On this episode of the Richard Crouse Show we meet novelist, editor, and creative writing instructor Amy Jones. She is the author of the novels Every Little Piece of Me (McClelland & Stewart, 2019) and We’re All in This Together (McClelland & Stewart, 2016), her third novel, Pebble and Dove, which is available now wherever fine books are sold.
Set in Florida, it’s a story of mothers and daughters and an inspirational manatee. Mother Lauren’s life is a mess. She has a storage unit full of candles she can’t sell, a growing mountain of debt, and a teenage daughter, Dove, who barely speaks to her. When Dove discovers the abandoned Flamingo Key Aquarium and Tackle, she meets Pebble, the world’s oldest manatee in captivity. It is Pebble, a former star attraction, and her devoted caretaker, Ray, who hold the key to helping Lauren and Dove move forward.
Then, Andrew F. Sullivan, an author the Globe and Mail called “One of the country’s most talented young writers.” He is the author of “The Marigold,” a new novel that combines decay, urban sprawl, urban dystopia, and nature’s vengeance in a story about a dystopian future in the city of Toronto where a monster of our own making, a deadly mold, becomes sentient and attacks from within.
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:
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Click HERE to catch up on shows you might have missed!
“Elemental,” the new Pixar picture now playing in theatres, takes an old-fashioned love story and gives it a high-concept spin.
The setting is Element City, a metropolis divided into four distinct districts, one for every kind of the city’s anthropomorphized element residents. The fire people live in the Fire Land, there’s the Splash District for water people, the Terra District for land people, and the Breeze District for air people.
“Elemental” focusses on the Lumen family and their fiery daughter Ember (voice of Leah Lewis) who immigrated to Element City looking for a better life. The young flame is poised to take over the family’s Fire Land shop, a small convenience store with the slogan “We Flame to Please!”
“This shop is the dream of our family,” says patriarch Bernie Lumen (voice of Ronnie Del Carmen). “Someday it’ll all be yours!” Eager to please her parents, Ember feigns excitement at the prospect of running the shop, the family’s pride and joy.
“I’ve been trying to fill my father’s shoes,” she says, “but I was never asked what I want to do.”
As her hidden resentment grows, Ember becomes sullen and begins lashing out until she meets
Water person Wade Ripple (voice of Mamoudou Athie), who, as a youngster, was once stuck inside a sponge. Despite that trauma, he grew up to be a kind, laid-back guy who cries at the drop of a hat.
Ember has always thought that “elements don’t mix,” but when Wade comes into her life she learns that sometimes opposites do attract and that she can make her own decisions. “Why does anyone get to tell you what you can do in your life?” asks Wade.
“Elemental” has a big heart, but not big enough to justify the film’s feature length. A new spin on the star-crossed lovers genre, à la “Romeo and Juliet,” it is a simple tale of the heart wanting what the heart wants despite differences. Then there’s the “Guess Who’s Coming to Dinner” vibe between Wade and Bernie, which is clever but never quite ignites.
The vivid artwork is often spectacular, and provides many beautiful images, but the watered-down story does not equal the film’s visual impact.
Director Peter Sohn, who also helmed “The Good Dinosaur,” builds a new world and introduces other story elements, including immigration metaphors, references to racism and intolerance, but these aspects often feel tentative, more well-intentioned than effective.
Better is the relationship between Ember and her father. Sohn used personal experience to shape the story of a father’s expectation and deference to tradition, and how the weight of that affects Ember. Their connection feels authentic and grounds the action of the rest of the film.
Opening the show in theatres is “Carl’s Date,” a sweet natured short film featuring Carl Fredricksen (voice of Ed Asner) and his adorable talking dog, Dug (voice of Bob Peterson) of the much-loved film “Up.” It’s a funny, tightly scripted look at companionship that made me think, by the time the main feature was over, that “Elemental,” given its slight narrative, might have had more punch, and seemed less stretched, as a short.
“Elemental” is wonderfully crafted, but the formulaic story prevents it from sitting on the shelf alongside other Pixar greats like “Up,” WALL-E” or “Toy Story.”
