The “My Big Fat Greek Wedding” franchise is baklava in theatres this weekend, bringing with it some familiar faces—Nia Vardalos and John Corbett return as married couple Toula Portokalos and Ian Miller—and a load of Grecian-Americans stereotypes. Question is, on the third outing, is there anything fresh left for the franchise to say or is it a Greek tragedy?
Twenty-one years ago the original “My Big Fat Greek Wedding” told the silly and saccharine story of happy couple Toula and Ian. “There are three things that every Greek woman must do in life,” says Toula in that movie, “marry Greek boys, make Greek babies, and feed everyone.”
That Ian wasn’t Greek was a problem, but nothing that couldn’t be overcome with some slapstick and sweet-natured good humour.
Two movies later, the light tone continues, but the family is mourning the loss of Portokalos patriarch Gus (played by the late Michael Constantine in the first two films), a man so proud of his heritage that he can trace any word back to its origins in Greek… even the word kimono.
In death, he’s still proudly Greek, leaving behind a last wish that his family visit his childhood village and reconnect with their roots. At the family reunion Toula and Ian, with daughter Paris (Elena Kampouris) and Aunt Voula (Andrea Martin) in tow, explore the village, meet Gus’s old friends and pass along a journal he wrote about his life’s journey.
“This is one reunion we’ll never forget,” says Toula.
They may never forget the reunion, but the film is not memorable. The original movie was sublimely silly with just enough naturalism to keep the story earthbound.
Those days are gone.
If the good old Funk & Wagnalls was illustrated, the definition of the term “broad” could easily be accompanied by the poster for “My Big Fat Greek Wedding 3.” Everything about Vardalos’s film—she wrote, directed and stars in it—is stretched and overblown. Whether it is the humor, the cloying sentiment or the manipulative undertones of nearly every scene, it is all played so broadly it’s amazing she didn’t have to shoot the whole thing with a wide-angle lens to capture the puffed-up vastness of it all.
It’s a shame because there are some intimate moments that, if played with even a hint of restraint, could have pulled at the heartstrings. Instead, we get souvlaki jokes, banal schmaltziness and choppily edited tourism bureau style footage. Also (SORTA KINDA SPOILER), this may be the first film with the word “Wedding” in the title, to have a wedding, but not show the actual ceremony.
Still, franchise fans may get a kick out of spending some time with familiar characters. Andrea Martin has all the best lines, and the cast performs with enthusiasm. But is enthusiasm enough? Nope, but “My Big Fat Greek Wedding 3,” for better and for worse, much worse, tries harder than any other movie this year to make you love it.
“American: An Odyssey to 1947,” a new documentary from director Danny Wu now on VOD, combines the artistic and ethical to form an intriguing portrait of the turbulent political landscape of the mid twentieth century in the United States.
The film’s first half focusses on director Orson Welles, the wunderkind who, after taking the New York theatre world by storm in 1936 by staging a version of Shakespeare’s “Macbeth” with an entirely Black cast and creating a nationwide sensation with his radio adaptation of “The War of the Worlds,” moved to Hollywood and made one of the greatest films of all time, “Citizen Kane,” all before the age of twenty-five.
Although familiar to film fans, the story of how “Citizen Kane” landed in the crosshairs of newspaper magnate William Randolph Hearst is recounted here. The specifics of how the influential newspaperman used his political sway to torpedo the film and Welles’s Hollywood career, are intertwined with details of the director’s growing involvement in politics and progressive causes.
In 1947, with the House of Unamerican Activities showing more interest in him than Hollywood, Welles decamped for Europe. “America is not as happy with me as I am with it,” he said.
Wu then broadens the film’s focus to report how key moments of the time, the New Deal, World War II, the bombing of Hiroshima and racial injustice, played a part in shaping Welles’s political and personal life. Dropping the Hollywood biopic feel of the first half, Wu integrates the stories of Hiroshima survivor Howard Kakita, Isaac Woodard, an American soldier and victim of racial violence and Satsuki Ina, a psychotherapist born in an internment camp.
