Archive for August, 2016

CTV NEWSCHANNEL: RICHARD ON GENE WILDER’S FILMS AND LEGACY

Screen Shot 2016-08-29 at 8.03.01 PMRichard spoke about his favourite Gene Wilder moments to CTV News.

Watch the whole thing from CTV’s NewsChannel HERE!

Watch the whole thing from the CTV National News HERE!

Watch the whole thing from the CTV News At Six HERE!

NKPR AT THE ‘IT’ HOUSE: RICHARD’S EARLY TIFF PICKS FOR 2016

Screen Shot 2016-08-29 at 8.45.06 AM“The Toronto International Film Festival (TIFF) premieres some of the most anticipated blockbuster films and attracts some of the biggest A-listers in Hollywood. This year is certainly no exception with expected appearances from Denzel Washington, Justin Timberlake, Leonardo DiCaprio, Amy Adams, Jeremy Renner and many more.

“Each year we get the inside scoop on the hottest TIFF premieres from renowned Canadian critic Richard Crouse. As the the regular film critic for Metro Canada, the 24-hour news source CTV’s News Channel and CP24, Crouse is an expert in what films to see…and what films to skip. From biographies to dramas, he’s rounded up his Top 10 Must-See Films of TIFF 2016 exclusively for NKPR… Read the whole thing HERE!”

CTV NEWSCHANNEL: War Dogs stars Jonah Hill sits down with Richard Crouse

Screen Shot 2016-08-28 at 9.27.28 AMBy definition the term ‘war dogs’ refers to “bottom feeders who make money off war without ever stepping foot on the battlefield.” In the film “War Dogs” Jonah Hill plays Efraim Diveroli, a true to life 20-something arms dealer who fits that description to a tee. Richard sat with HIll to discuss the film on the CTV NewsChannel.

Watch the whole thing HERE!

Metro: Mechanic: Resurrection & Statham’s perfect stubble brand

Screen Shot 2016-08-24 at 12.14.04 PMBy Richard Crouse – Metro In Focus

Jason Statham isn’t so much an actor as he is a brand. When you go to McDonald’s you know you can expect the two all beef patties, special sauce and the sesame seed bun to taste the same whether you’re in Toronto or Hong Kong. It’s that kind of brand management that has made Statham a star. You know what to expect from his movies—rippling abs, some high kicking action, his trademarked facial stubble and loads of explosions. It’s a simple formula but one that works for his fans. Perhaps the advertising slogan for his new film, The Mechanic: Resurrection should be New, But Still Exactly the Same.

Statham returns to the role of Arthur Bishop, a part originated by Charles Bronson and resuscitated by Statham in 2011’s The Mechanic. The new film finds the actor playing a variation on his Statham Character #1 in which he is a “loner with a past who must protect a loved one,” (as opposed to Statham Character #2 which is the “loner with a past who must protect a youthful innocent.”). As Bishop he has put the bloody work of professional assassin in the past and is now trying to lead a normal life. When a villain kidnaps the love of his life, however, he must get his hands dirty and return to his specialty, killing people and making it look like an accident.

What Statham lacks in range he makes up for in muscle tone. His well crafted on-screen persona is equal parts stoic masculinity and lithe athletic ability. He’s Charles Bronson (who starred in the original The Mechanic in 1972) with better moves, a man of action and few words in the mould of Clint Eastwood, if Clint had a better roundhouse kick. In The Mechanic: Resurrected, his 38th film since 1998 (and he has at least three more in the pipeline), he doesn’t do anything we haven’t seen him do before, but no matter, he simply does the things we expect him to do. That’s what brands do, and as movie brands go these days he’s about as reliable as it gets.

He is either remarkably consistent or just really enjoys playing guys who can break your neck with a steely gaze. Recently a scientific poll—OK, I posted a question on facebook—posed this question: What makes Statham movies so popular? Here are some of the comments:

  • His Blue Steel stare puts Zoolander to shame!
  • His complete lack of facial movement? It’s like if Buster Keaton were an emotionless British killing machine.
  • He always manages to kick someone’s butt while being tied to a chair.
  • Not since Don Johnson, circa Miami Vice, has an actor managed to maintain a perfect three-day stubble…

Statham’s movies are predictable as heck. “You gotta be kidding me!” you’ll be tempted to say at some of the plot twists, if only the movie’s characters didn’t beat you to it. They are cliché-a-thons, but because Statham understands his audience and persona his films are dumb good fun. His über-macho presence is more important than the scripts. As long as he is in motion, running and leaping, kicking and punching, and giving voice to action movie platitudes in his distinctive English rasp, his pictures work.

