For an avenging angel, a righter-of-wrongs, it seems the work is never done. Take the world-weary Robert McCall, (Denzel Washington) former government assassin turned protector of the exploited and oppressed in “Equalizer 3,” for instance. After taking a bullet on the job, he takes time out to recuperate in a Southern Italian village. As he ponders his own salvation over a cup of tea in a local cafe, he tells people he’s retired from “government work,” and settles in to enjoy a quiet life in his new home.
Trouble is, violence seems to follow this guy around like a trained puppy.
The trouble comes in the form of Vincent (Andrea Scarduzio), a mafia kingpin looking to take over the town and establish a base for his operations.
“What happens here,” says McCall’s new friend Enzo (Remo Girone), “happens in many towns. The mafia. They’re a cancer. No cure.”
Not one to accept threats and extortion as a way of life, McCall sends a warning.
“Whatever it is you and your friends do,” he says, “do it somewhere else.”
“You warning me?” says Vincent’s brother, mafia tough guy Marco Quaranta (Andrea Dodero).
“I’m preparing you.”
Meanwhile CIA agent Emma Collins (Dakota Fanning) is hot on McCall’s trail, trying to figure out the question at the heart of the movie: Is Robert McCall a good guy or a bad guy?
“The Equalizer 3” is a revenge story, plain and simple, tarted up with some talk of salvation, but let’s face it, this is “Death Wish” with nicer scenery. McCall slices and dices his way through the mafia crime family, a vigilante on a mission.
When director Antoine Fuqua, working with a script by Richard Wenk, isn’t staging homages to “Spartacus” and “Godfather 3,” he’s setting the stage with stock characters. The Italian villagers are good, honest salt-of-the-earth types. The baddies aren’t memorable, just extra evil, with no redeeming features. You don’t need white hats and black hats to tell who is who in this movie.
Into this mix comes McCall, an unwieldy mix of ruthlessness and benevolence. He’s there to give the bad guys what they’ve got coming, and it is the promise of his handiwork—decapitations, impalement, broken bones etc—that gives the movie its forward momentum.
But it’s Washington who delivers the satisfaction in the film’s scenes of gory revenge. There’s lots of revenge movies out there, but they usually don’t have the special set of skills that Washington brings to the brutal character. From his soft-spoken threats and wisecracks to his carefully timed fights and search for solace, Washington and his trademarked movie star magnetism make the character far more complex than he actually is. McCall is essentially a serial killer, a violent fantasy of justice at any cost, but Washington’s charisma makes it feel cathartic rather than exploitive.
At a sleek 1 hour and 43 minutes, “The Equalizer 3” is an entertainingly efficient finale to the franchise that goes out with a bang. Literally.
Cry nepotism all you like, but “You Are So Not Invited to My Bat Mitzvah,” now streaming on Netflix, transcends its Sandler family affair roots. What was clearly meant to be a showcase for comedian Adam Sandler’s youngest daughter Sunny, is, in fact, strengthened by the alleged nepotism.
A funny and heartwarming look at growing pains and friendship, the movie is made more relatable by its family vibe and a breakout performance from the so-called “nepo-baby.”
Adapted from Fiona Rosenbloom’s 2005 young adult novel of the same name, “You Are So Not Invited to My Bat Mitzvah,” stars Sunny Sandler and Samantha Lorraine as Stacy Friedman and Lydia Rodriguez, 12-year-old best friends navigating school, first crushes and their impending Bat Mitzvahs. Stacy spends her time practicing her Torah readings and prayers, planning her elaborate Bat Mitzvah (she wants a virgin mojito bar) and thinking about her secret, but all-consuming crush, on Hebrew school tween heartthrob Andy (Dylan Hoffman).
“Do you realize that one day he will be mine and you’ll have a cool boyfriend too,” Stacy says to Lydia, “and then we’ll have a joint wedding and move to adjoining lofts in Tribeca?”
“In Taylor Swift’s building!” adds Lydia excitedly.
Their girl-power bond is strained when Lydia’s reaction to Stacy’s failed attempt at impressing Andy only makes the humiliating situation worse. Their lifelong friendship is further tested when Lydia begins hanging out with the cool crowd and is cleaved into pieces when Stacy catches Lydia playing kissyface with Andy at a party. The lip-lock changes everything, including their long-held plans for their Bat Mitzvahs.
“You Are So Not Invited to My Bat Mitzvah” is a charming coming-of-age story that breathes the same air as “Are You There God? It’s Me, Margaret.” Like Judy Blume and John Hughes, director Sammi Cohen avoids any hint of nostalgia. This is a timeless, yet of the moment look at the all-or-nothing anxiety of adolescence, a time of heightened emotions, tight-yet-tenuous friendships and hard life lessons.
The film’s biggest strength are the leads, Sandler and Lorraine. Both hand in natural, effortless performances that capture the depth of their character’s friendship and fall-out. It’s often very funny and sometimes over-the-top, but every eye-roll and heartfelt moment feels authentic. It’s a breakout role for Sandler, who, after some small roles in her father’s films, proves she is capable of carrying a movie. Stacy changes over the course of the story, morphing from selfish preteen, to selfless friend. It’s not a new arc in young adult film, but Sandler pulls it off with humor and relatability.
