This week on the “Pop Life” we meet Tracy Deonn, the North Carolina author of the bestselling YA novel “Legendborn.” Called “a modern day twist on Arthurian legend” it follows a Black teenage girl who discovers a secret historically white magic society while attending a UNC-Chapel Hill residential pre-college program.
Then, the “Pop Life” panel, Mohawk film director and producer Tracey Deer, Publicity Director at HarperCollins Canada Lauren Morocco and rising country singer, songwriter, and musician Madison Kozak convene to talk about the various ways to pitch your creative ideas.
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 Bob Geldof, 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.
A mix of fact and fiction, the real and the unreal, “The Last Vermeer” starring Guy Pearce and Claes Bang, now on VOD, is a cat-and-mouse game with a high-minded purpose.
Set just after World War II, the story involves Captain Joseph Piller (Claes Bang), a Jewish member of the Dutch Resistance who spent the war years working underground. Now, he works with the Allied reconstruction corps, following the money trail from big ticket art sales that may have funded espionage.
His investigation introduces him to artist Han van Meegeren (Guy Pearce), a painter and art dealer who admits making millions of dollars selling art to the Nazis. Of particular interest is “Christ and the Adulteress,” a Johannes Vermeer masterpiece he sold to Hermann Göring for 1.6 million guilder. “Which proves that pigs have good taste or too much money,” van Meegeren sxays.
The Netherland’s government see him as a war criminal. “He’s an honorary Nazi,” says one bureaucrats. “Let him swing with the rest of them.” But there’s a twist; van Meegeren claims the paintings were fakes, forgeries he painted to defraud the Nazis. “I believe every Fascist deserves to be swindled,” van Meegeren says. An ensuing court case puts not only van Meegeren on trial for collaborating with the enemy during war, but also the very idea of what makes good art great.
“The Last Vermeer” is a handsome, deliberately paced historical drama given life by a flamboyant performance from Pearce. He’s a bon vivant, quick with a line and a theatrical character who given to histrionic outbursts. “I am an artist,” says van Meegeren, “not a Nazi spy.” Pearce is clearly having fun—more so than anyone else in the film—but he’s reigned in just enough to prevent van Meegeren from becoming a caricature. It’s the spark that keeps our interest in an otherwise nicely made but occasionally lethargic movie.
Most interesting are the questions van Meegeren’s forgeries ask. If they are good enough to fool the experts and please the eye, why can’t they be considered on their own merits? Was the painter, who is based on a real artist who is considered the greatest forger of all time, touched by genius or simply an opportunist who wasted his talents to bilk the Nazis? The film stops shy of providing answers but provides food for thought.
“The Vigil,” the first film from novelist-turned-director Keith Thomas and now available on VOD, is low fi movie with high fi horror.
When we first meet Yakov (Dave Davis) he is at a support group for Orthodox Jews adapting to life outside of Brooklyn, New York’s Hasidic community. Still adjusting to his new life, he’s unemployed, struggling to make ends meet. When his friend Reb Shulem (Menashe Lustig) approaches him with the offer of a job, he has no choice but to accept. For one night he will act as a Shomer, a guardian in the Jewish tradition, and watch over the dead body of Holocaust survivor Mr. Litvak (Ronald Cohen) until the time of burial.
Arriving at the house for the overnight stay, he’s greeted by Mrs. Litvak (Lynn Cohen) who warns him to leave. After Reb explains that she is suffering from Alzheimer’s, Yakov begins his solemn duty, watching over the shrouded Mr. Litvak.
Soon, as lights begin to flicker Yakov thinks he sees something scurry across the floor. But the true terror awaits as he uncovers a video detailing the ancient demon, the Mazzik, that attached itself to Mr. Litvak when he left Buchenwald.
“The Vigil” is a horror film that trades in the supernatural as much as the psychological. The shocks are born from director Thomas’s effective use of jump scares and things that go bump in the night, but the real terror here is intangible.
It is the reliving of memories, as Mr. Litvak says in the video, “the looking backwards” at the anti-Semitic horrors that shaped all their lives. We learn of the fate of Mrs. Livak’s father in the Kiev pogroms of 1919, Mr. Livak’s treatment at the hands of the Nazi’s and the recent violence that prompted Yakov to leave his faith. They are, as Mrs. Litvak says, “broken by memories,” the inescapable weight that they carry.
“The Vigil” brings the horror out of the corners of the mind, and just possibly offers an avenue for Yakov’s catharsis and return to his faith, but not before presenting a deeply unsettling story.
A nomination for a Golden Globe Award as Best Foreign Language Film should help “Minari,” now on premium digital and on-demand, the boost it deserves to find a wide audience. Simultaneously intimate and emotional, it is an authentic coming-of-age story about the resilience of the human spirit.