“The Flash,” the long-awaited DC origin story of Barry Allen (Ezra Miller) a.k.a. The Flash, echoes all the all the stuff we expect from a big superhero tentpole movie. There are multiple universes, multiple superheroes and, once again, the world is in danger but it is the title character’s emotional life that sets this movie apart from the pack.
Loosely based on the “Flashpoint” comics, the movie sees Barry still grieving the death of his mother (Maribel Verdú) and his father’s (Ron Livingston) wrongful incarceration for her murder. Fueled by pain and rage, he finds a way to potentially ease his anguish when he discovers his superspeed gives him the ability to create a “chronobowl” and travel back to the day his mother was killed.
“I could save people,” he says. “I could save my mom.”
Before setting off to right the wrongs of the past, he consults with Bruce Wayne (Ben Affleck) who warns him against messing with the fabric of time. “You could destroy everything.”
Ignoring Batman’s advice, Barry travels to the past and soon pays the price for his impulsive actions. Caught in an alternate universe where a younger version of himself doesn’t yet have superpowers—“This is my face,” his doppelganger says. “You stole my face.”—Barry soon realizes he is in uncharted territory. “This can’t be happening,” he says. “I completely broke the universe.”
Things go from bad to worse when Kryptonian supervillain General Zod (Michael Shannon) makes the scene, loaded with ill will for all of humanity. “This world must die,” he says.
Having changed the past and potentially the future, Barry teams with alternate universe Batman (Michael Keaton) and Kara Zor-El, a.k.a. Supergirl (Sasha Calle) to restore order. “If I can’t undo what I did, if I can’t get back” he says, “there may not be a future.”
“The Flash” finds a balance between fan service and a story for general audiences. Origin stories can be nightmares, filled with endless exposition and scene setting, but, for the most part, director Andy Muschietti keeps things moving along. Perhaps not with his star’s superspeed, but at a good clip. You don’t need a roadmap to follow the multiverse aspect, so ever-present in superhero movies nowadays, and Barry’s personal story is both entertaining and emotional.
Part of that is the casting. Miller is wonderfully cast as the title character. He brings both a well-defined silliness and deep inner life to his dual portrayal of Barry as both an adult and a teenager. I can’t tell whether a crack he delivers early on to a victim of a large scale disaster—”You should seek the help of a mental professional,” he says. “The Justice League is not very good at that… trust me.”—is meta, given Miller’s recent, very public issues, or if it is wildly inappropriate. Either way, it is the film’s only reference to Miller’s well-reported off-screen behavior, and a rare misstep in the film’s carefully crafted first half.
It’s when the movie becomes larger and louder that it loses some of its charm. The appearance of Zod, complete with some dodgy CGI, raises the stakes but shifts focus from the film’s heart and soul, which is Barry’s quest to save his mother. The big showdown is a staple in superhero movies, but “The Flash” works best when it is character driven. In this case, bigger is not always better.
Oversized or not, “The Flash” is entertaining with nice little details, like how Barry has to eat high calorie food to fuel his superspeed and a wild baby shower. Literally, a shower of babies falling from the sky. As a buddy movie—Barry and Barry are an odd couple of a sort—it gets dark without surrendering to the ennui that has cast its shade over so many of the other DC movies.
The result is a film that provides action, warmth and nostalgia—It’s worth the price of admission to hear Keaton say, “Yup. I’m Batman.”—and a few genuine surprises (NO SPOILERS HERE!).
“The Blackening,” a new horror satire now playing in theatres, answers a question never before addressed in a horror film. In the world of modern slasher films, the Black characters are always the first to die, so this new film asks, “How would that change if the entire cast is Black?
Set on a Juneteenth weekend at a remote Airbnb in the middle of nowhere, the story begins with party hosts Morgan (Yvonne Orji) and Shawn (Jay Pharoah) prepping the house in advance of their guest’s arrivals. In the Game Room they find a game called The Blackening, with a Monopoly-style design around a racist blackface caricature in the center of the board.
Shocked by the game’s iconography, they are even more shocked when the game demands they answer a series of questions, or they will be killed. They play along until Shawn gets a question wrong, and things quickly go south.