The movie doesn’t break much new ground, the break-up-and-make-up story beats are somewhat predictable, but the sweet and sassy performances (including great supporting work by Sarah Sherman as the rambunctious Rabbi Rebecca) and genuine family vibe make “You Are So Not Invited to My Bat Mitzvah” a welcome addition to the Sandler Family catalogue.
A mix-and-match of “American Pie” and “Fight Club,” the new comedy “Bottoms,” starring “The Bear’s” Ayo Edebiri and “Shiva Baby’s” Rachel Sennot, and now playing in theatres, is a boisterous queer high school sex romp with an edge.
Edebiri and Sennot are Josie and PJ, best friends and high school outsiders desperate to catch the attention of cheerleaders Isabel (Havana Rose Liu), who also happens to be the girlfriend of the school’s star quarterback Jeff (Nicholas Galitzine), and Brittany (Kaia Gerber).
Ignored by the cool kids—there’s a rumor going around that they spent the summer in a juvenile-detention center—Josie and PJ form a plan to get cozy with their crushes. “We are literally at the bottom,” says PJ. “We have nowhere to go but up.” When the news breaks that a female student was assaulted by a rival football team member, they form a fight club.
“So, we teach a bunch of girls how to defend themselves,” says PJ. “They’ll be grateful. Next thing you know, Isabel and Brittany are kissing us on the mouths!”
Of course, an outlandish plan like this has outlandish and unexpected repercussions when a show of solidarity goes one step too far.
Unapologetically rowdy and rambunctious, but also cheerfully sweet and sensitive, “Bottoms” one of the funniest and bloodiest stories about the anarchy of adolescence to hit screens since “Heathers.” It follows high school movie tropes right out of the John Hughes handbook, but subverts each and every one of them to create something unexpected.
The idea of creating a fight club as a way to get girlfriends may be far out, but the premise is brought back to earth by Josie and PJ and their very understandable motivations. They want what every teenager wants; to be part of the crowd, to be popular and to have a special someone. In that context, “Bottoms” emulates many other teen comedies. Add some broken noses and bloodied lips and you get an off kilter, but genuine, look at life in the halls and classrooms of most every high school.
At the heart of it all are Edebiri and Sennot. Three years ago they starred in a Comedy Central digital series titled “Ayo and Rachel Are Single,” and their chemistry remains intact. Sennot (who co-wrote the script with director Emma Seligman) is brash and bold, mining the material for all its absurdity. Edebiri is more deadpan, a gentler presence who seems aware of the absurdity of the situation.
For all its bravado, attitude and heightened humor, “Bottoms” is a remarkably insightful and introspective look at high school and female friendship. That it is also an unruly good time just adds to its quirky charm.
Sometimes called the “Stephen King of children’s literature,” R.L. Stine has inspired bad dreams for decades. The author of hundreds of horror fiction novels for youngsters, including the classic “Goosebumps” series, returns to the big screen this week with “Zombie Town,” a teen horror comedy based on his 2012 novel of the same name.
The action takes place on one eventful night in Carverville, a small town named after legendary b-movie horror director Len Carver (Dan Aykroyd). “This whole town is just a bunch of zombie following idiots,” grumbles Mike (Marlon Kazadi), the only guy in town who doesn’t like zombie movies.
It’s the eve of the premier of Carver’s latest “flesh drenched extravaganza,” his first film in decades. “You’ll laugh! You’ll cry! You’ll kiss your five bucks goodbye!” screams the film’s trailer. Everyone in town is excited except for Mike, who works at the theatre, and will have to watch the film whether he likes it or not.
When Carver takes ill before the show, the screening is cancelled, but Mike’s friend Amy (Madi Monroe) convinces him to give her a private screening. As white light bounces off the blank screen, strange things begin happening. Mike and Amy protect themselves from the weird glow with film cannister lids embossed with an ancient symbol.
The symbol’s mystical power protects them from the film’s magical spell, but outside the theatre, all over town, the good folks of Carverville have been transformed into the living dead. “You have to get over your fear of zombies,” Amy says. “It is just us and them now.”
Mike and Amy realize that if they are to save themselves and their town, they must track down Carver and put an end to his film’s zombie curse.
The zombies in “Zombie Town” may amble around with George A. Romero style menace, but this is no “Night of the Living Dead.” Thrills and chills are few and far between, pitched toward the younger end of the YA scares of “Goosebumps.”
Director Peter Lepeniotis aims for an Amblin PG-13 feel, that mix of plucky young people and the supernatural, but falls just short because the film has no real menace. Sure, the town has been zombified, but the peril and the frights are kept to a minimum. Raising the stakes and ramping up the horror may have given the movie more edge, without risking the alienation of the core audience.
