An outer space acorn adventure begins the earthbound struggle for survival in “Ice Age: Collision Course,” the fifth instalment in the popular animated series.
Fans of the franchise will recognize Scrat (Chris Wedge), the dogged squirrel whose endless pursuit of an acorn is at the heart of each of the movies. He is the “Ice Age’s” equivalent of Wile E. Coyote, a lovable but psychics defying acorn hunter often humiliated but never daunted in his quest for the elusive nut. This time his journey leads him to deep space where he puts a series of event in motion that endangers the lives of Manny and Ellie, the Wooly Mammoth couple voiced by Ray Romano and Queen Latifah, macho tiger Diego (Denis Leary), the annoyingly unlucky sloth named Sid (John Leguizamo) and the rest of the gang.
On earth the mammals are preparing to celebrate Manny and Ellie’s anniversary. All is going well except that Manny forgot to get Ellie a gift. Then, when the sky fills with beautiful colours it looks like Manny has arranged a fireworks display for his bride. In fact, the well-timed meteor shower that got Manny out of an anniversary pickle will lead to other world changing problems for he and his friends. “Manny’s love is killing us,” squeals opossum Crash (Seann William Scott). Enter Buck (Simon Pegg), a one-eyed weasel and a dinosaur hunter (“You may be Jurassic,” he sings to the dinosaurs in a Gilbert and Sullivan inspired tune, “but I’m fantastic.”), who has a plan to go toward the “planet killing space rock” rather than running away from it. “I know it sounds a sub-optional,” he says, “but we can change our fate.”
Mixed in with this story of survival are Peaches’s (Keke Palmer) upcoming nuptials, hockey lessons, a dance number and even a science lesson from Neil Degrasse Tyson. Each of these digressions from the main story does little more than bulk out the running time to a feature length of 94 minutes.
Like the other movies in the series “Ice Age: Collision Course” is less concerned with telling a story as it is with coming up with premises they can populate with characters that can be spun off into videogames and toys. Episodic and disjointed, there is none of the elegance of Pixar’s storytelling, just one event loosely connected with the one before it, after another. The result is a movie with few laughs and too many subplots masquerading as a story.
The best thing in the movie is Scrat who lives in perpetual desperation, always hankering for an acorn to call his own. He’s a classic cartoon creation, an elastic faced throwback to the Looney Tunes era. If they make another one of these let’s have more of him please, and less of the other mammoth bores that fill the screen.
It might be time to put the “Ice Age” movies on ice.
Any film that includes “:The Movie” in its title is bound to be little more than a larger version of the TV show, videogame or whatever the source material may be. “Absolutely Fabulous: The Movie,” based on the popular British TV show about best friends bonded by a shared enthusiasm for heavy-drinking and drug abuse, is true to form in that it is less a movie than it is an excuse for some sitcom nostalgia.
Edina Monsoon (Jennifer Saunders) and Patsy Stone (Joanna Lumley) are hard-living socialites on the edges of London high society. Edina is a washed-up PR agent, trying desperately to maintain her lavish lifestyle. She’s not out of money, her “cards are broken.” Patsy is the fashion editor of a snooty magazine who injects foetus blood into her face every morning to stave off the effects of partying and age.
When Edina’s plan to sell her memoir to a huge publisher fails—“You think your life is interesting, but it isn’t,” she’s told. “It may be worth living but it’s not worth reading.”—she becomes determined to recruit fashion icon Kate Moss as a client. Thus begins a wild journey that includes suspected manslaughter, a sham marriage, worldwide grieving and more self-absorption than you can shake a bottle of Bollinger Champagne at. Self absorbed and on the run from a murder charge, Patsy and Adina confront their age and try to keep the party going.
“Absolutely Fabulous: The Movie” isn’t exactly absolutely fabulous. That’s the easy joke, which is appropriate because this movie goes for the easy joke time after time. It certainly doesn’t reinvent the wheel and makes up for its lack of inventiveness with a parade of cameos from British luminaries like Lulu, Emma Bunton, Joan Collins and Graham Norton. In all there are 60 celebrity drive-bys. The only one missing is a Benny Hill.
