Richard and CP24 anchor Jamie Gutfreund have a look at the weekend’s new movies, the star-studded “The Magnificent Seven,” the inspirational “Queen of Katwe,” and “Storks,” an animated film for kids.
Watch the whole thing HERE!
Richard sits in with Marcia MacMillan to have a look at the weekend’s new movies, the star-studded “The Magnificent Seven,” the inspirational “Queen of Katwe,” and “Storks,” an animated film for kids.
Watch the whole thing HERE!
By Richard Crouse – Metro In Focus
Why did director Antoine Fuqua decide to remake the legendary 1960 western The Magnificent Seven? “I wanted to see Denzel Washington on a horse,” he jokes.
The story of seven men who come together to protect a town from a vicious robber baron looks back further than the 1960 film to the 1954 epic Japanese historical drama Seven Samurai. Often cited as one of the greatest films ever made, Akira Kurosawa’s Seven Samurai provided what Fuqua described as the DNA of his film, but he also noted, “Westerns change with the time we’re in, so we made our film based on the world we are living in.”
To that end he has assembled the most diverse cast for a western ever. In addition to top billed stars Washington, Chris Pratt, Ethan Hawke and Vincent D’Onofrio the seven magnificent leading actors include South Korean star Lee Byung-hun, the Mexican born Manuel Garcia-Rulfo and Martin Sensmeier, an American actor of Tlingit, Koyukon-Athabascan and Irish descent.
“You can’t do the same thing every era,” says Fuqua. “Westerns change all the time. If we were sticking to just one way of doing something then all westerns would be all white guys looking like John Wayne in a John Ford movie.”
“My idea was, if Denzel walks into a room, the room stops,” he says. “If Clint Eastwood walks into a room, the room stops. Is it because he’s a gunslinger or is it because of the colour of his skin? We’ll let the audience decide.”
When asked if The Magnificent Seven is proof that Hollywood is becoming more diverse the director says, “You have to give the studio credit when they do something like this. This becomes the new definition of what a western is.”
Chris Pratt, who plays gunslinger Josh Faraday says despite the film’s title The Magnificent Seven has more to do with another well known western.
“I don’t know how many movies there are in the world,” he said at the TIFF opening night press conference. “What would you guess, several hundred thousand? Millions? Eventually you just run out of names. If I have a son and name him Chad, is he a remake of somebody else who was named Chad? No. We could have called this The Cowboys or something, but [The Magnificent Seven title] has reach,” he continued, “it gets people engaged. But [this movie] is probably more Wild Bunch than it is [1960’s] The Magnificent Seven. We use the title, we use the story. It’s a bunch of guys. There are seven of us. And we’re all [bleeping] magnificent. We’ve got that going for us, but let that movie be that movie. This is a different movie.”
Star Denzel Washington says he’s never seen the 1960 film. “I didn’t keep away from it,” he says. “I just didn’t know how it would help me. I had never seen it as a kid or whatever. People say, ‘You’re the so and so character,’ I don’t even know who that is. I think it allowed me to do whatever I wanted to do instead of trying to not do what someone else did.”
Why did he sign on? “Well, Antoine asked me. It’s as simple as that. Obviously, it’s a good story and a good script but most importantly it was Antoine.”
By Richard Crouse – Metro Canada
Imagine seeing a movie in a theatre for the first time. Now imagine the first movie you see on the big screen is the story of your life. That’s what happened to Phiona Mutesi.
“I’ve never been in a theatre,” she said at the Toronto International Film Festival the night after Queen of Katwe premiered in front of a sold out crowd of twenty-six hundred people. “This has been my first time.”
Based on the book The Queen of Katwe: A Story of Life, Chess, and One Extraordinary Girl’s Dream of Becoming a Grandmaster the movie tells the tale of how Phiona (Madina Nalwanga), an illiterate girl from a very poor family in Kampala, Uganda, learns to play chess and with the help of mentor Robert Katende (David Oyelowo) moves from local tournaments to the World Chess Olympiad.
“We have had video shacks for the longest time,” says director Mira Nair, a Uganda resident of almost three decades, “but until five years ago we didn’t have theatres in malls. The price of a ticket is almost ten dollars which prices it out of everyone’s reach. It is true that a kid like Phiona would not choose to spend that kind of money to go to the theatre. She’d see a pirated DVD in a shack somewhere.”