Cut to the others as they make their way to the cabin for a weekend of “reckless, unadulterated fun.” Lawyer Lisa (Antoinette Robertson), her BFF Dewayne (Dewayne Perkins, who co-wrote the script), Allison (Grace Byers) and former gang member King (Melvin Gregg) are in one car. Arriving separately are the boozy Shanika (X Mayo), Lisa’s on-and-off boyfriend Nnamdi (Sinqua Walls) and Clifton (Jermaine Fowler), an oddball who says he was invited by Morgan, but no one seems to know him.
As the night wears on weird things start to happen. Doors open by themselves and strange characters appear in the shadows. Not that anyone notices… at first. Dewayne is high on MDMA while everyone else, save for Clifton, plays the card game Spades.
The drinks flow as the old friends gets caught up, and soon the attention turns to the Game Room and the unusual game Morgan and Shawn played hours earlier before their disappearance. With the remaining guests crowded around the board, the game begins to talk and taunt. “If you answer my questions correctly you will live,” the game says, “and Morgan will be released. Get one wrong and you will die.”
As the game asks questions like “Name five Black actors who appeared on ‘Friends,’” it becomes clear the danger is real, and there are consequences for their answers. This is not just a board game, it is a game of survival. As panic sets in, the group has to make a crucial decision. Do we stay together or split up and try and get help?
“The Blackening” borrows tropes from familiar slasher movies. The remote cabin in the woods is a classic location, we meet a couple redneck hillbillies at a gas station and there’s more than a hint of “Saw” on display. But what the movie does is take those elements and use them through a lens to explore Blackness, racism and popular culture. It’s a movie loaded with subtext, one that uses the genre to speak to issues that confront Black people every day.
In its examination of stereotypes and prejudice, from within and outside of their group, the movie tackles big topics but does so with a great deal of humor and some real suspense. The allegories may be more effective than the actual gore, but despite the light touch with the bloody violence, “The Blackening” achieves something special and interesting within its genre.
As one half of Hipgnosis, Aubrey “Po” Powell helped create some of the most indelible images of the 1970s. If you you love the album covers for Pink Floyd’s “Dark Side Of The Moon, “Band On The Run” by Paul McCartney and Wings and Led Zeppelin’s “Houses Of The Holy” join us tonight at the Scotiabank Theatre in Toronto (259 Richmond Street West) at 7:05 pm. I’ll be speaking to him about the stories behind these incredible album designs.
On this edition of the Richard Crouse Show we’ll meet Pete Sohn, director of the new Pixar film “Elemental.” He is an animator, voice actor, storyboard artist, and film director known for his work at Pixar as the director of 2015’s The Good Dinosaur. He has also been the voice of Emile in Ratatouille, Squishy in Monsters University, and Sox in Lightyear… he returns to the big screen with “Elemental,” a beautifully animated movie that takes place in a city where fire, water, land, and air residents live together. With that as a backdrop, a fiery young woman and a go-with-the-flow guy are about to discover something elemental: how much they actually have in common. The story is a fantasy, but has roots in Sohn’s family story.
We’ll also get to know Liz Locke. If you like cocktails and classic movies like I do, you’ll want to check out her site CinemaSips.com and then check out her debut novel “Follow the Sun,” a portrait of the 1960s International Jet Set Era through the eyes of an aspiring singer-songwriter.
And we’ll meet Emmy-award winning documentary filmmakers Dan Geller and Dayna Goldfine who have created a fascinating look at iconic Canadian singer and poet Leonard Cohen called “HALLELUJAH: Leonard Cohen, A Journey, A Song” that uses one of his most famous songs as a starting point. We’ll find out why one of Cohen’s most famous songs was rejected by his record company and more.
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!
“Transformers: Rise of the Beasts,” the globe-trotting seventh installment in the “Transformers” live-action film series, is both a sequel and a prequel. Set in 1994, it wedges the story between the events of “Bumblebee,” set in 1987, and “Transformers,” which takes place in 2007.
Primarily based on Hasbro’s “Beast Wars” storyline, it reboots the franchise with a new cast and a new tribe of Transformers.
