Check out episode twenty-eight of Richard’s web series, “In Isolation With…” It’s the talk show where we make a connection without actually making contact! Today, broadcasting directly from Isolation Studios (a.k.a. my home office) we meet Andrea Dorfman, a filmmaker, animator and artist who joins us via Zoom from her home in Halifax, Nova Scotia. Her films have played at film festivals around the world, won awards and she is back with a new one, now on VOD.
“Spinster” stars actor and comedian Chelsea Peretti from “Brooklyn Nine-Nine,” as a wedding caterer gets dumped on her 39th birthday. Over the next year she builds a new life based on self-empowerment and independence.
“Spinster” is being called “the anti-rom-com of the summer,” so I began by asking Andrea Dorfman about subverting the rom com genre…
Watch the whole thing HERE on YouTube or HERE on ctvnews.ca!
On the August 8, 2020 encore presentation of “Pop Life” we talk with an actor who plays a doctor on one of the most popular shows on television. You’ve seen Christina Chang in films like “28 Days” and “Random Hearts,” and on television on “24,” “CSI: Miami,” “Boston Legal,” “Suits” and “Nashville” but she is best known as Dr. Audrey Lim on “The Good Doctor.” We talk about a little bit of everything, including what it was like to move to the United States from Taiwan when she was a teenager and the kind of research she does about medical procedures to convincingly play a doctor on TV.
Then, the “Pop Life” panel, two real doctors, Dr. Brian Goldman—he’s an ER physician, host of CBC’s White Coat, Black Art and author of the national bestseller “Power Of Kindness”–and Emergency Physician and Canada’s ER Blogger Dr. Raj Waghmare, speak with an actor who plays a doctor on television, that’s “Transplant’s” Ayisha Issa about real life medicine versus what we see on television.
Film critic and pop culture historian Richard Crouse shares a toast with celebrity guests and entertainment pundits every week on CTV News Channel’s exciting 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.
Wait a minute! The Black Russian wasn’t invented in Russia? Today we’ll find out the origins of the classic cocktail and how, with only four ingredients, you can make three different, delicious cocktails. We’ll also learn how those drinks were almost forgotten when a White Russian guzzling movie character re-popularized them in the late 1990s.
Take some time to join me because… it’s five o’clock somewhere!
Watch the whole thing HERE on YouTube or HERE on ctvnews.ca!
Check out episode thirty of Richard’s web series, “In Isolation With…” It’s the talk show where we make a connection without actually making contact! Today, broadcasting directly from Isolation Studios (a.k.a. my home office), we meet an actor who is having an incredible couple of years. With starring roles in “Ready or Not,” “The Frontrunner,” “Goalie,” “Marriage Story,” “Bad Times at the El Royale,” “City on a Hill” and a new indie called “Hammer,” now on VOD, Mark O’Brien is a very busy actor… and if that wasn’t enough, he also became a dad and wrote and directed his own movie The Righteous.
On a Zoom call from his home in Los Angeles we caught up… talking about working on post production for his film “The Righteous” while in isolation, the short films he made with his friends growing up in Newfoundland, doing the Happy Gilmour dance on a film set, auditioning for Al Pacino and, of course, his most recent film, “Hammer.”
It’s the story of O’Brien’s character Chris, who is having a very bad day. Estranged from his parents and deep in debt to some very bad people, he arranges a deal with an old associate. They arrange to meet on a rural road to exchange $200,000 in cash in return for drugs. The deal goes wrong, bullets are fired and Chris, covered in blood splatter, makes a getaway on a motorcycle with the drugs and money. As he speeds through town on his getaway, his father Stephen, played by Will Patton spots him and immediately knows something is wrong. Over the course of one day the situation escalates…
“Hammer” is an engaging and offbeat thriller that makes the most of its lead performances. O’Brien manages to make Chris almost likeable despite his constant foul-ups and Patton, as a father caught up in a breathless situation, is all strength and goodwill, even when he’s doing terrible things. Why this wasn’t released on Father’s Day I’ll never know. As it is, you can find it on VOD, right now.