The leads are broad characters in the sitcom tradition, prime examples of the dangers of arrested development. Luckily both can deliver a line—“Leopard skin and liver spots… that’s old age camouflage.”—with dead precision and will do almost anything to get a laugh and the over-the-top reaction to Kate Moss’s disappearance is very funny (“She will either have drowned or be very, very wet.”), I just wish there were more laughs to be had. I think fans of the television show will still get a kick out of Edina and Patsy’s co-dependence and enabling—it’s the glue that binds them together—but for everyone else the movie will feel like an overlong sitcom episode.
As a general rule it’s not the dark we’re afraid of, it’s the goblins and ghosts that may be lurking on the dark that terrify us. A new film from producer and horror meister James Wan takes advantage of our fears, unveiling the creepy crawlies that may or may not be shrouded in darkness.
Based on Swedish director David F. Sandberg’s acclaimed short film of the same name, the movie stars Teresa Palmer as Rebecca, a young woman who left home at a young age, disturbed by visions and her mother Sophie’s (Maria Bello) behaviour. Years later Rebecca returns home after a phone call from her half-brother Martin’s (Gabriel Bateman) school. Seems he’s been having a hard time staying awake in class and Rebecca fears the same spirit that plagued the family for years is tormenting him. “Every time I turn off the lights,” he says, “there’s this woman waiting in the shadows.”
The bloodthirsty supernatural form is Sophie’s childhood friend (Alicia Vela-Bailey) who had a skin condition that made her allergic to the light. “A long time ago I had a friend named Diana,” says Sophie, “and something really bad happened to her.” Sophie sees her as “a good friend” but Rebecca fears she is actually a malevolent spirit only visible in the dark. When the lights come on, she disappears. “Everyone is afraid of the dark,” says Rebecca, “and that’s what she feeds on.”
With her sanity and safety at risk, Rebecca must discover, once and for all, why Diana does bad things when the lights go out. “Each one of us is being haunted by this thing,” says Rebecca.
The light averse wraith is a cool, fresh idea for a movie bugaboo. The story, however, feels stretched to fill the 8eighty-one-minute running time. There are some good jump scares early on and a few low-fi but high wattage shocks in the final twenty minutes—Beware the flickering light!—but the lead up feels padded.
As it is “Lights Out” is a nicely performed ray of genre with a few story problems that will leave some audience members in the dark.
Idris Elba is a busy man. He’s released seven movies this year and has several more on tap for 2017. He’s on track to join Dwayne Johnson, Jennifer Lawrence and Leonardo DiCaprio as one of the world’s highest earning actors after turns in the mega-grossing The Jungle Book, Finding Dory and Zootopia.
If you don’t know the name you haven’t been paying attention. Rev up Netflix and check out his work on TV shows like The Wire or Luther and movies like RocknRolla or Beasts of No Nation and become a fan. You should know he was once voted one of People magazine’s 100 Most Beautiful People in the World and more than one twitter friend of mine refers to him as a “pretend boyfriend.”
Not only busy but good looking as well! I was pleased to be granted a fifteen-minute phone interview to discuss his debut in the Star Trek franchise as Krall, a hostile alien who causes trouble for Kirk, Spock and company in Star Trek Beyond.
I don’t usually write questions but I thought I might ask him if he watched Star Trek as a child. Would he consider himself a Trekker? Did he have a favourite Star Trek character growing up? Did he wonder what Star Trek fans would think of the predatory new character? Are there parallels between the film—and his character—and our world today? Has he considered what being part of the legacy of the show means?
If there was time at the end I might even follow up on the rumours and ask if he even wants to play James Bond.
Then the first call came in. “Idris is running behind.” Cool. This happens all the time on press days. Then another call and another and another. My phone hasn’t gotten this kind of workout since a Nigerian Prince called over and over to solicit my assistance in moving his fortune to North America. Each time a publicist announced another delay with the assurance the interview would still happen. As the time wore on the actual length of my interview began to tumble downhill from fifteen minutes down to seven.
In all two hours passed from my scheduled start time until my phone rang for real.
“Hi Richard, I’ll connect you with Idris,” said the perky voice on the other end of the line.
Silence.
