This week on The Richard Crouse Show Podcast: On this show we’ll have a look back at three musicians who have stopped by the Pop Life bar to share their stories.
Randy Bachman is a household name. He’s best known as the lead guitarist, songwriter and a founding member of the 1960s and 1970s rock bands The Guess Who and Bachman–Turner Overdrive. Bachman was also a member of Brave Belt, Union and Ironhorse, and has recorded numerous solo albums. He is also a national radio personality and was inducted into the Musicians Hall of Fame and Museum in 2016… In this interview we talk about where it all began for him and where he is today.
Canadian soprano Measha Brueggergosman opens up about life-changing moments and what it means to her to have a ‘full’ life.
Legendary musician Robbie Robertson talks about his earliest musical inspirations, how he was booed by Bob Dylan’s audience and how he once almost turned to a life of crime when he couldn’t get gigs.
Each week on the nationally syndicated Richard Crouse Show, Canada’s most recognized movie critic brings together some of the most interesting and opinionated people from the movies, television and music to put a fresh spin on news from the world of lifestyle and pop-culture. Tune into this show to hear in-depth interviews with actors and directors, to find out what’s going on behind the scenes of your favourite shows and movies and get a new take on current trends. Recent guests include Ethan Hawke, director Brad Bird, comedian Gilbert Gottfried, Eric Roberts, Brian Henson, Jonathan Goldsmith a.k.a. “The most interesting man in the world,” and best selling author Linwood Barclay.
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Richard and CP24 anchor Courtney Heels have a look at the weekend’s new movies including the English antics of “The Gentlemen,” the heartfelt heroics of “The Last Good Measure” and the spacey drama of “Color Out of Space.”
Richard sits in on the CTV NewsChannel to have a look at the weekend’s big releases including the heartfelt heroics of “The Last Good Measure” and the spacey drama of “Color Out of Space” and Guy Ritchie’s return to form in “The Gentlemen.”
Richard sits in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to theatres including Guy Ritchie’s return to the street in “The Gentlemen,” the heartfelt heroics of “The Last Good Measure” and the spacey drama of “Color Out of Space.”
A weekly feature from ctvnews.ca! The Crouse Review is a quick, hot take on the weekend’s biggest and most interesting movies! This week Richard looks at the return of “Snatch” style Guy Ritchie in “The Gentlemen,” the war drama “The Last Good Measure” and the first weird Nicolas Cage movie of 2020 “Color Out of Space.”
Richard sits in on the CJAD Montreal morning show with host Andrew Carter to talk the new movies coming to theatres including the wham-bam-thank-you-maam theatrics of “The Gentlemen,” the heartfelt heroics of “The Last Good Measure” and the spacey drama of “Color Out of Space.”
On the September 19, 2020 episode of “Pop Life” Richard speaks to singer, songwriter, actor Josh Groban who opens up about all the projects he is working on and how he manages it all. Then the “Pop Life” the panel, sports psychologist Dana Sinclair, comedian Jus Reign and aerospace engineer Natalie Panek, share their take on what it means to be successful and how that differs depending on your industry.
Film critic and pop culture historian Richard Crouse shares a toast with celebrity guests and entertainment pundits every week on CTV News Channel’s talk show POP LIFE.
Featuring in-depth discussion and debate on pop culture and modern life, POP LIFE features sit-down interviews with celebrities from across the entertainment world, including rock legends Sting and Meat Loaf, musicians Josh Groban and Sarah Brightman, comedian Ken Jeong, writer Fran Lebowitz, superstar jazz musician Diana Krall, stand-up comedian and CNN host W. Kamau Bell, actors Danny DeVito and Jay Baruchel, celebrity chefs Bobby Flay and Nigella Lawson, and many more.
Anyone who thinks the Guy Ritchie of old has disappeared, crushed under the weight of the huge box office grosses of the family-friendly “Aladdin,” need look no further than the blood splattered pint mug of “The Gentlemen’s” opening scene for proof to the contrary.
Highly stylized crime comedies like “Lock, Stock and Two Smoking Barrels” and “Snatch” made Ritchie the king of fast-paced, politically-incorrect stories of life on the streets. The big budget movies, his Sherlock Holmes series and “Aladdin,” among others, made more money but lacked the visceral thrills of his early work. His new film, “The Gentlemen,” starring Matthew McConaughey, Henry Golding, Michelle Dockery, Colin Farrell and Hugh Grant, feels like a hybrid of the two phases of his career. A spiritual cousin to “Lock, Stock” and ”Snatch,” it brings Ritchie back to London’s underworld, a place populated by Saville Row suit-wearing tough guys, ruthless tabloid editors and henchmen who speak like down-on-their-heels Oxford drop outs.
