SYNOPSIS: In “Relay,” a new thriller now playing in theatres, Riz Ahmed plays Ash, a “bribe broker” who arranges payments between corrupt corporations and whistleblowers. Mysterious and meticulous, his carefully crafted set of rules go out the window when he falls for a client, former bio-tech company employee Sarah Grant (Lily James). With a high-tech investigation team on her trail, her life is in danger unless Ash can make a deal.
CAST: Riz Ahmed, Lily James, Sam Worthington, Willa Fitzgerald, Matthew Maher, Victor Garber. Directed by David Mackenzie.
REVIEW: A thriller that runs headlong into its suspenseful plot, only to stumble and fall in its last half hour, “Relay” does not stick the landing.
It begins with promise. The idea of a champion for whistleblowers is an intriguing one and as we learn the ins-and-outs of how the secretive Ash runs his business, the movie earns our attention. For instance, Ash, who lives in a shadow world, faceless and nameless, communicates with his clients via the Tri-State Relay Service, which uses an operator who converts text to voice and vice versa. It’s usually reserved for the Deaf community, but, because no records are kept of the transitions Ash uses it as a tamper-proof means of exchange.
It also allows for a running joke in a rather dry movie, as the relay operators sign off every call, no matter how contentious, with “Thanks you for using the Tri-State Relay Service. Have a wonderful day.”
There’s all the stuff of classic conspiracy thrillers; pseudonyms—like Archie Leach, which was Cary Grant’s real name—secret, fortified storage lockers and tense exchanges of information.
That’s all well and good, and director David Mckenzie even stages several twitchy scenes that amp up the suspense. When a set piece in Times Square that should have been a simple exchange of information erupts into chaos, Mckenzie visually captures the chaotic, dangerous nature of Ash’s business.
Later, a concert hall sequence put me in the mind of Brian DePalma, but soon afterwards the carefully constructed cat-and-mouse game falls victim to a plot upheaval—calling it a twist is too mild a term—that is as silly as it is predictable.
It’s a shame that the same film that allows Ahmed the chance to do such layered, interesting work with minimal dialogue chooses to put such a pedestrian cap on a story that began with so much promise.
SYNOPSIS: Ron Howard’s “Eden” is a star-studded—Ana de Armas, Vanessa Kirby, Sydney Sweeney, Jude Law and Daniel Brühl— story of backstabbing, ego and survival set against the unforgiving landscape of a deserted Galápagos Island. Based on a true story, it’s a heart of darkness tale done on an operatic level.
CAST: Jude Law, Ana de Armas, Vanessa Kirby, Sydney Sweeney, Daniel Brühl, Felix Kammerer, Toby Wallace and Richard Roxburgh. Directed by Ron Howard.
REVIEW: Based on a true story, “Eden” is an ambitious psychological thriller from director Ron Howard about a utopia that echoes the savagery and societal collapse of “Lord of the Flies.”
The film begins in the early 1930s with Dr. Friedrich Ritter (Jude Law) and his wife Dora Strauch (Vanessa Kirby) leaving the chaos of post-World War I Germany behind in favor of the solitude of Floreana Island in the Galápagos. Ironically, the misanthropic Ritter spends his days writing a philosophical manifesto about the betterment of humanity.
His dispatches to Europe attract the attention of the open-hearted Heinz and Margaret Wittmer (Daniel Brühl and Sydney Sweeney) who, much to Ritter’s annoyance, arrive with the hope of creating a community on the remote island.
Ritter’s solitude is further interrupted when the flamboyant Baroness Eloise Bosquet de Wagner Wehrhorn (Ana de Armas), and her two lovers land on the island with the idea of opening a luxury hotel on the beach.
A tale of survival, jealousy, betrayal, and violence, “Eden” is about the collapse of idealism. Director Ron Howard and screenwriter Noah Pink explore human nature through a jaundiced lens. The film takes its time escalating the power struggles that eventually erupt into violence, building tension as it does so, but a lack of energy in the film’s first half, as jealousy, deception, and betrayal blossom, makes our introduction to the story a bit of a slog.
Despite Jude Law’s full-frontal nudity and grotesque infected tooth, things liven up considerably when the larger-than-life Baroness and entourage show up. It’s a reset for the staid storytelling of the first half. Not only do her hedonistic ways alienate the island’s occupants, but she actively attempts to pit the Friederichs against the Wittmers. Her actions are the match to the powder keg, leading to the film’s more sordid aspects. The Baroness’s luridly glamorous presence adds some much-needed zip and Ana de Armas steals every scene she appears in with a deadly mix of charm and menace.