A minute passed before Elba’s familiar husky London accent filled my ear. Hallelujah! Better late than never. We talk over one another. “Hello… HELLO… Can you hear me?” It’s a bad cell phone connection. It sounds as if we’re talking through two tin cans connected by strings but I’ll take it.
I ask him about his childhood memories of Star Trek.
“It was a show me, my mum and my dad watched together,” he says. “They both liked it. It was a show that really took your imagination places. That’s my early memory of it. It was a really imaginative show that showed space travel in a way that was different, you know?”
It took him 23 seconds to speak the 50 words that told me his parents liked Star Trek. I mention this because as soon as he stopped talking and I started asking the next question I heard a strange beep beep sound followed by… nothing. The great void. No more husky voice. And like that, poof. He’s gone.
“Are you still there? I think we just lost him,” the eavesdropping publicist said. “Let me get him back for you. Just one second.”
I had visions of the actor walking around Fifth Avenue desperately yelling into his phone, “Can you hear me now? Can you hear me now?” but in my heart I knew that wasn’t happening.
Minutes later she’s back. “I’m so sorry. We lost him. I know you only had a couple of minutes to speak with him…” actually it was twenty three seconds… “Thank you so much for taking the time to speak with him.”
My interview with Idris was over. Still born. Terminated before it even really began.
Was I mad? Not really. Frustrated? Yes. Not only had I wasted the afternoon waiting for Idris but now I didn’t have a story to file.
My friends on social media didn’t exactly see it my way. “What do you expect?” wrote one person. “He is the hottest man alive.” Another chose to look on the bright side. “That’s 45 seconds more Idris than the rest of us.” (I hadn’t yet timed the actual quote when hit facebook to vent.)
In the end it’s not a big deal. I’m choosing to look at the bright side. I didn’t get to chat with him but I do have a contender for the Guinness Book of World Records for Shortest (And Least Satisfying) Interview Ever.
Richard and CTV News at Noon host Ken Shaw discuss the life and legacy of Garry Marshall who passed away at age 81. “There is more to life than show business,” he said.
Richard and CTV NewsChannel host Marcia McMillan discuss the life and legacy of Garry Marshall who passed away at age 81. “In the education of the American people,” he said, “I am recess.”
Alfred Hitchcock made three of his greatest films with Grace Kelly and tried to lure her back to the big screen long after she retired. Martin Scorsese and Leonardo DiCaprio have a seemingly unbreakable cinematic bond and the world of movies would be far less interesting if Werner Herzog and Klaus Kinski had never met. John Ford and John Wayne inspired one another to do their best work and Tim Burton and Johnny Depp’s shared eccentricities gave us unforgettable nights at the multiplex.
Muses inspire their directors to aspire to new heights, to push the limits of their creativity.
Add another to the list: Melissa McCarthy.
Over the course of four films — including this weekend’s Ghostbusters — she has upped director Paul Feig’s game and in turn he gave her the roles that broke her out of the TV sidekick treadmill and turned her into a big screen star. “It’s not even like we go, ‘We’ve got to do the next movie together,’” Feig says.
“It’s just that suddenly the next movie will pop up and I’m like, ‘You know who would be great for this?’ So it’s funny that people think we have an agenda to keep doing this.”
Agenda or not, their creative chemistry is undeniable.
Feig describes McCarthy’s audition for the first film they made together, Bridesmaids, as a “religious moment.” She was less sure.
“The whole ride home from the audition,” she says, “I was thinking, ‘I got too weird. Should I turn the car around and do that cheesy actor thing of I can do it better! Give me another shot!’”
The director cast her in the scene-stealing role of Megan — imagine a feral, female Guy Fieri — and it was her flashpoint.
Her wonderfully weird performance, complete with sexual hijinks and an explosive bout of diarrhea —“It’s coming out of me like lava!” — stole the show out from under other, better-known stars like Kristen Wiig — and earned her an Oscar nomination.
Next up for the dynamic duo was The Heat, an odd couple, buddy cop movie set in Boston co-starring Sandra Bullock.
McCarthy plays a tough-talking street cop who forms an unlikely alliance with the uptight Sandra Bullock to bring down a murderous drug dealer.
The role riffed on McCarthy’s signature character, the aggressive but damaged comedic persona. “I’ve played a lot of characters who are very vocal, very aggressive,” she told me in 2014.