Matthew McConaughey is Mickey Pearson, an American who built a weed empire in his adopted home country of England. Intelligent and ruthless—qualities matched only by his wife Rosalind (Dockery)—he’s now middle-aged and looking to cash out. His offers to sell the business to billionaire drug lord Matthew Berger (a very mannered Jeremy Strong) for $400 million attracts unwanted attention from Dry Eye (Golding), the ruthless youngest nephew of an aging crime lord.
There’s more, but this is a pretzel of a story, twisted and tied in knots.
“The Gentlemen” is not a sequel or a reboot but it feels like one. The hyper-masculine story telling style, inventive use of swear words and spider-web plotting, while audacious, will be very familiar to Ritchie-philes. It’s “Snatch 2.0” with the same kind of big name cast who seem to be having fun mouthing Ritchie’s profanity laden dialogue but no amount of fast cutting and fast talking can replace real energy. As rock ‘n rolling as the filmmaking is, the story acts as an anchor, bogging things down as it gets more and more convoluted.
It’s too bad because Ritchie takes pains to create the very specific world his characters inhabit, and it is a colourful place but it seems that he never met a plot twist he didn’t love. As the plot thickens, and it does thicken almost to the point of impenetrability, the movie begins to feel overstuffed. To help the audience along Ritchie binds everything together with a silly framing device involving Fletcher (Grant), a private eye/blackmailer who unfurls the complicated story to Pearson’s right-hand-man Raymond (Charlie Hunnam). It’s time consuming and adds little to the picture except for Hugh Grant’s exaggerated accent as he delivers flowery lines like, “Our antagonist explodes on the scene, like a millennial firework.”
“The Gentlemen” feels like an exercise in nostalgia, back to era of Ritchie’s frenetic jump cuts and outdated attitudes about race disguised as quippy dialogue.
“The Last Full Measure” is the story of two men who are driven by a sense of duty to people they never met.
Based on a true story of bravery during one of the “bloodiest days” of the Vietnam War, the movie begins thirty-two years later when Pentagon staffer Scott Huffman (Sebastien Stan) takes a meeting with Master Sergeant Thomas Tully, Air Force Rescue, retired (William Hurt). Tully wants Huffman’s help to posthumously upgrade U.S. Air Force Pararescuemen William H. Pitsenbarger’s (Jeremy Irvine) Air Force Cross medal to a Medal of Honor, America’s highest and most prestigious personal military decoration. Huffman, an ambitious Department of Defence lawyer, thinks it is a waste of time but is ordered to, “take a few days and collect some war stories,” by his boss Carlton Stanton (Bradley Whitford).
His research connects him with survivors of the battle, U.S. Army’s 1st Infantry Division soldiers Takoda (Samuel L. Jackson), Burr (Peter Fonda) and Mott (Ed Harris), men whose lives were saved by Pitsenbarger. At first he regards their stories as an exercise in “post traumatic exorcism” but soon comes to realize that Pitsenbarger made what Abraham Lincoln called “gave the last full measure of devotion” to help men he didn’t know. By bravely inserting himself into the middle of an ambush he saved over sixty soldiers, losing his life in the process and yet was not awarded the military’s highest honor. With the support of Pitsenbarger’s parents (Christopher Plummer & Diane Ladd), Huffman risks his professional life to go ona journey of self-discovery and uncover a conspiracy that extends to the highest reaches of power at the Pentagon.
Told in flashbacks to the fateful day on the battlefield, “The Last Full Measure” is part detective story, part examination of what it means to be a soldier. Huffman’s interviews reveal men troubled by the events of a life time ago, riddled with PTSD, unable to sleep or function in regular society. Tully, in particular is wracked by survivor’s guilt, the feeling that he didn’t do enough while Pitsenbarger gave his all. These scenes aren’t subtle but what they lack in finesse they make up for in sheer thought-provoking power.
The film’s strength may be as a conversation starter regarding the psychological price soldiers pay when they return from war. But as well-intentioned as the film’s messages of respect for the sacrifices of the fallen are, “The Last Full Measure” succumbs to melodrama at almost every turn. Clichéd, tough guy dialogue and characters that feel more like a collection of tics than actual fully rounded people, detract from the film’s serious message.
This week on The Richard Crouse Show Podcast: On this show we’ll have a look back at three musicians who have stopped by the Pop Life bar to share their stories.
