I joined Jerry Agar on NewsTalk 1010 to talk about my W5 piece on Foley master Andy Malcolm and his team at Footsteps Studio.
Foley master Andy Malcolm and his team have created foley on literally hundreds of movies, with Oscar-winning directors like fellow Canadian Sarah Polley and Patricia Rozema singing his praises.
We visited Andy’s Foley Farm, a studio called Footsteps in Uxbridge, learned how he does Foley and then watched as his team added Foley to a short film we shot.
You don’t have to know or understand the role-playing game D&D to get the movie “Dungeons & Dragons: Honor Among Thieves.” Those who know that the acronym BBEG stands for Big Bad Evil Guy (or Gal) or that Monty Hall doesn’t refer to the game show host, but to a type of campaign based on accumulating as much wealth/magic items as possible, will have a better chance at deciphering the in-jokes and Easter Eggs, but for non-players, it still works as a fantasy action-comedy, complete with sorcerers, trolls and dragons.
The story begins with impish single father Edgin Darvis (Chris Pine) and barbarian Holga Kilgore (Michelle Rodriguez), making a daring escape from prison. They wound up behind bars when their planned robbery to steal the Tablet of Reawakening, an artefact with the power to resurrect the dead, went sideways. Their cohorts, Edgin’s daughter Kira (Chloe Coleman), conman Forge Fitzwilliam (Hugh Grant), Sofina (Daisy Head) and sorcerer Simon Aumar (Justice Smith), escaped justice, disappearing into the wind.
Upon their “release” they discover that Fitzwilliam double-crossed them, has taken custody of Kira and is now living the high life as the wealthy Lord of Neverwinter. When it becomes clear Fitzwilliam is no longer an ally, Edgin and Holga go on a quest to find the Tablet of Reawakening, resurrect Edgin’s dead wife, bring Kira back to the family and settle a score with Fitzwilliam.
But first they must find the Enchanted Helmut, a sideline aided by Sophia Lillis as Doric, a tiefling druid and shapeshifter and the heroic Xenk Yendar (Regé-Jean Page).
There’s more, like Red Wizards and necromancy and talking corpses, but for all the fantasy on board the movie, this is really a very earth-bound story of friendship and family. With dragons and magic.
What could have been another dull game adaption transcends the nasty reputation left behind by bombs that were not nearly as fun as the games that inspired them, like “Battleship” and “Candy Land: The Great Lollipop Adventure.”
Co-directors Jonathan M. Goldstein and John Francis Daley roll their twenty-sided dice (look it up) that audiences will value a fantasy story that uses humor as the backbone of the movie, the same way the “Lord of the Rings” flicks used allegories on the human condition to fuel theirs.
Luckily, mostly thanks to Pine’s nimble touch, it works really well. His performance sets a lighthearted tone followed by fun work from Rodriguez et al. Page also impresses as a handsome hero who feels like a combo of Dudley Do-Right and Errol Flynn.
We are so used to serious, heavy fantasy that the rambunctious “Dungeons & Dragons: Honor Among Thieves” feels like a breath of fresh sir. It is old-fashioned, an old-school action adventure that aims to entertain above all else. It doesn’t take itself seriously—although it is respectful to the world that inspired it—but does handle the action scenes, the world building, the characters, and the story with care.
The addictive puzzle video game “Tetris,” created by Soviet software engineer Alexey Pajitnov, couldn’t be simpler. Stack differently shaped pieces to form a whole and win points.
The story behind its success isn’t.
A new movie starring Taron Egerton and now playing on Apple TV+, tells the story of how Dutch video game designer Henk Rogers fit the differently shaped pieces of international intrigue and video game creation together to secure the intellectual property rights to popular game.
“The Soviet Union has worldwide rights,” says Rogers. “Nothing gets out easily.”
And how. In what is essentially a big business ticking clock story, Egerton is Rogers, an aggressive entrepreneur who discovers an early version of the simple game at the Consumer Electronics Show in the mid-1980s. An early adopter of video game technology, Rogers knows Tetris can be a hit.
“It was the most beautiful thing I’d ever seen,” he says. “I played for five minutes, and I still see falling blocks in my dreams. It is poetry. It is the perfect game.”
Developed by a Russian government software engineer Pajitnov (Nikita Efremov) in 1984, the game was an underground hit in the USSR, and starting to attract attention from other big players. The underdog Rogers finds himself up against Nintendo, media mogul Robert Maxwell (Roger Allam) and the Russian government.
“You want to play with the big boys?” threatens Maxwell. “This is how the world works.”