Disjointed though they may feel from time to time, these testimonials provide historical perspective and context for the over-arching look at the formation of Welles’s political awakening. Their stories are compellingly told, painting a grim picture of the hardship and inequity that informed the political climate of the time by expanding the micro to the macro.
What emerges is a portrait of an artist, influenced by world events, steadfast in his beliefs, even when those opinions threatened his career.
In “American: An Odyssey to 1947” Wu does a good job of setting up time and place, and even though the shift from career retrospective to the personal stories isn’t smooth, the film finds its balance to become an interesting, inventive recontextualization of a well-documented life.
Here’s my contribution to the Toronto Star’s Annual Chasing the Buzzpoll which polls critics and taste makers on the most anticipated films at the fest!
“Perfect Days is a contemplative movie that examines the simple pleasures in life. Music, literature and nature are showcased, but this poetic, profound film celebrates finding contentment in all aspects of life.” WILD CARD: Mr. Dressup: The Magic of Make Believe
I’m hosting a special event during the Toronto International Film festival at The Hazelton Hotel, the only Forbes Five Star independent boutique hotel in Canada located in the heart of Yorkville, to rename their state-of-the-art screening room as the Norman Jewison Cinema in celebration of the iconic Canadian filmmaker.
The Hazelton Hotel, the only Forbes Five Star independent boutique hotel in Canada located in the heart of Yorkville, today unveiled plans to rename their state-of-the-art screening room as the Norman Jewison Cinema in celebration of the iconic Canadian filmmaker. Since opening its doors in 2007, the hotel has been a hub for the film and entertainment industry. With recent renovations and new DCP projection capabilities, the hotel remains the premier destination for exceptional cinematic experiences and events.
Today, The Hazelton Hotel confirms their continued commitment to cinematic arts and is honoured to recognize director Norman Jewison, whose films (which include Moonstruck, Jesus Christ Superstar, Fiddler on the Roof and In The Heat of the Night) have collectively received 46 nominations and won 12 Academy Awards®. The Norman Jewison Cinema aims to celebrate his many contributions to the film industry, including founding the Canadian Film Centre in 1988.
“I am pleased to have this beautiful cinema at The Hazelton Hotel in Toronto named in my honour. There is nothing better than watching a film on the big screen! I’d like to thank everyone at The Hazelton Hotel for this generous tribute” said Norman Jewison of the recognition.
The Norman Jewison Cinema will be officially unveiled on Monday, September 11 during the Toronto International Film Festival when The Hazelton Hotel hosts an exclusive
private event. The hotel anticipates high-profile guests from the global film and entertainment industry and previous collaborators of Jewison’s to be in attendance.
“Norman is a national treasure that has always made Canada his home and yet had global success as one of the great directors of all time. He is beyond an inspiration and mentor that has inspired some of the most iconic cinematic storytelling” says filmmaker Barry Avrich who facilitated the theatre naming.
“The Hazelton Hotel’s iconic cinema is an exquisite venue that offers an unparalleled experience which we firmly believe aligns with Norman Jewison’s legendary career” says Gaurav Dutta, General Manager at The Hazelton Hotel. “We are honoured to dedicate this one-of-a-kind cinema to such a distinguished filmmaker.”
The Norman Jewison Cinema is a one-of-a-kind luxurious venue those looking to highlight
a private celebration in style and features:
25-seat private cinema.
Adjoining event space with a capacity of up to 50 guests, reception-style.
All-new DCP projection capabilities, Dolby® surround sound, and a stunning 300-inch screen with full soundproofing.
Culinary excellence for your event, including tailored menus created by ONE Restaurant.
On the September 2, 2023 Best of Richard Crouse Show, we’ll hear from EDM superstar Moby on what it was like to live next door to someone he calls the greatest musician to ever live. I’ll speak to an actor who was nominated for an Academy award, even though his whole role only consists of 17 lines… but I guarantee you’ve quoted one of them. We’ll hear from everyone from the band Cheap Trick and Johnny Rotten to Rick Mercer and many more!
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:
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Click HERE to catch up on shows you might have missed!