DON’T BREATHE: 4 STARS. “best bug-eyed acting in a horror film in some time.”

Half lit hallways and gloomy basements are standard backdrops for spooky stories. “Don’t Breathe” makes good use of them, playing on our primal fear of the dark in a topsy turvy home invasion story that sees the invaders terrorized by the man who was meant to be their victim.

Set in Detroit, the movie follows Alex (Dylan Minnette), Rocky (Jane Levy) and Money (Daniel Zovatto) as they hatch a plan to rob the house of a blind military vet (Stephen Lang). “I got our ticket outta here,” says Money. “Rumour is, this guy is sitting on at least three hundred K.” Their goal is to grab the stack of cash The Blind Man won in a wrongful death settlement when his only child was killed and hightail it to California to start new lives. Despite Alex’s reservations—“It’s pretty messed up to rob a blind guy, isnt’ it?”—the trio go to the man’s house on an abandoned block of the city’s downtown, drug the guard dog and search for the money. Their easy score proves elusive when their victim turns the table, and hunts them in the dark.

“Don’t Breathe” presents a conundrum. Who do you root for the bad people who broke into the house or the bad man who lives in the house? Either way, one thing is clear, you don’t need to be afraid of the dark, you need to be afraid of what’s in the dark. “Evil Dead” rebooter Fede Alvarez combines the primal scares that come along with claustrophobic, dark spaces with a weird anxiety inducing soundtrack a slow building sense a=of dread and some of the best bug-eyed acting I’ve seen in a horror film in some time to create a down-‘n-dirty horror flick.

From Lang sniffing, as though tracking his prey through scent to Levy’s large expressive eyes to the prerequisite gore—although the film gets more violent than clever near the end—“Don’t Breathe” is suspenseful and unpredictable, just like whatever is out there hiding in the dark.

SOUTHSIDE WITH YOU: 3 STARS. “intelligent look at two interesting people.”

In “Southside with You” director Richard Tanne spends 80 leisurely minutes recreating the first date of Barack Obama and Michelle Robinson. It’s a quiet, romantic movie made up of the hopes and dreams of two young people who will one day be the most powerful couple in the world.

Set in Chicago in 1989, where the couple met when she was his advisor at a law firm, when the film begins she likes him but doesn’t like him. In fact she tries to set him up with one of her friends. Michelle, an ambitious second year associate at a tony law firm, doesn’t want to be known as the junior who “swooped down and dated the first cute black guy who walked through the door.” He gets her out on the pretence of inviting her to a community meeting at a church. Before the meeting they get to know one another on an informal date. “It’s not a date until you say it is,” he says to her. “I’m more inclined to describe this as a hostage situation,” she replies, fending off his charm offensive.

They walk through Southside Chicago, getting to know one another. Barack recites poetry and talks about Jimmy ‘Dyn-O-mite’ Walker’s artistic aspirations. At the community center he delivers a fiery speech about the importance of unity as Michelle repeatedly tells the church ladies she’s not Obama’s wife or girlfriend. Later they talk family history—her dad has MS, his dad went to Harvard, got kicked out and later died in a drunk driving accident—and bond over the love of Stevie Wonder. An encounter after a screening of “Do the Right Thing” almost ends their relationship before it has a chance to begin, but his persistence, charisma and some ice cream win her over.

“Southside with You” is a visit with people we already think we know but get to know a little bit better. It’s a conflict free slice of life, an easygoing stroll through the early moments of a relationship. The most obvious cinematic comparison would be Before Sunrise, the Richard Linklater film that observed the walking-and-talking first meeting of two fictional characters played by Julie Delpy and Ethan Hawke. The two films are connected, but “Southside with You” ups the ante by portraying two very famous people as the leads.

