Archive for April, 2023

NEWSTALK 1010: NOAH PINK + GREGORY SESTERO + HUGH JACKMAN

On this edition of the Richard Crouse Show we’ll meet Noah Pink, screenwriter of a new movie called “Tetris,” starring Taron Egerton, and now playing on Apple TV+, that 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. It’s a story of international intrigue, the Cold War and of the deep friendship that grew between entrepreneur Henk Rogers and the game’s Russian creator Alexey Pajitnov.

Then, Gregory Sestero, star of the found footage film “Infrared.” In the film he plays the creepy caretaker of an abandoned schoolhouse. If Greg’s name rings a bell, it’s likely because you’ve attended one of the midnight madness screenings of “The Room,” a movie so deliciously awful, it has become a cult favorite since its release in 2003. Gregory turned the experience of making the so-bad-it’s-a-hoot movie into a book, which eventually went on to become the Oscar nominated movie “The Disaster Artist,” starring James Franco and Seth Rogen. We talk about “Infrared” and whether or not, twenty years on, if “The Room” is an embarrassment or a source of pride.

Finally, we go to the vault to hear a vintage interview I did with Wolverine himself, Hugh Jackman. We don’t talk superheroes, instead, the actor gets personal, talking about the projects that worked, the ones that didn’t and what drives him.

Listen to the whole thing HERE!

Here’s some info on The Richard Crouse Show!

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!

Listen to the whole thing HERE! (Link coming soon)

Here’s some info on The Richard Crouse Show!

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!

RENFIELD: 3 ½ STARS. “Cage is equal parts creepy, campy and dangerous.”

“Renfield,” a new horror comedy starring Nicholas Hoult as the beleaguered familiar to the Prince of Darkness (Nicolas Cage), pays homage to the menace of Universal’s 1931 “Dracula,” while adding some fun with the addition of gory laughs.

Hoult is Robert Montagu Renfield, an assistant to the narcissistic Count Dracula, galvanized with just enough vampiric power to be able to subdue victims for his master’s pleasure.

“Renfield,” sneers Dracula, “your sole purpose is to serve me! Now let’s eat!”

Together for almost 100 years, Renfield spent most of that time eating bugs and risking life and limb to provide for Dracula’s voracious appetite. He’s at his wit’s end, but it’s not until his latest job, looking for potential victims at a counselling group for people trapped in toxic relationships, turns from a hunting ground to a self-actualization session, that he has a moment of clarity.

“I will no longer tolerate abuse,” he says, after listening to the stories shared by the group. “I deserve happiness.”

His journey to a normal life begins with Rebecca Quincy (Awkwafina), a New Orleans traffic cop still stinging from the loss of her father at the hands of the violent Lobo crime family run by Ella (Shohreh Aghdashloo). When Renfield uses his Dracula-given powers to save Rebecca and others from mob enforcer Teddy Lobo (Ben Schwartz), he is seen as a hero for the first time in his life. Empowered, he now faces his greatest enemy, his employer Dracula.

“I will unleash an army of death,” Dracula threatens. “Everyone you care about will suffer because you betrayed me.”

Perhaps an alternate title for “Renfield” might have been “Dracula: I’m OK, You’re OK.” A mix of Bram Stoker and group therapy pioneer Joseph H. Pratt, it is a modern interpretation of the Dracula legend and therapeutic treatment that doesn’t take itself too seriously. The blend of self-help and horror is absurd, but director Chris McKay keeps his foot on the pedal, barreling through the story and recreating vampire lore–in this version, for instance, eating bugs isn’t a sign of madness, it gives Renfield superhero ability—with the efficiency of Van Helsing’s stake carver.

In on the fun are the dueling Nics, Hoult and Cage. This is the hapless Renfield’s story, so his search for freedom and redemption takes a chomp out of the film’s economical 90-minute running time, allowing Hoult to go from sniveling supernatural servant to empowered paladin at a quick pace. It’s a fun, lightweight performance, that works whether he’s opposite Awkwafina, who plays it broad, or Cage who is equal parts creepy, campy and dangerous.

