On the Saturday October 5, 2024 edition of the Richard Crouse Show we meet Zac Hanson, drummer for the 3x Grammy® Award-nominated, multi-Platinum pop-rock trio, Hanson. The band are celebrating the 20th anniversary of their landmark third album “Underneath” with a new expanded version of the album and a North American tour.
The, later in the show we’ll meet author Jennifer Whiteford. She writes regularly for Razorcake, a long-standing punk publication and was also a founding member of the “all girl, all rock” band Sophomore Level Psychology. With those rock ‘n roll days behind her, she says she now mostly stays home and reads and writes novels like her new one, “Make Me a Mixtape.” In the book a guarded punk-rocker-turned-barista meets a big-hearted sound tech who charms his way into her life and helps her revisit her musical past in this truly charming, cozy romance.
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’ll be hosting a screening and Q&A with Academy Award winning director Daniel Roher for the new documentary “Blink” at the Varsity Cinema (55 Bloor St W, Toronto, ON M4W 1A5) in Toronto on Saturday, October 5, 2024 at 7 pm.
Some info on the film: When the Pelletier family’s three children are diagnosed with a rare, incurable disease that leads to severe visual impairment, they choose to embrace the time they’ve been given by embarking on a round-the-world journey. At once heartwarming and heartbreaking, BLINK is an epic story of family, love, and living life to the fullest.
I wrote about the fantasy, obsession and the ordinariness of evil in the new, tuneful “Joker: Folie à Deux” for CTVNews.ca.
“After 2019’s “Joker” nabbed $1 billion box office dollars and a Best Actor Oscar for Joaquin Phoenix, a sequel was certain. What form that sequel would take, however, was less certain…” Read the whole thing HERE!
SYNOPSIS: In “Joker: Folie à Deux,” the musical sequel to 2019’s Oscar winning “Joker,” and now playing in theatres, Joaquin Phoenix stars as failed-comedian-turned-murderer Arthur Fleck. Incarcerated at Arkham State Hospital, he awaits trial for his crimes as Joker, when a chance encounter with Harleen “Lee” Quinzel (Lady Gaga) gives him a chance at finding true love.
CAST: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener, Zazie Beetz. Directed by Todd Phillips.
REVIEW: After 2019’s “Joker” nabbed $1 billion box office dollars and a Best Actor Oscar for Joaquin Phoenix, a sequel was certain.
What form that sequel would take, however, was less certain.
In the risk averse entertainment landscape that is 2024 Hollywood, one would have expected a continuation of Joker’s reign as Gotham City’s most unhinged agent of chaos.
Well, no one will accuse director Todd Phillips, and stars Joaquin Phoenix and Lady Gaga of being risk averse.
For better and for worse, “Joker: Folie à Deux” mixes romance and show tunes with law and order in what may be the bleakest jukebox musical ever made.
Question is, Is the risk worth the reward?
From its animated 1950’s Looney Tunes style opening—a recap of the Joker’s killing of talk show host Murray Franklin (Robert de Niro) on live television—to its starkly staged musical numbers, it is a study in fantasy, the ordinariness of evil and obsession that is sure to deeply divide audiences.
Phillips, working from a script he co-wrote with Scott Silver, wedges big ideas about the commodification of Joker as an entertainment celebrity—underlined by the use of the tune “That’s Entertainment” from the 1953 musical “The Band Wagon”—obsession/delusion and betrayal, into a film that blurs the line between reality and fantasy.
It’s ambitious, like Bob Fosse’s “All That Jazz” filtered through a funhouse mirror, but it’s also frustrating. Frustrating in the sheer volume of underwhelming musical numbers that feel jammed into the story, in its laboured courtroom drama and its underuse of Lady Gaga.
The musical numbers are mostly fantasy sequences and vary from full production numbers to intimate renderings of love songs. Each tune acts as a substitute for dialogue or an inner, emotional soundtrack that only the characters can hear. When it works, it’s a neat trick, but often the songs feel a bit too on-the-nose, as in Gaga’s performance of “(They Long to Be) Close to You,” sung during a prison visit as a thick plate of plexiglass separates them.
The musical numbers are plentiful, performed with a lack of polish—because, the press notes say, neither Arthur or Hartley are professional singers—that works for the authenticity of the characters, but is less interesting for the audience. It’s a device, and, if used sparingly, it could have been a nifty one. As it is, however, when Arthur says, “I don’t wanna sing anymore,” near the end of the film, it seems like the best decision he’s made all along.
