Presented by The Revue Cinema in partnership with the American Cinematheque, ‘Bleak Week: Cinema of Despair’ is an annual film festival showcasing some of the greatest works of cinema!
This inaugural Toronto edition of Bleak Week includes 13 films, hailing from 5 countries, including 35mm prints, restoration premieres and various in-person appearances by some our favourite filmmakers of stark cinema. #BleakWeek
I’m hosting a screening of the cult Canadian apocalyptic black comedy-drama #LastNight and a post film Q&A with director Don McKellar at The Revue Cinema (400 Roncesvalles Ave. in Toronto) on June 1!
On the Saturday May 30, 2026 edition of the Richard Crouse Show we meet Andrew Lownie, renowned royal biographer and literary agent. A Cambridge history graduate and President of the Union, Fellow of the Royal Historical Society, and founder of the Andrew Lownie Literary Agency, he’s known for his meticulously researched biographies that have reshaped our understanding of key 20th-century figures. His previous works include the acclaimed Stalin’s Englishman on Guy Burgess, The Mountbattens, and Traitor King on Edward VIII. His latest book, Entitled: The Rise and Fall of the House of York, is already being called one of the most explosive royal biographies in years.
Today we’re talking about his latest book, “Entitled: The Rise and Fall of the House of York,” a book The Times called, “A catalyst for Andrew’s de-princing.” It is first joint biography of the Duke and Duchess of York, that’s Andrew Mountbatten-Windsor, formerly Prince Andrew and Sarah Ferguson, and the first full biography of either of them.
Chronicling their lives in parallel, the picture that emerges is of a spoilt prince unable to connect and a duchess pushed by her insecurities into a desperate need to maintain the attention her ‘royal’ status brought. Rigorously researched and packed full of revelations, this is a royal biography Camilla Long, writing in the Sunday Times called, “a case for revolution.”
Then, we meet Niagara-based wine, food, and travel expert Magdalena Kaiser. Daughter of the late Karl Kaiser (co-founder of Inniskillin Wines), she grew up immersed in Ontario’s wine scene—starting with tours and tastings as a teen and even helping bottle wine at age five. She serves as Director of Public Relations for Wine Country Ontario (formerly Ontario VQA), where she has spent the past 15+ years elevating the region’s international profile through media, trade, and export initiatives.
Today we talk about her new book “Niagara Wine + Food: Signature Recipes from Ontario’s Iconic Terroir—A Cookbook” which highlights the region’s terroir, varietals, and unique features, and profiles 44 of the region’s best and most promising producers alongside 88 delectable wine-pairing recipes featuring iconic wine styles from the region.
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!
All iHeartRadio Canada stations are available across Canada via live stream on iHeartRadio.caand the iHeartRadio Canada app. iHeartRadio Canada stations are also connected through Alexa, Siri, and Google Home smart speakers.
I join CTV NewsChannel anchor Akshay Tandon to talk about the new releases in theatres, including the World War II drama “Pressure,” the romantic crime drama “Tuner” and the existential horror of “Backrooms.”
Fast reviews for busy people! Watch as I review three movies in less time than it takes to brush your teeth. Have a look as I race against the clock to tell you about the World War II drama “Pressure,” the romantic crime drama “Tuner” and the existential horror of “Backrooms.”
After years of hearing that movie theatres were dying, Richard Crouse and Sarah Hanlon ask whether the big screen is having a real comeback… and what that means for Canadian cinema.
This week on Entertainment Is Broken, Richard and Sarah talk about younger audiences returning to theatres, the magic of indie cinemas, and why watching a film with strangers still hits differently than streaming it alone on the couch.
They also dig into the growing momentum behind Canadian films like Little Lorraine, Blue Heron, Nirvanna: The Band, The Show, The Movie, Undertone, and more… plus the importance of community theatres like The Revue, The Fox, The Plaza, and other independent spaces across the country.
Also discussed:
Canadian horror, Ginger Snaps, Black Christmas, post-pandemic moviegoing, theatre as a third space, and why some films simply need an audience.
Because maybe theatres aren’t dead after all. Maybe they were just waiting for us to remember why we loved them.
SYNOPSIS: In “Tuner,” a new drama starring Leo Woodall, and now playing in theatres, a piano tuner with perfect pitch and very sensitive hearing, played by Leo Woodall, discovers his talents are good for more than just tuning pianos when his mentor Harry (Dustin Hoffman) gets hit with massive medical bills.
CAST: Leo Woodall, Havana Rose Liu, Lior Raz, Tovah Feldshuh, Jean Reno, Dustin Hoffman. Directed by Daniel Roher,
REVIEW: “Tuner’s” takes familiar genres, the rom com and crime thriller, mixes and matches them to create something fresh and new.
Leo Woodall stars as Niki, a former piano prodigy whose career was cut short by hyperacusis, a condition that requires him to wear headphones and hearing aids to protect his ears from the aural onslaught of everyday life.
While working with veteran piano tuner and mentor Harry (Dustin Hoffman), Niki meets and falls for composition student Ruthie (Havana Rose Liu). His life is complicated when Harry falls ill and can’t pay his medical bills. Wanting to help, Niki uses his finely tuned hearing to help a group of safe crackers for cash, a dangerous side gig that threatens his romance with Ruthie.
What begins as a surrogate father and son story becomes a crime drama with a romantic twist.
