dramatic role.
The guys are given plenty of screen time and some fun stuff to do, which cannot be said for the women in the cast. As Nobby’s wife the usually hilarious Rebel Wilson is wasted, reduced to a fat joke and Penélope Cruz’s character makes her recent turn in “Zolander 2” look like Lady Macbeth.
Like all the best spy movies “The Brothers Grimsby” has international locations like South Africa, Chile, Jakarta and some good action scenes, but like all Baron Cohen’s films it is outrageous lowest common denominator stuff. It may make you laugh, but those laughs come along with a certain amount of shame at finding some of this stuff amusing. At least at a scant eighty-five minutes it doesn’t overstay its welcome.
“Something’s coming,” hisses Howard (John Goodman) in “10 Cloverfield Lane.” But what?
When we first meet Michelle (Mary Elizabeth Winstead) she’s packing up and about to hit the road to get away from her fiancée. In her car she answers a call from her ex, and, like a PSA about distracted driving, promptly has a car accident that leaves her unconscious. When she wakes up she’s trapped in an underground bunker with sinister survivalist Howard (“He’s like a black belt in conspiracy theories.”) and sweet-natured motor mouth Emmett (John Gallagher Jr.). Outside, he says, an attack is about to leave the world uninhabitable.
“What are you going to do with me?” she asks.
“I’m going to keep you alive,” he replies.
The bunker has all the conveniences of home, just don’t flush when you don’t have to. What exactly is happening outside the bunker’s walls, however, is unclear (NO SPOILERS HERE!). Whether it’s nuclear fallout, an unexpected ice age, rabid Donald Trump supporters or a zombie holocaust that brings about the end, “10 Cloverfield Lane” is a modern day episode of “The Twilight Zone” played out on the big screen. Dynamics develop between the trio as Michelle struggles to make sense of the situation but discovers the mystery only deepens the longer they stay sequestered underground.
“10 Cloverfield Lane,” doesn’t share a city, characters or situation with the 2008 mighty monster flick “Cloverfield,” but can be considered a spiritual cousin. Nor can it rightly be considered a horror film. It’s more a psychological thriller with a twist. There are creepy moments. Director Dan Trachtenberg (J.J. Abrams produced this time around) makes good use of the soundtrack, using jarring hums and thuds as a soundtrack to the daily life in the underground. Add to that an anxiety inducing score by Bear McCreary and a small collection of well chosen pop songs, including the ironically appropriate “I Think We’re Alone Now,” and you have a movie that uses sound as effectively as dialogue and story.
The bulk of the film could be recreated on stage with virtually no changes. Screenwriters Josh Campbell, Matt Stuecken and Damien “Whiplash” Chazelle carefully control the story, doling out details in dribs and drabs, tightening the vice with every scene. Howard’s backstory is slowly revealed, but we’re never sure what’s real and what’s not. For his part Goodman gives nothing away. He is masterful, toggling between compassion and rage, riding the line of sanity in his concealed kingdom, ruling over his “family” with an iron fist.
Goodman is the star, but Winstead has the most screen time and emerges as a formidable action star who will likely get co-opted in the Marvel or DC universes before you can say J.J. Abrams three times, fast. Also strong is Gallagher Jr. who brings a goofy charm to Emmett.
“Cloverfield” and “10 Cloverfield Lane” are two very different films linked only by their name and their ability to keep audiences on the edge of their seats. Gone is the original movie’s wobbly camera work and sprawling cast, replaced by a film with just three characters and a healthy respect for classic filmmaking. Best of all the new film is fuelled by the jittery times we live in when Howard’s rantings about attacks—whatever the cause—don’t sound completely far fetched.
Children’s films don’t get much more magical, or grown up, than “The Little Prince.” A film about wonderment and tragedy, about belief and the importance of dreams, it has important messages for kids, no matter how old they are.