As Arthur/Joker, Phoenix transforms himself physically; his slight, bony frame a testimonial to the years of abuse Arthur suffered at the hands of his mother. However, when he puts on the Joker outfit—the garishly coloured suits, shirts and make-up—his shoulders square up and he becomes a different person. It’s an interesting shift and Phoenix embodies it, creating two characters from one source.
Unfortunately, Lady Gaga is given less to do.
The film’s broken heart is Lee’s attraction to Joker. In the film’s first hour, she’s a compelling character, a kind of Mansonesque follower whose curiosity with Arthur/Joker as a rebellious folk hero blossoms into the shared delusional disorder of the title (Folie à Deux). It’s a shame then, when she fades from view during the bulk of the courtroom scenes, discarded in favor of a focus on Arthur’s antics.
“Joker: Folie à Deux” is a bold comic book movie that breaks free of the shackles of the comic book genre, but in doing so blunts the power and the danger of its title character.
SYNOPSIS: In “Saturday Night,” a new show business biography from director Jason Reitman, and now playing in theatres, tensions run high as producer Lorne Michaels and his not ready for prime-time gang of young comedians count down the minutes until the first broadcast of “Saturday Night Live” on Oct. 11, 1975.
CAST: Gabriel LaBelle, Rachel Sennott, Cory Michael Smith, Ella Hunt, Dylan O’Brien, Emily Fairn, Matt Wood, Lamorne Morris, Kim Matula, Finn Wolfhard, Nicholas Braun, Cooper Hoffman, Andrew Barth Feldman, Kaia Gerber, Tommy Dewey, Willem Dafoe, Matthew Rhys, and J. K. Simmons. Directed by Jason Reitman.
REVIEW: “Saturday Night” captures the anxiety, the humor and the sheer nerve it took to get the first episode of “SNL” off the ground. Chaos reigns for much of the movie’s run time as producer Lorne Michaels attempts to wrangle an unruly cast, a drug addled host (a terrific Matthew Rhys as George Carlin), indecision and a network executive (Willem Dafoe) who may, or may not, order a Johnny Carson rerun to air instead of Michaels’s disorganized counterculture circus.
Reitman captures the behind-the-scenes action with a restless camera that never seems to stop moving, rat-a-tat-tat Arron Sorkin style fast talking dialogue and meticulous recreations of the iconic “SNL” set and sketches.
Reitman’s biggest storytelling accomplishment, however, may be that he imbues the film with a sense that everything may come crashing down at any second. We know it won’t, of course—“SNL” celebrates 50 seasons this year—but the threat of imminent collapse hangs over frame.
Michaels’s high wire act is the film’s engine, but it’s the insights into the cast that provide the key to deciphering what made the original 1975 cast so compelling.
Cory Michael Smith captures “SNL’s” first superstar Chevy Chase’s comic ability, fueled by talent, ego and bluster. Dylan O’Brien’s take on Dan Aykroyd is eerily accurate vocally and physically, and Matt Wood puts John Belushi’s troubled genius routine front and centre. Lamorne Morris plays Garrett Morris, the lone Black performer in the original cast, as a searcher, looking for purpose in a show that appears to be rudderless.
The women in the boy’s club, Ella Hunt as Gilda Radner, Emily Fairn as Laraine Newman, and Kim Matula as Jane Curtin, are given less to do, but each has a moment amid the chaos. Hunt gets Radner’s buoyant, sunshiny personality, Fairn is all eagerness as Newman and Curtain’s one-on-one backstage chat with Morris is a funny, yet poignant, conversation about her place in this cast. Cumulatively, they are at their best in a recreation of a sketch where the women, as construction workers, ogle and objectify Aykroyd.
The large ensemble cast is rounded out by a scene-stealing J.K. Simmons as Hollywood legend Milton Berle and “Succession’s” Nicholas Braun in the dual roles of Andy Kaufman and Muppet master Jim Henson.
The film’s soul comes courtesy of the pairing of Gabriel LaBelle and Rachel Sennott as Michaels and his wife and “SNL” writer, Rosie Shuster. “We may be married,” she says, “but I’m not your wife,” and it is their bond, in whatever form it takes, that grounds Michaels as everything appears to spin out of control.