The Disney movie was shot on the streets of Kampala and features over 100 local actors, many of whom, Nair points out, had never seen a camera before.
“I actually took a bunch of the kids to see Jurassic World while we were doing the film,” says star David Oyelowo, “and Madina [Nalwanga] who plays Phiona was sat next to me and was clutching me the whole time, terrified by the movie. She turned to me and said, ‘Is this what we are doing?’ I asked her if she had ever seen a film before and she said no. We were halfway through shooting a film in which she is playing the lead.”
Oyelowo, a Golden Globe nominee for his work playing Martin Luther King in Selma, says working with the young, inexperienced actors was a “was a wonderful thing for the film.”
“Because the kids in this film were not necessarily connecting what we were doing in shooting the film with what they had seen before, because they hadn’t seen a movie in a movie theatre before, it meant there was something really unaffected, something really free, something genuine about their performances. I found I was getting a refresher course in how to be truthful in front of a camera. Inevitably after you have done a few movies you start adopting a house style. You start knowing too much in a sense. Even though it is kind of a mind-blowing thing that they haven’t seen a movie, because we in the west take it very much for granted, it actually lends a very specific quality to the film itself.”
Nair, whose Ugandan film school Maisha Film Lab is taking a thousand school kids to the theatres to see the movie, says Queen of Katwe is “really a portrait of ourselves. It’s going to make a sea change in terms of people realizing that we matter, that our stories can put bums on seats.”
Director Antoine Fuqua’s remake of “The Magnificent Seven” literally starts with a bang.
A series of mine explosions echo through Rose Creek, signalling unrest in the tiny mining town. Bartholomew Bogue (Peter Sarsgaard) has taken over, terrorizing the town with hired goons. He’s a cruel man who guns down citizens and says to his henchmen, “Leave the bodies where they lie. Let them look at them for a few days.” Bad Bart wants the land but is only will to pay a pittance per parcel. “Those of you who signed the deeds will get your $20,” he sneers. “And those who don’t, God help you.”
The townsfolk are helpless. Bogue has killed a half dozen men and with the sheriff on his payroll will continue to do as he pleases. Fed up and recently widowed, Emma Cullen (Haley Bennett) turns to hired gun Sam Chisolm (Denzel Washington) for help. “You don’t need a bounty hunter,” he says, “you need an army.” Despite the massive odds against them Chisolm assembles a rag tag team of killers, gamblers and outlaws—Josh Farraday (Chris Pratt), Goodnight Robicheaux (Ethan Hawke), Jack Horne (Vincent D’Onofrio), Billy Rocks (Byung-hun Lee), Vasquez (Manuel Garcia-Rulfo), and Red Harvest (Martin Sensmeier)—to go up against the ruthless robber baron in what promises to be a better than OK gunfight at the corral.
“The Magnificent Seven” is a classic looking western with a modern pace. Fuqua chooses not to mess with the key oater elements. He papers the screen with acres of open land, seven tough men, one or two resilient women and a sea of cowboy hats. He is respectful to the form and doesn’t try to bring the genre into the twenty-first century with frenetic editing—I’m looking at you Timur “Ben-Hur” Bekmambetov—or contemporary language. It’s a western, with all that entails; good vs. evil with some moral ambiguity thrown in for good measure.
Also thrown in for good measure is a heap of star power. Washington is a cool character, quietly deadly. He says cool stuff—“Chisolm, should I know that name?” he’s asked. “You should know it from your obituary,” he replies.—and is the movie’s charismatic center. Chris Pratt’s easy charm gives Washington a run for his money, but this is really Denzel’s movie from top to bottom.
Hawke and D’Onofrio do interesting character work. As the shell-shocked Robicheaux Hawke is equal parts swagger and skittishness while D’Onofrio is practically unrecognizable as the squeaky-voiced Jack Horne.
The remaining member of the seven aren’t given much to do other than pull triggers and nod in agreement to Chisolm’s plans, but they are an interesting bunch nonetheless.