With a mouthful of needle-like teeth, super strength and an uncanny resemblance to Bela Lugosi, Cage sinks his teeth into Dracula in a performance that benefits from the actor’s gonzo approach. He is supernatural, but his narcissistic “I’m the real victim here!” attitude is deeply human, often hilarious and is the lifeblood of the film.

“Renfield” is based on an original pitch by Robert Kirkman, co-creator of “The Walking Dead,” so you know it will deliver the old-school splatter, but it is the way it updates and pays homage to the Dracula legend, filtered through some very dark comedy, that gives it its bite.

MAFIA MAMMA: 3 STARS. “Like ‘Eat, Pray, Love’ but with 100% more gunplay.”

“Mafia Mamma,” a new action comedy starring Toni Collette now playing in theatres, is a coming-of-middle-age story about a suburban woman who travels to Italy for the reading of her grandfather’s will, and accidentally gets her groove back.

Collette is Kristin Balbano, a chatty American advertising executive whose life changes in an instant when her phone rings, long distance from Wurope. On the other end of the line is Bianca (Monica Bellucci), consigliere for the Balbano crime family. “Your grandfather is dead,” she says. “You need to settle his affairs. You’ll fly to Italy tomorrow night.”

Although she’s always wanted to go to Rome, Kristin can’t leave at such short notice. “Everything is crazy at work and my husband needs me.” Besides, she wasn’t close with her grandfather. In fact, they never met.

She has a change of heart, however, when, while still on the phone, she catches her husband cheating on her with their son’s guidance counselor.

Her marriage in tatters, she figures some time away would be a tonic and accepts Bianca’s offer. It isn’t until she arrives in Rome for the funeral that she learns she is one of her grandfather’s only blood relatives, and is next in line to run the family business. Even though the old crew isn’t impressed by her—”How are we supposed to appear strong when she is dressed like a librarian?”—she reluctantly steps into the lead role.

Unfortunately, the business is under siege, involved in a turf war with a rival family. As assassins circle around, Kristin discovers a new life as decides whether she can run a crime organization and still be the good person she always thought she was.

“It’s not about losing yourself,” says Bianca. “It’s about becoming yourself.”

“Mafia Mamma” is like “How Stella Got Her Groove Back” and “Eat, Pray, Love” only with 100% more gunplay and slapstick violence. Kristen’s story of personal awakening and empowerment is predictable, played at a sit com level, but Collette’s easy charm counts for something. Her broad comedic approach wrings laughs out of the material. Whether she is killing a baddie with a stiletto, or admitting to never having seen “The Godfather” because, “It’s really hard to find three-and-a-half hours,” she elevates this standard fish out of water tale.

The story of a woman fighting sexism and an old-school male-centric system doesn’t offer much in the way of surprises, but it does so with a fair amount of enthusiasm.

SHOWING UP: 3 ½ STARS. “a declaration about the miracle of making art.”

“Showing Up,” a new dramedy starring Michelle Williams and now playing in theatres, is like a swan. At first glance, it appear calm, cool and collected, but a closer look reveals it is peddling madly underneath the surface.

Set in Portland, Oregon, the story revolves around a week in the life of Lizzy (Williams), a sculptor struggling to prepare for an important show, one that could determine her future, despite the distractions of her day-to-day life. Her frayed nerves are put to the test when her passive-aggressive landlord, and fellow-artist, Jo (Hong Chau), refuses to fix the buildings hot water tank, thus making it impossible for Lizzy to shower. On top of that, Lizzy is stuck caring for a pigeon her cat Ricky seriously injured and left for dead, her co-worker Eric (André Benjamin, aka André 3000) left a piece in the kiln too long, causing it to crack.

Even her family stresses her out. Her mother (Maryann Plunkett), is also her boss at the Oregon College of Art and Craft, and her sculptor father (Judd Hirsch) is less than enthusiastic about her work and ambition. Her brother (brother (John Megaro) suffers with mental illness and spends his days digging a giant hole in his backyard.