“Tetris” is a convoluted tale of how Rogers navigates dubious agreements, business backstabbing and the very real threat of Russian prison, to secure the rights to the game and a future for his family. Unlike the game, the movie’s pieces don’t fit together easily. Part business story, part spy thriller, it piles a great deal of information into every scene, beginning with an unloading of exposition off the top that sets the scene, but may try the patience.
Once past the initial mound of info, screenwriter Noah Pink keeps up the pace, piling double-crosses on top of political scheming on top of jet setting skullduggery. It zips along at the speed of level 10 game play, and while it is sometimes hard to keep track of who is zooming who, Pink keeps it fairly linear, mostly focusing on how the various deals affect Rogers. Told from this point of view, the complicated story of contract law and how the negotiations for a video game became a Cold War concern, is marginally easier to follow.
At the center of it all is the elaborately mustachioed Egerton. As Rogers he brings an energizer bunny approach to the entrepreneur’s unrelenting belief in the game and himself. As the story gets bigger and bigger—Henk against the world—it is Egerton that provides the human element, particularly in his friendship with Pajitnov. The surrounding performances are rather broad, but Egerton keeps it real.
Although it does feature 8-bit animation, “Tetris” isn’t a video game movie. Instead, it is a John Le Carre Lite political thriller, which could have used some of the simplicity of the game whose story it tells.
Chances are, if you came of age in the 1970s, you helped make Casablanca Records the most successful independent record label of all time. With artists like Donna Summer, Parliament, Gladys Knight, the Isley Brothers, the Village People, Bill Withers and KISS on the roster, founder Neil Bogart sold millions of records and helped define the sound of the 1970s.
“Spinning Gold,” a new biopic now playing in theatres, written, produced and directed by Bogart’s eldest son Tim, is the story of how it happened. Kind of.
“If what you’re after is the truth,” Bogart says, “and not just what happened, but how it happened, then you are just going to have to believe all of it, because every single bit of it is true. Even the parts that weren’t.”
The story of Casablanca Records begins in Los Angeles, 1974. In the late 1960s the former singer and one-hit-wonder Bogart was a successful music executive. His ear for talent accelerated the rise of bubblegum pop, but it was a shock rock band from New York City, with face paint and futuristic stage outfits, that inspired Bogart to start his own label.
Refusing to ever take no for an answer, even after a disastrous label launch featuring KISS, whose pyrotechnics set off the sprinklers, leaving all the music biz big shots in attendance soaked and unimpressed, Bogart took risks no other executive could. Or would.
Flashbacks to his youth detail how the son of a poor Brooklyn postman rose to become a record industry mover-and-shaker. A charming combo of talent and nerve, with a healthy (and occasionally unhealthy) disregard for money, he cut a path through popular culture, following his personal motto: “Why head for the mountaintop when you’re reaching for the sky?”
A kind of “What Makes Sammy Run” set in the music business, “Spinning Gold” is a fast-paced portrait of an old-school show business mogul, a high school drop-out who gambled as big as he dreamed. It is the stuff of dreams and, as such, plays like a kind of fantasy, with Bogart cast as a rock ‘n roll fairy godfather. As played with great energy by Broadway star Jeremy Jordan, he grants people’s wishes and his belief in his own ability to cast a spell over artists and executives alike, is almost supernatural. “We were in the business of making dreams come true,” he says.
It all feels heightened, like a look at the era through a telescope, enlarged to the point where the image is so big it doesn’t feel real anymore. But, unlike other music biopics—think “Bohemian Rhapsody” for instance—“Spinning Gold” has a meta self-awareness, and even breaks the fourth wall to acknowledge, “This never happened!” It’s a fun stylistic choice, but later, the fictional hagiographic elements are tempered by the drugs, money issues and organized crime that enter the story midway through and give the movie a slightly grittier feel.
“Spinning Gold” relies too heavily on voice over—sometimes it feels like there’s more VO than actual dialogue—but, like the man and the music it is based on, the movie is unapologetically large ‘n loud in its need to entertain the audience and it mostly works with an appealing combo of performances and lots of ear-wormy music.
Most of all, as a portrait of a more free-wheeling time—”I’m not saying it wasn’t sex, drugs and rock and roll, because it was, “Bogart says. “But it was sex before it was deadly.”—“Spinning Gold” succeeds not because it gets the details exactly right but because it captures the spirit of a time in the music industry when it was run by dreamers who had passion for the music, not MBA diplomas hanging on the wall.
“Space Oddity,” a new overstuffed feature directed by actor Kyra Sedgwick and now playing on VOD, flits around between space travel, trauma, the ecology, family dynamics and romance without ever settling on any one of them.
When we meet the McAllister family, Rhode Island flower farmers Jeff (Kevin Bacon) and Jane (Carrie Preston), daughter Liz (Madeline Brewer) and son Alex (Kyle Allen), they are dealing with great trauma. The death of their middle son has left the parents and sister lost, throwing themselves into work to cope with their loss.