“For the women I’ve played there is a reason why they are so ballsy and it is nice when you see the crack in the veneer and you realize, ‘It’s part of their insecurity. They stay loud so nobody yells at them.’”
Feig knows when to let McCarthy off the leash — there are some wild slapstick scenes here — but he also knows when to pull her back and let the script do the work.
This week McCarthy headlines Feig’s all-female Ghostbusters reboot alongside Bridesmaids co-star Kristen Wiig.
Will that be their final collaboration? Don’t count on it.
Feig is reportedly writing a Spy sequel as we speak.
“She’s so good,” he says, “and we just really have the same sense of humour.”
Director Paul Fieg and Company are not the Ruiners of Your Childhood. Your youthful “Ghostbusters” memories are alive and well, in your head, in your DVD drawer or digital download file folder. Ghostbros, upset their 1984 favourite is being rebooted with an all female cast, flooded the internet with low-to-no star reviews. As it turns out, the time they spent trying to torpedo a movie they had not yet seen, might have been better spent making room on their basement shelves for the new “Ghostbusters” figurines. Feig hasn’t desecrated a classic, he has added a new chapter, creating a light and fluffy concoction that moves the franchise into the future while paying homage to the past.
When we first meet Erin Gilbert (Kristen Wiig) she’s a professor at Columbia trying to hide her past as a paranormal investigator. When a ghost-hunting book she co-wrote with Abby Yates (Melissa McCarthy) comes to light she is let go. Like Peter Venkman, Ray Stantz and Egon Spengler before her, she leaves academia and becomes a professional New York City ghostbuster alongside Abby, proton pack engineer Jillian Holtzmann (Kate McKinnon) and former subway worker Patty Tolan (Leslie Jones).
After making a name for themselves they uncover a major plot hatched by hotel janitor Rowan North (Neil Casey). Upset his genius has been ignored by the world, he plans on unleashing an army of undead to come back and “pester the world” in an event he calls the Fourth Cataclysm. He has created a vortex that will allow whatever it is on that plane to come crashing down on this plane and flood New York City with ghosts. By the climax the movie dissolves into regular summertime C.G.I. tomfoolery as the Ghostbusters battle spirits in Times Square.
There is a sense of déjà vu hanging heavy over “Ghostbusters.” The new film doesn’t continue the original story, it reboots it, taking us back to the origins of the group. In other words, it’s a lot like the 1984 movie. From class four semi-anchored entities and proton streams to cameos from Slimer, Dan Aykroyd, Bill Murray, Ernie Hudson, Sigourney Weaver, Annie “Ghostbusters, whaddaya want?” Potts plus a glimpse of a Harold Ramis statue, the movie feels familiar but has been freshened up.
The cast doesn’t try to imitate Murray, Aykroyd, Ramis and Hudson. The new characters are just that, new creations plunked down into an existing world.
McCarthy and Wiig, reteamed for the first time since “Bridesmaids,” are solid and Jones is a formidable presence but most interesting is McKinnon as engineering nerd Holtzmann. She is unapologetically weird, as strange as her unruly asymmetrical haircut and a glorious addition to the “Ghostbusters” family.
Also welcome is Chris Hemsworth as the dippy receptionist who doesn’t have glass in his eyeglasses and says things like, “An aquarium is a submarine for fish.” He’s a walking non sequitur and very funny.
Like the old Abbott and Costello horror comedies, “Ghostbusters” doesn’t have any real scares but it will make you laugh. The script, co-written by Feig and “Parks and Recreation” writer Katie Dippold, is funny, if not exactly in a slap the knee kind of way, then in a slow boil constant giggle respect. Is it an out-of-this-world hit like Feig’s “Bridesmaids” or “Spy”? No. It occasionally suffers from a weird rhythm where scenes end suddenly and at least one of the cameos feels wedged in, but the overall effect is one of a respectful resurrection of a beloved franchise.
Best of all, it is self-aware. Reading on-line comments Erin comes across one that reads, “Ain’t no bitches going to hunt no ghosts.” Later Abby says, “Don’t read what crazy people write in the middle of the night online.” Are you listening Ghostbros?