“Showing Up” features the slow moving, leisurely pacing that has become writer/director Kelly Reichardt’s trademark. Lizzy’s world is revealed bit by bit, each obstacle adding to the growing anxiety as her opening night approaches.

It feels like watching a slow-motion car crash, but instead of the expected smash-up, the film gently uncovers how Lizzy’s devotion to her art is her lifeline. She lives an artistic life, connected to her community in ways that feed her creativity. Even the poor, broken pigeon finds a spot in Lizzy’s heart and helps transform her life in unforeseen ways.

Williams is a model of restraint, but finds way to add some light comedy into the character. Chau is a live-wire, adding some electricity to the film, even if her role is somewhat underwritten.

It would be easy to think that nothing much happens in “Showing Up,” and it is a quiet movie, but it is loud and proud in its declaration about the miracle of making art that matters while balancing the frustrations of everyday life.

“SIMULANT” PREMIER AND Q&A AT THE SCOTIABANK THEATRE IN TORONTO!

Thanks to Mongrel Media for having me in to host the Q&A at the Canadian premier of “Simulant” with director April Mullen and actors Sam Worthington and Robbie Amell.

The movie’s synopsis: With androids (SIMS) and humans coexisting, Simulant centers around FAYE (Jordana Brewster) who has already pulled the plug on her late husband, now she can’t bring herself to do the same to EVAN (Robbie Amell), his android counterpart. Instead of deactivating Evan, Faye sets him up in an apartment to live illegally on his own. While there he meets Casey (Simu Liu), a brilliant programmer who helps him become more human in order to win Faye back. Unbeknownst to Evan, his new friend is wanted for questioning by a determined Artificial Intelligence Compliance Enforcement (AICE) agent Kessler (Sam Worthington). Evan has to win over Faye’s heart before they are both discovered and he loses everything.

 

NEWSTALK 1010: HAMILTON’S” DEAUNDRE’ WOODS + APRIL MULLEN

On this week’s Richard Crouse Show we meet Deaundre’ Woods who stars as Alexander Hamilton in the Toronto production of the hit show “Hamilton.” We’ll talk about what he thinks sets “Hamilton” apart from other musicals, the excitement of performing the show with its creator Lin-Manuel Miranda and how a hole in a very inappropriate place on his costume helped calm his nerves in opening night.

Then we’ll get to know filmmaker April Mullen. Her new film, “Simulant,” stars Sam Worthington of “Avatar,” Jordana Brewster of the “Fast and Furious” franchise and Marvel superhero Simu Liu in a sci-fi thriller that will explore the dangers of artificial intelligence in a world where sentient robots roam free.

Listen to the whole thing HERE!

Here’s some info on The Richard Crouse Show!

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!

AIR: 4 STARS. “universal story of inspiration, determination and risk taking.”

It may be hard to imagine now, but there was a time when the words Nike and basketball were not synonymous. Way back in the early years of the Reagan administration, Nike was a third tier sneaker company, better known for lagging behind Adidas and Converse than for their now famous swoosh logo.

“Air,” a new sports drama that reteams Matt Damon and Ben Affleck, tells the story of the celebrity endorsement that changed the game for Nike, sports merchandising and popular culture.

Damon is Sonny Vaccaro, a pudgy marketer who tries to convince basketball stars to align themselves with Nike. Trouble is, back then the company was best known for making comfortable shoes for middle-aged joggers.

“There’s nothing cool about Nike,” says college basketball coach George Raveling (Marlon Wayans).

When Vaccaro finds rookie Michael Jordan (Damian Delano Young), he is convinced the 21-year-old backboard-shattering phenom could be the face of the company. “I believe he is the future,” says Vaccaro. Now all he has to do is convince his skeptical boss, the elaborately toupéed Phil Knight (Affleck), and Jordan’s even more skeptical parents James and Deloris (James R. Jordan Sr. and Viola Davis) that this is a good deal for everybody.

“I believe in your son,” he says to Deloris. “And his story is going to make us want to fly. But a show is just a shoe.”

“Until my son steps into it,” she replies.