The story begins with an overprotective mother (voice of Rachel McAdams) buys a new house so her daughter (Mackenzie Foy) will be eligible to go to the Werth Academy, the best school in town. Mom is a Type A personality who has an intricate life plan for the little girl who she calls, “My Senior VP.” The house is perfect, trouble is, it’s next-door to a ramshackle home inhabited The Aviator (Jeff Bridges) an eccentric old man who introduces himself by revving up his backyard airplane and sending a propeller shooting through their living room wall.
This inauspicious intro doesn’t bode well for the new neighbours but soon, as The Aviator begins to tell The Little Girl the story of The Little Prince, a boy who lived on the planet scarcely bigger than himself and who is in need of a friend, she is won over and risks a visit with the old man in the mysterious house.
He continues the story of his encounter with The Little Prince until Mother forbids her daughter from spending any more time with the old man. When he is rushed to the hospital, however, the girl is inconsolable. Determined to reunite The Aviator with his old friend the Prince she goes on an adventure into the asteroids.
A mix of computer and otherworldly stop motion animation, “The Little Prince” is a work of art that brims with creativity and emotion. “Kung Fu Panda” director Mark Osborne has adapted Antoine de Saint-Exupery’s classic novella for the screen without losing the magic that made the book so special.
It’s a gently told story that should spark young imaginations and remind older viewers of the importance of hanging on to childhood memories. “Growing up is not the problem,” says The Aviator, “forgetting is.” It’s a potent message when seen through the eyes of a young, unhappy girl being pushed by her Mother to grow up too quickly. As the metaphorical stories unfurl, she learns a new, fantastic way of looking at life.
“The Little Prince” would make a nice companion piece to “Inside Out.” They are very different kinds of films—“Inside Out” is more frenetic, less metaphorical—but both strike a chord in their unique becoming an adult.
Trumpet player Chet Baker is no stranger to the big screen. He was the subject of “Let’s Get Lost,” a 1988 documentary by Bruce Webber, acted in movies with exciting names like “Howlers of the Dock” and “Hell’s Horizon” and his sublime playing haunts the soundtracks of everything from “The Sixth Sense” to “The Talented Mr. Ripley.” He’s back on the big screen as the subject of “Born to be Blue,” a stylish new drama starring Ethan Hawke.
Writer-director Robert Budreau begins the story during a valley in Baker’s life. Consumed by heroin, a beating by a drug dealer leaves him broken and barely able to play. To recuperate he and soul mate Jane (Carmen Ejogo) head to Baker’s childhood Oklahoma home where his antagonistic father (Stephen McHattie) sheds some light on why the musician behaves the way he does.
Later, on the comeback trail, Chet and Jane live in a van in Los Angeles as the trumpeter tries to convince his old producer Dick Bock (Callum Keith Rennie) to work together again. As he regains his chops and confidence the question remains, will he be able to embrace the change or will fall back into his old bad habits?
It’s a matter of historical record how Baker’s life ended, but “Born to be Blue” isn’t particularly interested in the facts. Jane is a composite figure of several of Baker’s girlfriends and wives and some of the events portrayed as fact are in debate. Instead the movie is more interested in giving the viewer a feel for Baker’s life and struggle.
Hawke shares Baker’s rough-hewn good looks and does a credible job of imitating the fragile beauty of his singing voice. More importantly he apes the addict’s temperament. Charming one minute, petulant and or incoherent the next, he’s a talented train wreck; a man whose tragic life experience fed his art. Unsure which of his proclivities are his angels and which are his devils, he’s a conflicted guy who tries to do well by those around him but often fails. It’s a compelling, if not uncommon, music bio story and Hawke embodies it.
Also compelling is Ejogo as Jane in what could have been simply a supportive wife role. She has great chemistry with Hawke and sparks fly in her character’s relationship with Baker. The heart of the film is their connection and sometimes the fireworks that fly between them are exciting, sometimes heartbreaking.