The story begins as Noah (Anthony Ramos), an unemployed Brooklyn-based electronics expert, desperate for cash to help his ailing little brother, steals a silver-blue Porsche 964 Carrera RS 3.8. What he doesn’t realize is that the car is actually a rebellious Autobot named Mirage (voice of Pete Davidson) with the ability turn invisible and create illusions.
Meanwhile, while working at a museum on Ellis Island, artifact researcher Elena (Dominique Fishback) discovers a bird sculpture with unusual markings and the symbol of the Maximals, the mostly peaceful descendants of the Autobots. More fuel-efficient than their ancestors, with a cry of “Maximals, MAXIMIZE,” they transform into animals like a western lowland gorilla (Ron Perlman), a peregrine falcon (Michelle Yeoh), a white rhinoceros (David Sobolov) or a cheetah (Tongayi Chirisa).
Inadvertently engaging a key for interdimensional space travel, Elena attracts the attention of the heroic Optimus Prime (voice of Peter Cullen), the Maximals, the dark, planet-destroying god Unicron (Colman Domingo) and an evil subgroup of the Decepticons called the Terrorcons.
“Once I have this key,” snarls Unicron, “I alone will reign supreme.”
If the planet is to be saved, the Autobots, Maximals, Noah and Elena must join forces, travel to a remote village in Peru and secure the all-powerful key. “This is about the fate of all living things,” says Optimus Primal (Perlman).
“Transformers: Rise of the Beasts” delivers what fans expect from the franchise. The transformations from car-to-character are cool, the action scenes deliver the expected heavy metal punch, Optimus Prime is as stentorian as ever and the Maximals are underused, but pretty cool.
Director Steve Caple Jr. also adds in an appealing human element with the addition of Ramos and Fishback, and even the alien robots are imbued with a bit more soul—and in Mirage’s case, more personality—than usual.
It’s a shame then, that the simple story isn’t more interesting. The individual elements work well, in some cases better than in Michael Bay’s franchise instalments, but we’ve seen too many end-of-the-world scenarios in recent years. It may be Armageddon time, but familiarity breeds, well, maybe not contempt, but complacency. The stakes just don’t seem all that high because they’re hung on a predictable story with a generic superhero premise.
Having said all that, “Transformers: Rise of the Beasts” is a good time at the movies. Sure, it could use a little more air in the tires in the mid-section and there is way too much exposition as we reach the end game, but it delivers what matters to fans: rock ‘em, sock ‘em robot action writ large.
“I don’t think they’ve invented a word for what Dali is,” says a friend of the famous Spanish surrealist painter in the new film “Daliland,” in select theatres and streaming on VOD. Indeed, he leaves behind a complicated legacy.
By the 1970s, Dali was probably the most famous living artist in the world.Treating life like one never ending carnival, he was as famous for the surrealism and symbolism in his work as he was for his celebrated up-turned moustache and public hijinks, like walking an anteater on a leash for the paparazzi.
This story begins in 1974 as the jejune James (Christopher Briney) becomes Dali’s (Ben Kingsley) assistant. The innocent, former art school student idolizes the painter, but, as he is thrust into the eccentric artist’s decadent lifestyle, he learns there is trouble in Daliland. “Sometimes It can be so hard being Dali,” says the artist.
Dali’s complex relationship with wife Gala (Barbara Sukowa) complicates both the artist’s professional and personal life. More about money than marriage, she is her husband’s mother figure and muse, but also siphons his bank accounts to fund the musical aspirations of her latest boyfriend, Jeff (Zachary Nachbar-Seckel), a singer best known for his starring role in “Jesus Christ Superstar.”
As James becomes embedded in the sideshow that has become Dali’s life, he becomes aware of the fraud and backroom deals that keep the artist’s coffers stuffed with cash.
“Daliland” isn’t so much a biography of the artist, even though there are many biographical details on display, including flashbacks to his younger life where he is played by Ezra Miller. Instead, it is a portrait of a time, of the moment when fine art became commodified and artists became marketers as well as painters. As a personality, Dali was, arguably, more famous than his work, but it was his celebrity enabled him to charge more per painting, and, ultimately dupe people into buying fakes because of the demand for his name.