Drawing on his own personal experiences director Lee Isaac Chung has crafted a story about the Yi family, the Korean born mother and father, Jacob (Steven Yeun) and Monica (Yeri Han), and their American born kids Anne (Noel Kate Cho) and David (Alan Kim). Dreaming of a better life, they relocate from California to start a food business in rural Arkansas. Buying a plot of land, he plans on growing Korean produce to sell in the tri-state area.
It’s a tough go. Water is scarce, particularly after Jacob declines the services of a local dowser in favor of trying to find his own source. To make ends meet Jacob and Monica take on jobs at a local hatchery, but the long hours, coupled with David’s heart condition, bring trouble at home. To ease the tension Monica’s mother Soonja (Yuh-Jung Youn) comes from Korea to lend a hand.
She’s a handful, not a “real grandma” says David. But her swearing, love of wrestling and life brings some much-needed spark to the Yi’s new trailer home. Best of all, her antics help David find his way from shy little boy, whose mother coddles him, to fun loving kid.
“Minari,” in English and Korean with subtitles, is a carefully observed movie. The look on Monica’s face when she sees her new home for the first time is a subtle but devastating. Grandma’s easy laugh is infectious and David’s reactions to his grandmother—“They don’t swear! They don’t wear men’s underwear!”—are funny in a wistful kind of way. Even farmhand Paul’s (Will Patton) eccentric religious beliefs are treated compassionately and never ridiculed, even when Jacob can’t understand why he would rather lug a giant cross down the road than accept a ride.
These moments build as the story unfolds, bringing empathy along with them. And while the film confronts the racism the Yi’s encounter in their new community, the story doesn’t look there for conflict. That comes from within the family and their struggles, not from external circumstances.
“Minari” is a true family drama, with a hint of “The Grapes of Wrath” thrown in for good measure.
“This story isn’t about truth, or love,” says Aubrey Miller (Brenna Llewellyn) in “The Sinners,” now streaming on VOD, “this story is about sin.” Actually, it’s a story that feels like a time machine mash up of movies like “Cruel Intentions,” “The Craft” and “Mean Girls.”
Set in a small evangelical town, “The Sinners” is the story of a group of girls who rebel by forming a clique to personify the seven deadly sins, pride, greed, lust, envy, gluttony, wrath, and sloth. At the head is local pastor’s daughter Grace Carver (Kaitlyn Bernard) who represents lust. When she gets wind that Aubrey, who embodies pride, told Pastor Carver about the girl gang’s name The Sins and then, as if that wasn’t bad enough, had the temerity to write about their transgressions in her diary, she flips. “We have been betrayed,” she tells the other Sinners. “We have a rat amongst us and action must be taken.”
Before Aubrey arrives at a group meeting for what she thinks is a bible study class, Grace (who by this point is wearing Halloween devil horns) tells the gang, “We’re going to get wild tonight and push her beyond her breaking point. It’s time we take our sins to the next level.”
When the gang decides to throw a scare into her by staging a kidnapping, things go wrong and Aubrey vanishes into the woods. As the investigation into her disappearance amps up strange things happen, revealing the small town’s dark underbelly. Are the Sinners really sinners, or are they victims?
It’s an easy enough plot to follow, but if you do get lost director Courtney Paige “helpfully” provides a roadmap in the form of narration I suppose is supposed to lend a “Memento” vibe but simply tells us things we mostly already know. Add to that the repetitive procedural nature of the story and you’re left with a film that could have explored the hot button push and pull between faith and more terrestrial concerns, but instead chooses atmosphere over fear.
Points to Holly Amber Church who provides a suitably moody score, but beyond that “The Sinners” commits the cardinal cinematic sin of not grabbing the audience’s attention.
This week on Pop Life we meet veteran music journalist Lisa Robinson, Her new book “Nobody Ever Asked Me About the Girls: Women, Music, and Fame,” pulls from four-and-a-half decades of interviews with music’s most famous women — from Tina Turner, Joni Mitchell, Stevie Nicks to Rihanna, Lady Gaga, and Beyoncé. In our interview Robinson reflects on her own career as a pioneering female music writer and editor of Music Scene Magazine.
Then, Robinson joins the “Pop Life” panel, Kathy Valentine of the Go-Go’s, the first all-female band to have a #1 album in the U.S and Rookz Eastmond an entrepreneur and producer who specializes in urban music, to talk about being a woman in the world of music.
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 Bob Geldof, 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.