Let’s get to know Mark O’Brien.
Watch the whole thing HERE on YouTube or HERE on ctvnews.ca!
“An American Pickle,” the new Seth Rogen movie now streaming on Crave, begins as a fish-out-of-water—or perhaps it should be a pickle-out-of-brine—comedy but gradually settles into a heartfelt story about blood being thicker than pickle juice.
The first time we see Rogen he’s playing Herschel Greenbaum, a laborer living in the Eastern European country of Schlupsk. He’s a ditch digger, married to Sarah (Sarah Snook), who dreams of a better life, one that involves one day being able to afford drinking seltzer water. In 1919 he and Sarah immigrate to America, where he gets a job killing rats at a pickle factory.
One day on the job, while everyone is distracted by the Condemned signs being posted on the front door, he stumbles into a vat of pickles, is sealed up and preserved in brine for 100 years.
He re-emerges, unchanged, in present day Brooklyn. His closest living relative is his great grandson Benjamin (also played by Rogen), who is exactly the same age (minus the 100 years of brining) as Herschel was and is. “I can’t wait to show you the future,” Benjamin says.
Benjamin helps his great grandfather negotiate the new world—“Imagine, a Greenbaum with twenty-five pairs of socks,” Herschel marvels—but when Herschel’s old-world temperament blows a five-years-in-the-making business deal for Benjamin, the relationship becomes as sour as an old deli pickle.
Feeling the burn, Benjamin tries to sabotage his grandfather’s burgeoning pickle business but instead Herschel becomes an online sensation as a beacon of free speech.
“An American Pickle” is “Encino Man” with a heart. The oddball, one joke premise gets the action started but it’s just kindling for what comes later. Screenwriter Simon Rich (who wrote the short story “Sell Out” the movie is based on) weaves in comments on the internet age, cancel culture and assimilation, themes that enrich a story that could have relied on one-liners and time travel gags.
It’s uneven in tone, dragging in the middle section, but between the laughs there is an unexpected sense of poignancy. “The world has changed,” Herschel says. “Everything I know is gone. Everyone I knew.” The comedy is broad but the heart of the story, the sense of the importance of family, inner strength and the feeling of displacement immigrants often feel in a new land are all handled sensitively. Rogen, in the dual roles, brings both the laughs and tenderness.
“An American Pickle” works as a satire of modern life but works best when it wears its heart on its sleeve.
“I Used to Go Here,” a new film on VOD starring Gillian Jacobs, challenges the wisdom of the famous Thomas Wolfe title, “You Can’t Go Home Again.”
With her upcoming book promo tour cancelled due to poor sales and still feeling the sting of a recent break up, Kate Conklin (Jacobs) is at a low ebb in her life. Her spirits are lifted when her favorite creative writing professor David (Jemaine Clement) reaches out with an invite to do a reading at her alma mater. She hasn’t been to Carbondale, Illinois in fifteen years but she hopes a trip down memory lane might be the tonic she needs.
In town memories come flooding back. The only change at her old frat house, nicknamed the Writer’s Retreat, are the faces on the students. It is otherwise frozen in time. Even the glow-in-the-dark stars she glued to her bedroom ceiling are still in place. David, her one-time mentor, is still an encouraging voice and an old friend with the unlikely name of Bradley Cooper (Jorma Taccone) still works at the campus bookstore.
But it’s not all déjà vu. Hanging out with some of the new students Kate has a rebirth. Given the time to reflect on the recent downturns in her life she is transported back to her school years, a time when risks were taken and the future seemed ripe with possibilities.
“I Used to Go Here” avoids the clichés of many other college comedies. A professor-student subplot isn’t played for its salacious value but as a comment on #MeToo’s power structure, and there is a bittersweet quality to much of the humour.