Director Mary Harron paints a vivid picture of the cult of celebrity, and the price Dali paid for the quest for fame. A once revered artist, he died famous, but with a tarnished legacy. His commitment to life as the greatest form of art—the parties, the publicity stunts, the hedonism, self-mythologizing, etc—overshadowed his true gift, his ability to create truly unique artistic works. Add to that, shady business deals and money generating scams, and you have a colorful story tinged with tragedy.
Kingsley embraces Dali’s larger-than-life, “you’re in the presence of genius,” side, but never simply plays the caricature. His performance centers the outlandish story with humanity, and as the character ages, empathy for the man behind the moustache.
“Daliland” features interesting work from Sukowa as the fiery Gala and Kingsley, but does a better job at essaying the decadence of this pivotal moment in art history than providing a complete portrait of its subject.
Storm Thorgerson and Aubrey “Po” Powell created some of the most famous images of the 1960s and ‘70s. Under their design company name Hipgnosis, they created album covers that often garnered as much attention as the music on the LPs.
“Squaring the Circle (The Story of Hipgnosis),” a new documentary, directed by legendary photographer Anton Corbijn, and now playing In theatres, reveals the secret sauce that went into making classic covers like Pink Floyd’s “Dark Side of the Moon” and “Wish You Were Here,” Paul McCartney and Wings’ “Band on the Run” and Led Zeppelin’s “Houses of the Holy.”
Told first-hand by Powell, who describes the relationship with his late, prickly partner Thorgerson with great detail and love, the story begins in the late Sixties in the Cambridge, England art scene, and a friendship with the band Pink Floyd.
Falling into a career as a photographer, Powell took the cover photos for Floyd’s second album “Saucerful of Secrets,” while Thorgerson created the wild psychedelic images that framed the band’s pictures. The success of that collaboration led to the creation of Hipgnosis, a company name created as a portmanteau of “hip” for their new and cool approach, and “gnostic,” meaning “wise.”
Using new interviews with Peter Gabriel, Paul McCartney, Jimmy Page, Robert Plant, Noel Gallagher, David Gilmour and Roger Waters, combined with archival footage and interviews, Corbijn goes behind the scenes to reveal the fiery personalities and off-kilter creative process that made Hipgnosis so unique.
The creative inspiration seems to have sparked by the chalk and cheese relationship between Thorgerson and Powell. Powell admits upfront that he was almost as interested in the money as he was the art—“I just wanted to make money and be successful and do the things I wanted to do,” he says.—whereas Thorgerson was a spendthrift, who never let a budget get in the way of a good idea. That push and pull ultimately blew their relationship and company apart, but until punk rock came along, and their extravagantly art designed covers went out of style, the pair, despite their differences, created magic.
Along the way are great stories about how the giant, inflatable pig featured on the cover of Pink Floyd’s “Animals” album, drifted away from the shoot and landed in a farmer’s field, and how Thorgerson once offered Led Zeppelin a cover idea originally designed for Judas Priest. Then there is the story of “Wish You Were Here’s” burning man cover and the Wings Greatest Hits compilation cover, a photo of a small statue shot on location on a snow covered mountaintop in the Swiss Alps. “There was a lot of that in those days,” says McCartney, referring to the cover’s ridiculous cost. “We loved it. It looked great, but then someone said, ‘You could have just gone in a studio in London, and just got a big pile of salt and stuck the statue on top of it. But, you know, that’s just too easy.”
In the end it was changing tastes and shrinking record company budgets that brought the Hipgnosis era to a close, but, as one expert says, until that moment, they were a “lens of fascinating excess.”
Corbijn’s doc is straightforward, austere almost, with little of the wild excess or off-the-hook imagination that typified the work of its subject, but “Squaring the Circle” does do a great job of placing the album artwork in context of its time and timelessness. “There’s a great quote from someone,” says Gallagher, “’Vinyl is like the poor man’s art collection. The posh people have the art on the wall. Working class people have art on the floor, stacked against the wall.’”
On this episode of the Richard Crouse Show we meet novelist, editor, and creative writing instructor Amy Jones. She is the author of the novels Every Little Piece of Me (McClelland & Stewart, 2019) and We’re All in This Together (McClelland & Stewart, 2016), her third novel, Pebble and Dove, which is available now wherever fine books are sold.