Today on The Richard Crouse Podcast I’ll introduce you to Nicholas Snyder, a Brussell’s based filmmaker and astrologist. Nicholas says his aim is to use film as a language to convey the inexplicable. To that end, today we’re talking about his new documentary “The Astrology Of Pandemics,” a timely film that shows how valuable and useful astrology can be in the prediction of future pandemics and how we could use it as a tool to understand the current pandemic. Nicholas Snyder joined me via Zoom from Brussels.
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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In an early scene in “I Care a Lot,” the new thriller starring Rosamund Pike as professional legal guardian to the elderly Marla Grayson, says “I care. I care a lot,” referring to her wards, but it soon becomes clear that she really only cares for one thing. Money.
If you were to look up the word irredeemable in the dictionary you may well find a picture of Marla Grayson alongside the definition. She is an elegantly dressed, smiling viper who takes advantage of the old and infirm for profit. She’s a court appointed guardian who swoops in, cuts off family members as she sequesters her wards in care homes that feel more like prisons while she siphons their bank accounts and sells their homes to cover her exorbitant fees.
When Grayson and girlfriend Fran (Eiza González) pay off Dr. Karen Amos (Alicia Witt),a crooked doctor who gussies up medical records so Grayson Guardianship can take control of her patient’s lives.
On the face of it their latest mark, Jennifer Peterson (Dianne Wiest), seems like a perfect victim. Wealthy and without family, she’s vulnerable and just waiting to be bilked. Or is she? Turns out Jennifer has some secrets, and worse than that, some very important and dangerous friends. “I’m the worst mistake you’ll ever make,” Jennifer hisses at Marla.
With stories of elder abuse making front page news far too often, “I Care a Lot” provides a modicum of revenge, turning the tables in a delicious way.
Pike revisits the cold and calculating character that won her raves in “Gone Girl” but ups the ante to plumb the depths of depravity. To describe the predatory Marla as a shark does a disservice to Great Whites. “Playing fair. Being scared, that gets you nowhere,” she says. “That gets you beat.” Seemingly born without a heart, she masks her viciousness with a veneer of professionalism and her well-practised mantra of “I care, a lot.” Pike is clearly having fun here playing cold and calculating, but never resorts to the usual villain schtick. Her composure is disarming but, like an Oleander bloom, cut her and she bleeds poison.
Wiest is devilishly engaging as a woman with secrets and Peter Dinklage brings a barely contained rage to his role (NO SPOILERS HERE) but it is Pike who dominates.
“I Care a Lot” is a rarity, a truly mean-spirited movie where the best you can do is find yourself rooting for the least terrible person to persevere. It sags in the last half hour, becoming slightly more conventional but ends with a bang.
“Flora & Ulysses,” the new Disney+ comedy-adventure based on the Newbery Award-winning book of the same name by Kate DiCamillo, is about what happens when a ten-year-old rescues Ulysses, a squirrel with a lot of personality who also just might have superpowers.
When self-described cynic and comic book fan Flora (Matilda Lawler), a lonely girl who lives with her romance writer mother (Alyson Hannigan), rescues a squirrel from a neighbor’s robotic vacuum, both their lives are transformed.
Flora, who pines for the days when her parents were together, finds a friend in her new pet. The rodent, who announces his powers by typing, “Squirrel. I am Ulysses. Born anew,” on mom’s old-school Smith Corona, chips away at Flora’s hardened exterior. “Maybe the best part of having a superhero around,” she says, “is how you start to feel like one too.” The unlikely duo, along with Flora’s father (Ben Schwartz), a failed-comic-book-writer who makes ends meet working retail, and temporarily blind neighbor William (Benjamin Evan Ainsworth) go on adventures despite mom’s disdain for having a squirrel in the house, even one who can write poetry.
“Flora & Ulysses” may be the only kid’s flick to quote intense German poet Rainer Maria Rilke. The film’s central message—Flare up like a flame and find your purpose—is paraphrased from Rilke’s abstract “Go to the Limits of Your Longing.” But don’t worry, there’s nothing terribly abstract or heady about the super squirrel story. Director Lena Khan has made a family friendly film that balances comedy, action and even some melancholy.
The superhero in this movie isn’t here to save the world or battle villains from other planets, but the stakes are just as high. Ulysses doesn’t wear spandex or have x-ray eyes, instead he’s a symbol of hope and the power of love in friendship and family. Those are nice messages, well delivered by a game cast, particularly Lawler, who nails her character’s droll humour.
“Flora & Ulysses” is a story about the small, heroic things we can do in day-to-day life. Uplifting and charming, it avoids easy sentiment and there’s even a good “Titanic” joke.
This week on the “Pop Life” we meet Tracy Deonn, the North Carolina author of the bestselling YA novel “Legendborn.” Called “a modern day twist on Arthurian legend” it follows a Black teenage girl who discovers a secret historically white magic society while attending a UNC-Chapel Hill residential pre-college program.