“Saturday Night” is a love letter to show business. It’s high energy nostalgic fun, told in almost real time, that captures the tenacity of the creative mind and the beginnings of a cultural institution.
SYNOPSIS: While recounting her life as a fugitive in Nazi-occupied France, hiding in the barn of a classmate, a grandmother (Helen Mirren) gives her troubled grandson a lesson in the importance of kindness and compassion.
CAST: R. J. Palacio, Ariella Glaser, Orlando Schwerdt, Bryce Gheisar, Gillian Anderson, Helen Mirren. Directed by Marc Forster.
REVIEW: “White Bird” wears its heart on its sleeve. An elegant retelling of Grandmère Sara’s story, which originated as a 2019 graphic novel of the same name by R. J. Palacio, it is an earnest testament to the power of imagination and kindness to overcome wickedness.
It’s a Holocaust story told from the point of view of two young people, Sara Blum (as played by Ariella Glaser) who is separated from her parents when the Nazi take over their town, and Julien Beaumier (Orlando Schwerdt) a compassionate youngster with polio who rescues her and hides her away in his parent’s barn. Their bravery in the face of events they can barely understand, let alone control, is moving as this pair of innocents are forced to grow up very quickly.
It’s in the other stuff that the film reveals its origins in young adult literature.
There are several scenes of brutality and violence as the Nazis invade the village and abduct young Jewish students, but director Marc Forster hasn’t made a war film. Instead, he’s made a plea to choose kindness over hatred set against the backdrop of World War II.
The result is a retrained, gently paced character driven tale in need of more urgency.
Forster does a good job of displaying how small gestures can remind us of our humanity in troubled times, but he allows thew cinematic aspects of the storytelling—for example, Sara and Julien’s imaginary travels as an antidote to the world around them—to slow the movie to a crawl.
Much of it looks lovely, and, as an act of kindness, those scenes are on theme, but the flights of fancy plod along, taking away from the more dramatic elements the story has to offer. Danger should hang over every second of Sara’s life, and yet, aside from a scene or two, here is no real sense of peril.
“White Bird” contains potent and timely “Vive l’humanité” messages about compassion—although they are expressed by French villagers, who, by and large, sound like posh BBC broadcasters—and is occasionally touching but doesn’t hit hard enough.
On the Saturday September 28, 2024 episode of The Richard Crouse Show we get to know Mike Downie, director of “The Tragically Hip: No Dress Rehearsal,” the definitive four-part documentary series about the band who, as the programmers of TIFF noted earlier this year, “went on to make music that defined Canada to the world and, more importantly, Canada to Canadians.”
The four-hour Amazon Prime docuseries combines never-before-seen archival footage with new interviews with the band, family, friends, and famous fans including Will Arnett, Dan Aykroyd, Jay Baruchel and Geddy Lee, to create a joyful and moving look at The Tragically Hip, their music and the personal tragedies that defined the band.
It’s the story of a band of brothers, produced and directed by Mike Downie, brother of the band’s frontperson Gord Downie.
Then, we meet Maisy Stella and Megan Park, the star and director respectively of “My Old Ass,” a wonderful coming-of-age story about a free-spirited teen whose birthday mushroom trip brings her face-to-face with her 39-year-old self, played by Aubrey Plaza, who delivers some choice advice and words of warning that transform her relationships with her family and friends.
Finally, Divesh Subaskaran stops by. He’s the star of “Life of Pi” currently on stage at the CAA Ed Mirvish theatre in Toronto. Based on the best-selling novel, this story of adventure and discovery is an epic journey about a young man who survives a disaster at sea and forms an unexpected connection with another survivor: a fearsome Bengal tiger. We’ll find out what it is like to do this demanding show night after night and why his acting teacher at RADA—the Royal Academy of Dramatic Arts—told him he should behave like a rockstar.
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 appear in a CTV National News report by Paul Hollingsworth on the life anbd legacy of ‘Harry Potter’ and ‘Downton Abbey’ actress Maggie Smith who has died at the age of 89.
On the Saturday October 5, 2024 edition of the Richard Crouse Show we meet Zac Hanson, drummer for the 3x Grammy® Award-nominated, multi-Platinum pop-rock trio, Hanson. The band are celebrating the 20th anniversary of their landmark third album “Underneath” with a new expanded version of the album and a North American tour.