Fortunately Tika Sumpter and Parker Sawyers, as Michelle and Barack respectively, don’t try and impersonate their famous counterparts. Instead the actors wisely choose to simply catch the essence and subtle mannerisms of the future president and first lady. A tribute to the performances is that we look at the characters as people and not caricatures of famous people. I suspect “Southside with You” would be just as effective if Michelle and Barack were Jane and Jim or any other couple. It’s a comfortable, intelligent look at the first sparks between two interesting people.

MANHATTAN NIGHT: 2 STARS. “far-fetched and convoluted story.”

There was a time when pulpy New York noirs were a popular genre. Claustrophobic and edgy, movies like “Scarlet Street,” “The Dark Corner” and “The Naked City” exposed the Big Apple’s dirty urban underbelly in gritty and entertaining ways. It’s been sometime since we’ve taken a cinematic walk on NYC’s wild side, so a 50’s style noir placed on present day Manhattan streets should be a welcome thing, right? “Manhattan Night” is a based on author Colin Harrison’s award winning New York Times Notable Book of the Year “Manhattan Nocturne.”

“I sell fear, scandal and mayhem,” says investigative reporter Porter Wren (Adrien Brody). “I sell newspapers. With three deadlines a week, I’m always looking for a good story.” It is that search that leads him to Caroline Crowley (Yvonne Strahovski), a femme fatale with a murdered husband (Campbell Scott) and a favour to ask. She uses her seductive powers to convince him to use his skill to find out who offed her husband. Smelling a good story, Wren becomes infatuated with her and investigates the case placing his marriage and life in danger.

Director Brian DeCubellis certainly knows his way around the genre. “Manhattan Night” is ripe with blackmail, danger, moral ambiguity, slick city streets and abuses of power. It hits all the right notes but seems slightly out of tune, like a cover version of a popular song that doesn’t quite capture the magic of the original.

Brody is suitably world-weary and Strahovski is mysterious and dangerously seductive. Both are stereotypes that feel airlifted in from another, better, movie. As far as the baddies go, Scott nails it as the troubled and threatening husband, a man who projects his neurosis on everyone around him. He’s over the top, chewing the scenery to such an extent you fear he might actually gnaw through the screen, but at least he’s captures the eye. Ditto Steven Berkoff as a Murdoch-esque media baron who seems to exists to add an unsavoury element to an already grubby affair.

As “Manhattan Night” slowly winds its way toward its anti-climatic final scenes it becomes clear that no amount of stylish direction or outrageous characters can make up for the far-fetched and convoluted story.

A TALE OF LOVE AND DARKNESS: 3 STARS. “Portman aims high and takes chances.”

Natalie Portman is best known as an actress, an Oscar winner for portraying the dark side of perfection in “Black Swan,” and a box office champ, recently playing comic book heroine Jane Foster in the “Thor” movies. In “A Tale of Love and Darkness,” she expands her resume to include director.

Based on the worldwide Amos Oz best-seller, this Hebrew language film is an ambitious debut that details the beginnings of the State of Israel. The story centers on Oz (Amir Tessler), a child of six-years-old when we meet him in 1945 as Israel is comes into being. His parents, librarian Arieh (Gilad Kahana) and devoted mother, Fania (Portman), soon find that after years of persecution the peace they hoped for is just out of reach. Violence and the First Arab-Israeli War take a terrible toll on Fania.

By necessity Portman, who also wrote the script, has condensed the ideas in Oz’s book, stripping away some of the coming-of-age elements and political commentary to present the personal of a woman’s struggle as seen through the eyes of a child. The film does not lack for sincerity and never feels like a vanity project. This is a deeply felt film that deals in sensitive and complex feelings. Frequently it realizes Portman’s ambition to make a personal film about a world event. The stories Fania tells her son are beautifully rendered but “A Tale of Love and Darkness” is less successful in its attempts to portray the mother’s building depression.

Overall “A Tale of Love and Darkness” is a handsome film that relies a bit too heavily on narration to forward its story. As an actor-turned-director Portman aims high, taking chances and never allowing the weight of the material to bog down the film.