Alex, however, has an out-of-this-world plan to escape his pain. He joins Mission to Mars, a private company—think Bezos and Musk—with plans to colonize Mars. It’s not a one-way trip either. Earth is dying, Alex says, so why hang around?
His family goes along with his pipe dream until he gets serious, and applies for insurance to help finance the journey. At the insurance office, however, he meets Daisy (Alexandra Shipp), a broker who just might give the rocket man a reason to come down to earth.
The subject of space travel is the method by which “Space Oddity” conveys its real message, about the state of our planet and what needs to be done to save our environment, but the addition of family drama and romance makes it feel like it is madly running off in several directions all at once.
It has the feel of an after school special. The lead, Alex, isn’t a teenager, but he behaves like one and Allen’s wishy-washy performance doesn’t do much to hold our interest at the center of the film. He isn’t aided by a script that telegraphs every plot twist in advance. If the film’s journey had been more interesting, the predictable destination wouldn’t be as bland.
“Space Oddity” simply bites off more than it can chew. The environmental messages are heavy-handed with no new ideas and, as a study of grief, it is far too light weight.
On this edition of The Richard Crouse Show we meet award winning Quebec filmmaker Stéphane Lafleur. His new movie “Viking” was a selection in Canada’s Top Ten and is available wherever you legally download movies on line.
In the film The Viking Society is recruiting volunteers for the first manned mission to Mars. The goal is to form a B-team that will mirror the mission here on Earth in order to find solutions to the interpersonal problems that the Mars-bound crew is experiencing.
Then, Andy Garcia about the scene that scene that made him a movie star, the Odessa Steps sequence in “The Untouchables.”
Finally, we’ll get to know multi-hyphenate Kevin Smith. He’s a filmmaker, actor, comedian, comic book writer, author, and podcaster. You know his movies like “Clerks,” “Dogma” and “Jay and Silent Bob Strike Back.” Now he adds another hyphen to his resume. Documentary subject. The documentary “Clerk,” now on VOD, touches on every aspect of his work, from the film that put him on the map to the View Askewniverse to his health problems and a new found self-awareness.
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 Chris Pratt, Elvis Costello, Baz Luhrmann, Martin Freeman, David Cronenberg, Mayim Bialik, The Kids in the Hall and many more!
Listen to the show live here:
C-FAX 1070 in Victoria
SAT 5:00 PM to 6:00 PM
SUN 10:00 AM to 11:00 AM
CJAD in Montreal
SAT 8 PM to 9:00 PM
CFRA in Ottawa
SAT 8 PM to 9:00 PM
NEWSTALK 610 CKTB in St. Catharines
Sat 8:00 PM to 9:00 PM
NEWSTALK 1010 in Toronto
SAT 8 PM to 9:00 PM
NEWSTALK 1290 CJBK
SAT 8 PM to 9:00 PM
AM 1150 in Kelowna
SAT 11 PM to Midnight
BNN BLOOMBERG RADIO 1410
SAT 8 PM to 9:00 PM
Click HERE to catch up on shows you might have missed!
On this edition of the Richard Crouse Show we meet producer/writer/comedian Dan Galea. The two-time Canadian Comedy Award winner’s debut musical comedy album “Inter-Dan-Mensional” on Comedy Records, executive produced by Scott Thompson from Kids in the Hall who also appears on the album, is available next week at dangalea.ca. Dan spent twenty years working on the album, which he describes as a comedic diary of his life. It has everything from Disco to Metal and every song gives you a peek into who he is and what he is all about. Some songs are just silly, he says, “but so am I.” Scott Thompson joins us late to talk about his involvement with the record and why he loves comedian Flip Wilson.
Then we’ll get to know bestselling Edmonton author and professor Thomas Wharton. He has written several books, including his award-winning debut novel, “Icefields,” and “Salamander” which was shortlisted for a Governor General’s Literary Award for fiction. His latest book is “The Book of Rain,” a suspenseful sci-fi novel about nature, environmental stewardship and the fate of the planet. “The Book of Rain” is a multi-plotted novel set in a world where ghost ore, a new minable energy source much more lucrative than gold, can disrupt time and space and slowly make an environment inhospitable. In one of three ghost ore hotspots in the world, the Alberta mining town of River Meadows, residents have been evacuated, except Amery Hewitt can’t seem to stay away.
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 Chris Pratt, Elvis Costello, Baz Luhrmann, Martin Freeman, David Cronenberg, Mayim Bialik, The Kids in the Hall and many more!