At a little over two hours “The Magnificent Seven” could be leaner and well, maybe not meaner—I would not be surprised if it had the highest body count in a western ever—but tighter. There is a mid-movie sag as the plans for the final shootout are being finalized but the ballet of bullets at the end is epic, if not a little excessive, putting a fitting cap on a story that is slight but entertaining for most of the running time.
Most of “Queen of Katwe,” director Mira Nair’s true story of chess prodigy Phiona Mutesi, is set in Kampala, Uganda but despite a very specific location, the film is ripe with universal messages.
Based on the book “The Queen of Katwe: A Story of Life, Chess, and One Extraordinary Girl’s Dream of Becoming a Grandmaster” the story picks up steam when Phiona (Madina Nalwanga), an illiterate girl from a very poor family, meets Robert Katende (David Oyelowo), at a Sports Ministry Out Reach. The young teacher sees something special in Phiona and her uncanny ability with chess. Soon she is beating the other children at the outreach. “What I’m seeing cannot be true!” says one young boy amazed he’s being beaten by a girl. Another more experienced player accuses her of reading his mind. Katende soon figures out that she is able to see eight moves ahead, annihilating almost everyone who sits opposite her.
Soon, against the wishes of her mother Harriet (Lupita Nyong’o), who, at first, doesn’t see a future in playing a game when the family desperately needs her to work in the market to put food on the table. From local tournaments to World Chess Olympiads, Phiona’s skill becomes her family’s ticket to a better life. “Sometimes the place you’re used to,” Katende tells her, “is not the place you belong.”
“Queen of Katwe” is a story that finds inspiration in a place where there is little hope. Nair vibrantly bring life in Kampala to life. Grinding poverty is on display but so is the indomitable spirit that allows people to survive in diminished living circumstances. “Challenges are not a curse,” the Outreach slogan, is glimpsed only briefly but is the overriding theme of this message-laden movie.
Chess is used as a metaphor throughout. “In chess the small one [the pawn] can become the big one [the queen] that’s why I like it,” says one of Phiona’s early teachers. “Do not be quick to tip your king,” says Katende. In other words never give up. These are about as subtle as a shovel to the forehead but while the film’s messages are syrupy sweet the universal truths are solid. It’s not just about winning or losing in Phiona’s world, it’s about representing her country and bettering her family’s life. These are potent ideas even if they are a little saccharine.
Aided by an appealing cast—although the accents might be a challenge from time to tome—Nair rings every ounce of emotion from the inspirational story.
Being an only child has its benefits. You don’t have to share clothes or wait in line for the bathroom, but Nate Gardner (voice of Anton Starkman) is lonely and one day announces to his busy parents, “I’ve decided I want a baby brother.”
To speed the process along the youngster writes a letter to the folks at Stork Mountain. “Dear Stork Delivery Service,” he writes, “Our son really deserves a baby brother. P.S. He has to have ninja skills. Signed adult parents Perry and Sarah Gardner… adults, not Nate.”
What Nate doesn’t know is that Stork Mountain head honcho Hunter (voice of Kelsey Grammer), a white stork and the executive CEO of Cornerstore.com, dropped babies years ago in favour of picking up packages. Why did they stop? Because there are other ways to get babies.
With huge profits rolling in the CEO offers the company’s top job to Junior (Andy Samberg). With over 1 million deliveries under his beak, he’s their best stork, but the new job it comes with a caveat. Junior must fire the company’s lone human employee, Orphan Tulip (Katie Crown), but the brash-but-kindhearted bird can’t bring himself to let her go. Instead he assigns her to the least used department in the company, the Letter Sorting Department.
Tulip intercepts Nate’s letter and accidentally feeds it into the Rube Goldberg-esque Baby Making Machine—literally a machine that makes babies, and not… well, you know what you were thinking—and through the science of baby making transforms the note from pen and ink to an adorable baby girl
Trouble is, Junior has never delivered a baby and doesn’t know what to do with the unauthorized child. He knows he must do something before Hunter gets wind of the kid. With a wounded wing Junior has no choice but to take Tulip along as they begin a wild adventure to unite the child with Nate and his parents. “If I can deliver this by Monday I can still be made boss,” says Junior.