There is much to recommend in “Eden.” Gorgeous cinematography by Mathias Herndl and a tense score from Hans Zimmer go a long way to sell the story, but slack storytelling mars what could have been a fascinating trip to Floreana Island and the human condition.
I appear on “CTV News at 11:30” with anchor Andria Case to talk about the best shows and movies to watch this weekend, including the Crave historical drama “Outlander: Blood of My Blood,” the return of “Wednesday” on Netflix and the Netflix animated film for kids “Fixed.”
On the Saturday August 16, 2025 episode of The Richard Crouse Show we meet Patrick Tarr. He has over a decade of experience in the film and television world in Canada—currently he is the co-executive producer and writer of CBC’s “Saint-Pierre,” and he was the head writer and executive producer on CTV’s “Cardinal.” He’s also written for Saving Hope, Nurses, Cracked and The Colony, as well as Canadian institution Murdoch Mysteries to name a few.
Today we’ll talk about his television work, but I also want to tell you about his debut novel, “The Guest Children,” which is now available wherever you buy fine books. The book was inspired by the real-life thousands of “guest children,” British children who were sent to Canada during WWII to stay safe from the bombings.
Then, I don’t know if you’ve been watching the Billy Joel documentary on Crave called “And So It Goes.” It’s a fascinating and revealing two part look at the life and music of the “Just the Way You Are” singer, exploring love, loss and struggles that contributed to his songwriting.
As a companion to those documentaries, I dug into the archive and found an intercview I did a few years ago with Liberty DeVitto. As Billy Joel’s drummer from 1976 to 2003, he’s credited as drummer on records with sales of over 150 million copies. Do you love “Just the Way You Are”? That Liberty DeVitto. How about “She’s Always a Woman,” “Only the Good Die Young” “You May be Right” or “It’s Still Rock and Roll to Me”? All Liberty DeVitto. He’s what they call a New York City style drummer, solid and powerful. He also an author with a memoir called, “Liberty: Life, Billy and the Pursuit of Happiness,” available wherever you buy fine books. It details not only the good times with Joel, but also the bad… leading up to their split in 2006.
Today, I chose some excerpts from the interview to share an insider’s view of what it was like working with Billy Joel as he became a superstar.
Finally, I love going to live theatre, but I recently had a chance to experience it in a different way. “Back to the Future: The Musical” is now playing at the CAA Ed Mirvish Theatre in Toronto, and I was invited to not only see the show, but to visit the theatre, on stage and backstage, to chat with the show’s stars, DAVID JOSEFSBERG who plays Doc Brown and LUCAS v who brings Marty McFly to vivid life.
The show is based on the iconic 1985 movie “Back to the Future,” and sees Marty McFly accidentally change the course of history when he is transported back to 1955 in a time machine built by the eccentric scientist Doc Brown. He’s in a race against time to fix the present, escape the past, and send himself… back to the future.
I join “CTV News Toronto at Five” with guest anchor Zuraidah Alman to talk about new movies in theatres including Spike Lee’s “Highest 2 Lowest,” the action comedy “Nobody 2” and the crime drama “Americana.”
I join CTV Atlantic anchor Todd Battis to talk about Spike Lee’s “Highest 2 Lowest,” the action comedy “Nobody 2,” the music doc “It’s Never Over, Jeff Buckley”and the crime drama “Americana.”
Deb Hutton is off, so I sit in with host Jim Richards on NewsTalk 1010 to go over some of the week’s biggest entertainment stories and let you know what’s happening in theatres. We talk about KISS receiving a Kennedy Center Honor, Chubby Checker snubbing the Rock and Roll Hall of Fame and I recviuew “Nobody 2,” now playing on theatres.
I joined CTV NewsChannel anchor Roger Peterson to have a look at new movies coming to theatres, including Spike Lee’s “Highest 2 Lowest,” the action comedy “Nobody 2” and the crime drama “Americana.”
SYNOPSIS: In “Relay,” a new thriller now playing in theatres, Riz Ahmed plays Ash, a “bribe broker” who arranges payments between corrupt corporations and whistleblowers. Mysterious and meticulous, his carefully crafted set of rules go out the window when he falls for a client, former bio-tech company employee Sarah Grant (Lily James). With a high-tech investigation team on her trail, her life is in danger unless Ash can make a deal.