Listen to the show live here:
C-FAX 1070 in Victoria
SAT 5:00 PM to 6:00 PM
SUN 10:00 AM to 11:00 AM
CJAD in Montreal
SAT 8 PM to 9:00 PM
CFRA in Ottawa
SAT 8 PM to 9:00 PM
NEWSTALK 610 CKTB in St. Catharines
Sat 8:00 PM to 9:00 PM
NEWSTALK 1010 in Toronto
SAT 8 PM to 9:00 PM
NEWSTALK 1290 CJBK
SAT 8 PM to 9:00 PM
AM 1150 in Kelowna
SAT 11 PM to Midnight
BNN BLOOMBERG RADIO 1410
SAT 8 PM to 9:00 PM
Click HERE to catch up on shows you might have missed!
“Why don’t you just die?” screams one of the hundreds of people looking to kill the titular character in “John Wick: Chapter 4,” the wild new Keanu Reeves assassin movie now playing in theatres.
Why doesn’t he just die? Because he’s John Wick, a mix of Anton Chigurgh, Wile E. Coyote and the Energizer Bunny, that’s why.
If you’re a fan of the movies, you already know Wick can take a lickin’ and keep on tickin’. You don’t need the backstory to enjoy the new film, but it might help. Here’s a quick John Wick Wiki to get you up to speed.
The John Wick Universe is a place where an association of twelve crime lords, called the High Table, govern the underworld’s most powerful criminal organizations. They control the Continental, a hotel chain with exclusive branches sprinkled across the globe that serve as homebases for assassins. It is a place run by a strict set of rules, like never do “business” on the premises, by managers like Wick’s friend Winston Scott (Ian McShane) who runs the New York outlet.
Legendary hitman Wick ran afoul of the High Table, and was declared excommunicado. He is persona non grata and they want him dead. Trouble is, he’s hard to kill.
Also, he really loves dogs as much he loves killing people. There. You’re caught up.
At the beginning of the new film, High Table elder and all-round psychopath, Marquis de Gramont (Bill Skarsgård), displeased with Winston’s continuing connection to Wick, decommissions the Continental New York. “He is the face of your failure,” he sneers.
With one of his last allies rendered powerless, Wick must get to the Marquis before the Marquis can get to him.
Cue an amount of mayhem rarely seen this side of Russian car wreck videos on YouTube.
At 2 hours and 49 minutes “John Wick: Chapter 4” is by far the longest film in the franchise. Heck, it’s even longer than “Pulp Fiction,” “A Clockwork Orange” and “Raging Bull,” but director Chad Stahelski maintains interest, staging at least one major action sequence, more like a well-choreographed ballet for the blood thirsty, each hour. People get gone in spectacular ways, Wick defies the laws of physics and medical science to get his revenge and some of the world’s most beautiful locations become the backdrop to Wick style mayhem.
A scene staged in the roundabout circling Arc de Triomphe de l’Étoile is an eyepopper, one of the best big screen action scenes in recent years not directed by George Miller. A shoot out on the 200 steps of Paris’s Sacré-Cœur has an anarchic cartoon vibe that would make the Tasmanian Devil envious. Tom Cruise may be famous for his signature run, but after this, I think, Reeves will be remembered for falling down stairs. It’s a wild, extended ticking-clock sequence that uses slapstick humor to alleviate the tension as Wick violently makes his way to a date with destiny.
Adding to the action sweepstakes are Hong Kong martial arts superstar Donnie Yen as the blind assassin Caine, and legendary Japanese actor and martial artist Hiroyuki Sanada, last seen on screen with Reeves in 2013’s “47 Ronin,” who plays the manager of the Osaka Continental Hotel and an old friend of Wick. Yen is effortlessly cool, with an elegant and humorous fighting style that threatens to steal the show from Wick’s blunt force. Sanada has fighting skills and brings gravitas to the character, a man who values loyalty above all. The personality each bring to their scenes adds much to the effectiveness of the action.
Director Stahelski stages several all-timer action scenes with grace and inventiveness, always remembering to keep the frenetic battles clean and easy to follow.
Of course, the Wick movies are all about the central character, a man whose path to inner peace is littered with the bodies of the people he’s killed. Like a character straight out of a Sergio Leone film, he is a man of few words, and few motivations. In part, that is what makes the character and the movies so enjoyable. He may be the most lethal man on the planet, but, in each movie, his violent tendencies are in service of one objective. There is no muddled middle ground for Wick, no waffling, and that clarity of purpose keeps the movies from becoming cluttered, even at an epic 169-minute run time.
If “John Wick: Chapter 4” is the last film starring Keanu Reeves in the series—it is set-up for spin-offs within the Wickverse—then it goes out with a bang.
I joined Jerry Agar on NewsTalk 1010 to talk about my W5 piece on Foley master Andy Malcolm and his team at Footsteps Studio.