“Born to be Blue” suffers from occasional melodrama—Kedar Brown plays Miles Davis as a bebop caricature—but nails the sense of melancholy that characterised Baker’s best work.
Welcome to the House of Crouse. This week Robert Carlyle gives us news on the upcoming Trainspotting sequel while Canadian news legend Peter Mansbridge tells us how he joined the ranks of Mickey Mouse, Jiminy Cricket and Aladdin and became a Disney character in Zootopia.
Richard and CP24 anchor Nneka Elliot have a look at the weekend’s big releases, the Tina Fey dramedy “Whiskey Tango Foxtrot,” the 80s action of “London Has Fallen” and the animated animals of “Zootopia”!
Richard and “Canada AM” host Beverly Thomson have a look at the weekend’s big releases, the Tina Fey dramedy “Whiskey Tango Foxtrot,” the 80s action of “London Has Fallen” and the animated animals of “Zootopia”!
Last week as I fought traffic en route to a London Has Fallen screening, I tweeted from the back of a cab, “Out of my way people! I’m running late for a Gerard Butler movie!” It was a silly little joke, a comment to kill time as we idled in the morning rush hour.
The first response came in right away: “said no one, ever,” followed by a torrent of unexpected Butler hate.
One person called him a “bouncer actor,” whatever that means.
Another questioned his ability to effectively disguise his native Scottish accent and many people offered me their condolences.
Why the Butler bashing?
It’s true he is a frustrating movie star. He shares the usual leading man traits that have made Brad Pitt and Leonardo DiCaprio superstars.
He’s handsome, talented and built like an action star but he’s been done in time after time by poor choices.
Pitt makes Fight Club, Butler makes Law Abiding Citizen. Leo stars in The Departed, Gerard does Machine Gun Preacher. Years ago the website Gawker placed Butler on movie star probation, calling him a “professional bad decision maker” alongside notable career fritterers Cuba Gooding Jr. and John Travolta. A look at his IMDB page suggests they were on to something.
He’s a utility player, comfortable switching genres the way most of us change our socks. One minute he’s a romantic comedy star, the next he’s choking out bad guys on screen. He’s flirted with Shakespeare and provided voices for cartoons. He’s done sci-fi flicks, musicals and even a rendering of the Anglo-Saxon epic poem Beowulf.
It’s not like he hasn’t enjoyed some very big hits. In 300 he (and his meticulously crafted six-pack) played King Leonidas, a Spartan who led 300 soldiers against the might of the Persian army. It’s the film equivalent of a heavy metal concert — loud, brutal and completely uncompromising — and it made him an action hero.
People have a soft spot for Dear Frankie, his breakout film and the one that turned him into a heartthrob with serious dramatic chops. The four-hankie U.K. tear-jerker about a single mother who resorts to trickery to keep the memory of her late husband alive in her son’s mind put Butler on the world stage.
Other box office bonanzas include playing a charming mobster in the violent Guy Ritchie flick RocknRolla and voicing Viking Stoick the Vast in How to Train Your Dragon.
It’s the other stuff that seems to rub people the wrong way. As a movie reviewer I can attest there are few English language words more terrifying than “New Gerard Butler Romantic Comedy” and I think it is those films that turned my Twitter followers against him.
He’s a good actor but his track record in the rom-com department is particularly grim. Critics hate these movies, calling the handsome Scottish actor’s attempts at mixing love and comedy, “instantly grating,” and “embarrassingly limited.”
But I come to praise Butler, not to bury him. Let’s give him another chance.
I made it to the London Has Fallen screening and can tell you it’s a pretty good action movie. Perhaps even good enough to erase the memory of The Ugly Truth or Playing for Keeps from our collective memories.
The idea behind “The Brothers Grimsby” was to make an outrageous comedy with all the earmarks of an all-out action flick. “The Transporter” helmer Louis Leterrier knows his way around a car chase and can blow things up real good, but can Sacha Baron Cohen provide the laughs to go along with the action?