Jacobs is the above-the-title star here. She’s very good, providing the movie’s heart while painting Kate as someone who has lost her way on the path to recovery, but this is an ensemble piece filled with nice supporting performances.
Clement brings a rumpled charm as a professor who chose the security of academia over the real world of writing for a living. As Kate’s student guide Elliot, Rammel Chan is a welcome comedic presence and the group of college kids Kate befriends, played by Forrest Goodluck, Brandon Daley and Khloe Janel, are affable, compassionate and real. Of the younger actors it’s Josh Wiggins as Hugo, the empathetic wannabe writer who makes the biggest impression. His observation that, “Just because a connection with a person doesn’t last forever doesn’t mean it’s not real,” could have sounded ripped from the pages of a Nicholas Sparks novel but is delivered with a sincerity that transforms it into an insightful comment on the weight that is keeping Kate down.
Writer/director Kris Rey clearly relishes spending time with “I Used to Go Here’s” characters and gives each of them a clear-cut role in moving the story, and Kate’s life, forward. It makes for an engaging set piece, specific to its setting but universal in its outlook.
Ambition and art mix and match in “The Burnt Orange Heresy.” A coolly elegant crime thriller, based on Charles Willeford’s 1971 novel of the same name, the film peels back the art world’s veneer to reveal a dark underbelly.
“The Square’s” Claes Bang is James Figueras, a once internationally famous art critic now reduced to lecturing American tourists in Milan. After one of his talks he meets Berenice Hollis (Elizabeth Debicki), a willowy art aficionado from Duluth, Minnesota. They hit it off, and have what she assumes is a one-night stand until he invites her to spend the weekend at the Lake Como estate of enigmatic art collector Joseph Cassidy (Mick Jagger).
James’s expectations of being offered the job of cataloguing Cassidy’s massive private collection are flipped when the collector asks him to do a task that could bring the disgraced critic back to prominence. Cassidy, sensing that James will do anything to get back in the public eye, asks him to steal a painting from hermetic artist Jerome Debney (Donald Sutherland). Debney is a legend and his work so rare, that just one painting could gather world attention. Question is, how far will James go to finish the job?
Like the painting that gives the movie its name, nothing in “The Burnt Orange Heresy” is not quite as it seems. Using noir tropes—the anti-hero, the femme fatale, a villain protagonist, a double cross— director Giuseppe Capotondi keeps things interesting after an unhurried start. What begins as a sun dappled caper takes a very dark turn as the director completes his portrait of ambition and desperation in the film’s final third.
As Figueras, Bang oozes a sketchy appeal. He’s desperate and dangerous, but his worst qualities are hidden behind a suave exterior. He’s the central character but is overshadowed by the chemistry that sparks every time Debicki and Sutherland share the screen. She is charismatic in an underwritten role, but it is her scenes with the eccentric and kindly Debney that shine. That there are questions as to everyone’s motives—except for the Machiavellian Cassidy, wonderfully played by Jagger—adds intrigue to the tale.
“The Burnt Orange Heresy” isn’t a typical crime drama. The story is fuelled by arrogance, deceit and lies as much as plot, the crime is almost incidental to the interest created by the characters.
“The Secret Garden,” the latest adaptation of Frances Hodgson Burnett’s classic 1911 novel, brings the classic story of friendship and wonder to VOD this week.
The tale begins in India in 1947 on the eve of Partition in India. Mary Lennox (Dixie Egerickx), born in India to wealthy English parents, finds herself orphaned when mummy and daddy suddenly pass away in a cholera outbreak. Sent to live with Archibald Craven (Colin Firth, who played a version of his son Colin in a 1987 TV movie of “The Secret Grden”), an aloof uncle she’s never met on his remote and rambling Yorkshire moors estate, the youngster has trouble adapting to life in the large country house under the strict housekeeper Mrs. Medlock (Julie Walters).