Academy Award winner Daniel Roher‘s narrative filmmaking debut is a character driven piece centered around a star-making performance from Woodall. He’s all understated charm as Niki, but this isn’t simply a story of a good guy who gets in over his head. Roher, who also wrote the script with Robert Ramsey, crafts a finely tuned tale of the pursuit of perfection, loyalty and conquering life’s limitations.
It’s jaunty and playful, with a great deal of charm, much of which stems from the performances.
Woodall, best known for season two of ”The White Lotus” and the romantic comedy “Bridget Jones: Mad About the Boy,” does career best work, bringing charisma to an unconventional leading man role.
Liu elevates Ruthie from love interest to a fully rounded character while Hoffman provides warmth via his reliably ruffled persona.
“Tuner” is a low key, character driven movie that makes the most of its disparate elements to form a cohesive whole.
SYNOPSIS: In “Pressure,” a new World War II drama starring Andrew Scott and Brendan Fraser, and now playing in theatres, a meteorologist plays a vital role in the scheduling of the largest amphibious assault in history.
CAST: Andrew Scott, Brendan Fraser, Kerry Condon, Chris Messina, Damian Lewis. Directed by Anthony Maras.
REVIEW: A study of courage in the face of uncertainty, “Pressure” is a ticking clock drama that takes a well-known historical event and infuses the story with suspense and high-stakes intensity.
Based on true events, “Pressure” takes place in the 72 hours leading up to D-Day in June 1944. The planned Allied forces’ amphibious invasion of Normandy, France is the largest seaborne invasion force in history, but there’s a catch.
“All the pieces are in place,” says Supreme Allied Commander Dwight D. Eisenhower (Brendan Fraser). “The only imponderable is the weather.”
Unpredictable weather in the form of two aggressive storms threaten to scuttle the mission.
“If you invade tomorrow,” says Britain’s tenacious chief meteorologist, Captain James Stagg (Andrew Scott), “they’re going to be washed away.”
As Stagg attempts to convince the brass that moving ahead will come with the cost of thousands of lives, the ultimate decision lies with Eisenhower.
“The final decision on the timing of D-Day,” he says, “will be mine and mine alone.”
The wrong decision not only puts lives in jeopardy, but also the fate of the free world.
“The storms that I’m talking about are real,” says Stagg. “And the wrath of nature is real.”
“Pressure” is all about the weather and whether or not to postpone D-Day. It is a war epic, but only in the sense that the decisions made by Stagg and Eisenhower are epic in their scope. The movie itself is a rather intimate retelling of events that doesn’t bother diving deep into the inner lives of its characters.
Instead, the characters are broken down into stereotypes. Andrew Scott leaves behind his “Fleabag” Hot Priest persona to play Stagg as a meticulous meteorologist, uncompromising and curt. He does good work, bringing a quiet, internalized intensity to Stagg that effectively conveys the character’s coiled confidence.
As Eisenhower’s aid and left-hand Captain Kay Summersby, Irish actress Kerry Condon acts as an anchor, emotionally grounding her boss as he makes world altering decisions.
Chris Messina as Irving P. Krick, the American meteorologist who butted heads with Stagg, is brash, if a little bland.
It’s with the casting of Brendan Fraser as Eisenhower that the movie runs into stormy weather. Physically imposing, he opts for melodrama over gravitas, a choice that runs counter to the stoic real-life character.
Dialogue driven, “Pressure” is a chamber piece that values its intimacy over action but occasionally veers into theatricality.
SYNOPSIS: In “Backrooms,” a new psychological thriller starring Chiwetel Ejiofor and Renate Reinsve and now playing in theatres, a man finds a portal to a strange reality.
CAST: Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett, Lukita Maxwell. Directed by Kane Parsons.
REVIEW: The Kafka-esque story of “Backrooms” centers on wannabe architect Clark (Chiwetel Ejiofor), a broken man with a broken marriage, reduced to sleeping in a bedroom display in his furniture store.
The action begins when a mysterious portal appears in the basement of his store. Behind the portal are a maze of dingy rooms, with all the charm of an abandoned call centre, that could easily be as big as the New York subway system. “I’ve been here every night since I found the place,” he says, “and I still barely scratch the surface.”
Intrigued, Clark disappears into the otherworldly labyrinth of identical yellow rooms prompting his therapist, Dr. Mary Kline (Renate Reinsve) to enter the nightmarish nest of rooms to find and rescue him.
With a dollop of David Lynch and a surreal slice of “Severance,” “Backrooms” defies easy explanation. “Nothing in recorded history means more than this,” says Phil (Mark Duplass), “but I don’t understand it.”
And neither do I.
An introspective exploration of the effects of difficulty of escaping destructive personal patterns, the film uses a hellscape of endlessly connected rooms, the likes of which would make M.C. Escher’s head spin, that appear to be manifestations of “everyplace that ever was.” Each interconnected space represents Clark and Mary’s fears, and the unbroken loop of dysfunction and victimhood which define their lives.
At least that’s what I think it’s about. You may disagree.
What we may agree on, however, is director Kane Parsons’s effective use of an anxiety inducing score and sound design to accentuate the growing sense of dread.
That feeling is enhanced by Chiwetel Ejiofor and Renate Reinsve who anchor the story, with vulnerability and quiet intensity.
“Backrooms” is unique, introspective, psychological horror that relies on anxiety over jump scares.