“Storks” never quite takes flight. A manic mix of action-adventure and kid’s humour, it often feels padded by cut-a-ways and musical numbers and never met a gag it can’t run into the ground with repetition. There are several stand-out moments, like a silent battle between storks and penguins, kept quiet so as not to wake the baby and the ever-morphing Wolf Pack, who can change Transformers style into anything from bridges to submarines, but everything else is over-amped and loud with a side of sentimentality thrown in.
Samberg is perfectly cast as the brash but not-so-bright lead character and Keegan-Michael Key and Jordan Peele provide funny and interesting voices to the Wolf Pack leaders but most of the voices are as undistinguished as the story.
“Storks” has promise but never really delivers the goods.
Visiting family can be trying. Memories can be stirred up and old wounds opened. But I will guess that no matter how surreal your stopovers with the clan may be, they likely aren’t as melodramatic as Louis (Gaspard Ulliel) visit home after a twelve year absence in Xavier Dolan’s “It’s Only the End of the World.”
Louis is successful and gay, a playwright travelling home to see his family, people he barely knows anymore. Terminally ill, he’s determined to visit on his own terms to prove he is, “until the very end the master of his life.” Instead of open arms he walks into a seething mass of hurt and anger from his relatives, manic mother Martine (Nathalie Baye), short-tempered brother Antoine (Vincent Cassel), frazzled sister-in-law Catherine (Marion Cotillard) and Suzanne (Léa Seydoux) a younger sister he barely knows.
Based on Jean-Luc Lagarce’s play of the same name, “It’s Only The End Of The World,” unfolds episodically, like a series of beautifully performed but melodramatic one act plays. An awkward conversation here, an argument there, punctuated by Dolan’s stylistic flourishes. Slow motion and close-up after close-up showcase the interesting and rather exquisite faces of the cast but lend a claustrophobic feel to the film. As the walls close in on Louis the constant up-close-and-personal bickering grates on the audience. Why doesn’t he just pack his bags and leave? Why don’t we? Either way, it would put an end to the on-screen caterwauling.
There are some touching moments in “It’s Only the End of the World,” but they occur mostly in flashback. In the present day the film portrays a clichéd view of family dysfunction that is neither as revealing nor profound enough to maintain interest. If it’s family trouble you want, go visit your own folks. At least you’ll get a home cooked meal out of the deal.
Director Hugh Hudson put some spring into the step of “Chariots of Fire,” his Oscar winning account of runners in the 1924 Olympics but fails to bring the story of the discovery of stone age cave paintings to vivid life.
Set in 1879, Antonio Banderas is amateur archaeologist Marcelino Sanz de Sautuola. A free thinker with an interest in Darwin and prehistory, he creates controversy in his community when he and his daughter uncover Maria (Allegra Allen) unearth cave paintings depicting life two million years ago. “This discovery in our province is of enormous significance in the history of mankind,” says Sautuola.
Not everyone agrees.
Although a university of Madrid archaeologist dates the etchings to the Palaeolithic Era other scholars disagree. “A vast fresco painted by a tribe of Palaeolithic Michelangelos,” says on mockingly. Church leaders fume at the suggestion of life beyond their historical parameters—“Monkeys with paint brushes!”—and even his own wife, Conchita (Golshifteh Farahani) has a hard time reconciling his science to her deeply held religious beliefs. “You have lost your faith and want to take mine,” she says. The discovery, a profound challenge to the entire country’s belief system, exacts a toll on Sautuola both personally and professionally.
“Finding Altamira” is a handsomely rendered movie. The period details add to the overall feel of the film, even the computer generated bisons that spring to life from the drawings don’t seem that out of place. Hudson shot on location—including inside the cave itself, now a Unesco site—but all the pretty pictures can’t make up for the mannered dialogue and reserved performances. Banderas and Farahani seem to have stepped out of a “Masterpiece Theatre” episode, handing in work that would have benefitted from fewer restraints. Only Rupert Everett as the villainous Monsignor seems to be having any fun.
The film documents an important discovery plus the intolerance and jealousies that it was met with. It’s just too bad the film isn’t more interesting. As it is “Finding Altamira” feels like the kind of movie your science teacher ran in class when they didn’t feel like lecturing.