While exploring Misselthwaite Manor Mary makes some interesting finds. She meets Colin (Edan Hayhurst), her ailing cousin whose been locked away in one wing of the house. Both are stinging from the loss of a parent—his mother passed—and both feel like outsiders in the family.
When Mary discovers a hidden garden tucked away on the grounds, she and her friend Dickon (Amir Wilson) tend to the forgotten patch of land. Bringing the garden back to life also awakens the place’s natural restorative power that helps Mary, Colin and Mr. Craven heal, physically and spiritually.
Fans of the book should know liberties have been taken with the classic text. The shift to 1947 works, adding an additional layer of meaning to Mary’s story of distress. It helps base the tale in the reality of the situation but the movie allows magic realism to seep in.
That it is from the producer of the “Harry Potter” and “Paddington” movies means that it has a family-friendly fantasy gloss that the original text and other adaptations have done without. The magical elements may only exist in Mary’s imagination and not stem from the wonder of nature as the book suggests, but they are pronounced. There are ghosts and the garden’s trees respond to the kids, almost like Treebeard in “Lord of the Rings: Two Towers.” It adds a more whimsical tone to a story that had previously relied on the more grounded ideas of exercise and fresh air as a road to physical and mental health.
What it all means, really, is that the story isn’t quaint anymore. The new “The Secret Garden” is a handsomely made, big CGI movie that plays like “Masterpiece Theatre” for kids. Closer in tone to “Harry Potter” than author Frances Hodgson Burnett’s original ode to the healing power of love, kindness and nature, it isn’t as soulful as other versions but should appeal to younger audiences who are used to glossy adaptations of books for kids.
“She Dies Tomorrow,” a surreal new horror film on VOD, is a timely and unsettling story where the fear of death is passed from person to person like a virus.
The story begins with Amy (Kate Lyn Sheil), once a joyful young woman looking forward to setting up her newly purchased home. But now it’s a job that comes with no joy as Amy is gripped with deep, soul-shredding anxiety. For some reason she is convinced she will die the next day. Not by suicide or illness, just death. “There is no tomorrow for me,” she says. She’s so convinced of her inevitable fate she changes her voicemail message. “There’s no need to leave a message.”
Seeking a connection, she invites her friend Jane (Jane Adams) over. Jane swings by and after some awkward conversation about death leaves, also consumed by thoughts of her own, impending passing. As Jane moves through the night, visiting a doctor (Josh Lucas), her brother (Chris Messina) and friends (Olivia Taylor Dudley and Michelle Rodriguez) she leaves an existential trail of fear with everyone she meets.
Directed by Amy Seimetz “She Dies Tomorrow” is not a regular horror film. It’s an experiment in atmosphere building aided by a premise that feels very timely in the midst of a pandemic.
Questions are asked—What is this virus and how is it transported?—but no answers are provided. The film requires you to accept the situation and feel the anxiety of something that may or may not be real. For Seimetz’s characters the dread is palpable, forcing them to examine their choices, in relationships and life, and re-evaluate in whatever time they have left. In this time of real-life uncertainty Seimetz paints a vivid picture of mortality on a countdown that, while speculative, feels rooted in recent headlines.
Fittingly “She Dies Tomorrow” has a hallucinogenic, experimental style. Throbbing, flashing swaths of colour fill the screen as the virus—or whatever it is—attaches itself to a new host. It’s trippy, slightly psychedelic and may test the patience of less adventurous viewers but in a time where COVID-19 has spread worldwide, bringing with it angst and unease, a movie that examines human behavior in the face of transmittable trauma is, perhaps, a nightmarish artistic inevitability.
Check out episode twenty-eight of Richard’s web series, “In Isolation With…” It’s the talk show where we make a connection without actually making contact! Today, broadcasting directly from Isolation Studios (a.k.a. my home office) we meet Andrea Dorfman, a filmmaker, animator and artist who joins us via Zoom from her home in Halifax, Nova Scotia. Her films have played at film festivals around the world, won awards and she is back with a new one, now on VOD.