“Air” is a biography of a brand that, somehow, doesn’t feel like a two-hour advertisement for basketball shoes. That’s because it’s really not about the shoes, although there are several beauty shots of the prototype Air Jordans. Like all good sports stories, the specificity of the story, in this case Vaccaro’s journey, becomes a universal story of inspiration, determination and risk taking.

Damon is in likable puppy dog mode here, handing in an affable performance that relies on his considerable charm as an actor to buoy the movie’s never-say-die themes. We know how this story ends, but because Damon is easy to get on side with, we go along for the ride.

He’s supported by a terrific secondary cast, including Jason Bateman and Chris Tucker as the rule-breaking members of the Nike marketing team and Chris Messina as an over-the-top agent who says, “I don’t have friends. I have clients.”

As Michael Jordan’s mother Deloris, it is Viola Davis who delivers the film’s most potent message. In a performance fueled by grit and warmth, the character’s steadfast belief in knowing the value of a person is conveyed without a trace of sentiment or manipulation.

The lack of Michael Jordan, in what is essentially a Jordan origin story of a sort, is puzzling. Affleck, who also directed the movie, says because Jordan is so well known, he felt making him a character would be distracting. We’ll never know for sure, but it does feel odd that on the handful of times he appears—other than in archival footage—we never see his face, only his back and shoulders and usually out of focus.

According to “Air,” number three on Nike’s business manifesto was “Break the rules,” and certainly, in the courting and signing of Jordan, they did. Affleck breaks fewer rules, using standard montages and a lot of needle drops to establish the 1980s backdrop. We’ve seen a lot of this stuff before, usually in movies that aren’t as good as this one. But despite some familiar visuals and music, “Air’s” underdog story is still a crowd-pleaser.

THE SUPER MARIO BROS. MOVIE: 2 STARS. “the charm of a broken Game Boy.”

The most famous plumbers since Thomas Crapper, the man who popularized the flush toilet, are back in “The Super Mario Bros. Movie.” The new animated film starring the voices of Chris Pratt, Charlie Day and Anya Taylor-Joy, and now playing in theatres, sends Mario and Luigi on an adventure that begins with a mysterious water pipe.

While working on a broken water main, Brooklyn, New York plumbers Mario (Pratt) and his fraternal twin brother Luigi (Day), leave the real world, sucked through the pipe into the Mushroom Kingdom.

“What is this place?” asks Mario.

Buried deep beneath the Earth’s surface, it’s the psychedelic principality of the strong-willed Princess Peach (Taylor-Joy), a ruler who shares her castle with Toad (Keegan-Michael Key), a humanoid mushroom aching to find adventure in his life.

But there is bad news.

“Your brother has landed in the Darklands,” Toad informs Mario. “They’re under Bowser’s (Jack Black) control.” Bowser, a giant, fire breathing turtle with world conquering ambitions, has Luigi, and it’s up to Mario to rescue his brother and save the Mushroom Kingdom.

“My little brother is lost,” says Mario. “He looks exactly like me, but tall and skinny. And green.”

With the help of the Princess and Toad, Mario’s quest begins.

“Excuse me, everybody,” shouts Toad. “Coming through! This guy’s brother is going to die imminently! Out of the way, please!”

There are questions you have to ask when reviewing a movie inspired by a video game. Is it good because it remains faithful to the game? Or is it successful because it transcends the game and embraces the big screen?

If you answered yes to the former and no to the latter, you may enjoy “The Super Mario Bros. Movie.” The theatrical experience of the film is essentially like playing the game, without the inconvenience of actually having to play the game.

The beautifully animated movie mostly delivers what Nintendo has been successfully doling out for forty years; Mario, Luigi and the gang dodging Bowser in the Mushroom Kingdom. That formula earned the game accolades as one of the greatest video games of all time, so why tinker with success?

I’ll tell you why. Because by not tinkering with success, by playing it safe, by bowing down to fan service, directors Aaron Horvath and Michael Jelenic have created a movie with all the charm of a broken Game Boy. Loud and frenetic, it’s propped up by nostalgia for the game and little else.