It’s a bit of fun to see Aykroyd ham it up as the tormented filmmaker in “Zombie Town,” and cameos from Chevy Chase, Henry Czerny and “Kids in the Hall” alums Scott Thompson and Bruce McCulloch add some texture, but overall it doesn’t bring quite enough life to the undead.
From iHeartRadio: In the wake of ‘Barbenheimer’, there is perhaps more excitement surrounding the moviegoing experience than there has been in many years. But why does it feel like the film industry has been a bit lacklustre for the past while? Has the divide been film critics and audience grown, as critically acclaimed movies seem to get less attention than blockbuster Marvel-type films? And ultimately, what actually makes for a solid movie? Enjoyment, emotion, something thought-provoking, or all of the above? Renowned film critic Richard Crouse joins the podcast.
Welcome to Preconceived, a podcast where we examine the preconceptions that shape how we view the world and challenge the paradigms by which we have been conditioned to live our lives. We explore philosophical themes such as aging and the pursuit of happiness, examine practical issues such as mental illness and our political and economic institutions, and dive into more seemingly simple topics, such as how someone winds up with a body full of tattoos. The show is hosted by ophthalmologist Zale Mednick.
On the Saturday August 26, 2023 edition of the Richard Crouse Show we’ll meet Zalika Reid-Benta, an author who explores race, identity and culture through the lens of second-generation Caribbean Canadians in her work. The Columbia MFA graduate’s debut novel “Frying Plantain,” a series of interconnected stories featuring a young Black female protagonist, was on the 2019 Scotiabank Giller Prize longlist. Her new book is River Mumma, is an exhilarating contemporary fantasy novel about a young Black woman who navigates her quarter-life-crisis while embarking on a mythical quest through the streets of Toronto.
Then, we’ll meet Carley Fortune, an award-winning journalist who has worked as an editor at some of Canada’s top publications, including The Globe and Mail, Chatelaine, Toronto Life, and The Grid. She was most recently the Executive Editor of Refinery29 Canada. Her new book is called “Meet Me at the Lake,” a love story about secrets, lies, missed connections and second chances that is being called, “beautiful and heart-tugging.” It recently caught the eye of Meghan Markle and Prince Harry who bought the rights to the book as their first big screen adaptation of a novel.
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!
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Sometimes truth is truly stranger than fact. “Gran Turismo: Based on a True Story,” a new anything-is-possible movie, now playing in theatres, is the unlikely, but true, story of Jann Mardenborough, a gamer who defied expectations in the real world. “Listen son,” says his father Steve. “You think you’re going to play your stupid video games about cars, and you’re going to become a race car driver?”
When we first meet Jann (Archie Madekwe) he’s a nineteen-year-old underwear salesperson, who, when he isn’t selling briefs, spends his time playing Gran Turismo, a racing simulation video game that emulates the experience of elite car racing. He dreams of getting behind the wheel for real, but will his thousands of hours on the simulation translate to the real world?
He gets a chance to find out the answer to that question when Nissan motorsport executive Danny Moore (Orlando Bloom) proposes a wild marketing idea. He wants to gather the best Gran Turismo players, train them at Nissan’s GT Academy, and, under the watchful eye of crusty trainer Jack Salter (David Harbour), enroll them in real life races. The winners of the competition will earn a spot on Team Nissan and a “place in history.” Jann’s high scores catch Moore’s attention, and after a qualifying simulation, Jann is off to the races. Literally.
Despite initial setbacks, the disdain of pit crews and the other drivers who consider him a novelty, a simulation driver playing in the big leagues, Jann excels and finds himself pitted against Europe’s finest drivers.
“Gran Turismo: Based on a True Story” is essentially a series of races with some family drama, a hint of romance, some twisted metal and flying tires and heaping loads of product placement and sports cliches wedged in between. It’s a crowd pleaser with some fist-in-the-air moments, but emotionally, it’s on cruise control.
Director Neill Blomkamp never strays from the traditional underdog sports movie formula.
Mardenborough’s story is remarkable. Unfortunately, the telling of it isn’t as remarkable. It goes pedal to the metal on sports cliches—“I’m going to push you harder than you’ve ever been pushed before,” roars Salter.— and follows the same path to the big race as many others have taken before.
But sports movies are never really only about the sport. They are about universal themes, like, in this case, an underdog following his dreams. On that score, “Gran Turismo” works well enough. The story itself is manipulative, but when the movie is speeding around a track at 200 miles an hour, it is an exciting manifestation of Mardenborough’s dreams coming true. When the characters are talking, it is more a cavalcade of cliches and easy exposition.
Of course, there are exceptions. For example, Mardenborough listens to soft rock to psyche himself for races, leading Salter to bellow, “You take all that Kenny G anger and you release it.” It’s a good, funny line and it ranks up there with my other favorite movie line, “I’m from Waterloo, where the vampires hang out,” from “Blackberry” earlier this year.
It’s hard to dislike a movie as relentlessly upbeat as “Gran Turismo: Based on a True Story.” As the cars whiz around the track it is all forward momentum in service of the inspiring story. It’s just a shame that the human parts of the tale aren’t as immersive as the racing scenes.
