Romance and ‘roid rage collide in “Love Lies Bleeding,” a pulpy new romp starring Kristen Stewart, now playing in theatres.
Set in 1989, Stewart is Lou, a loner who works at Crater Gym, a rundown fitness center owned by her estranged father Lou Sr (Ede Harris). When she isn’t fixing plugged toilets at the gym, she listens to How to Quit Smoking cassette tapes while inhaling deeply on cigarettes and helps her sister (Jena Malone) and abusive brother-in-law JJ (Dave Franco) look after their kids.
When ambitious bodybuilding drifter Jackie (Katy O’Brian) blows into town, on a quick pitstop on her way to a Vegas bodybuilding competition, she falls hard for Lou. But will a sudden, violent chain of events get in the way of their love and bodybuilding glory?
“Love Lies Bleeding” is a squirmy, no-holds-barred hybrid of crime thriller, family drama, psychological study and LGBTQ2S+ romance. Director Rose Glass entertainingly juggles the various elements, and isn’t afraid to shock and amuse the audience with audacious breaks from reality. No spoilers here, but the visualization of the protective power of love is eye-popping, funny and, if you are willing to take an artistic leap, really effective.
Stewart is a brooding character whose actions are governed by new love and some old habits (again, no spoilers here). She’s a jumble of rough edges, but underneath her sneering facade is a warm, beating heart, open to those brave enough to get close. As the situation around her spins out of control, old instincts arise, and Lou morphs from taciturn gym worker to a dynamo fueled by anger and lust.
O’Brian plays Jackie as a fit and toned archetype, a drifter with a past and maybe not much of a future. Glass cleverly uses the traits of Jackie’s bodybuilding—the bulging muscles, popping veins shot in extreme close-ups—as a metaphor for the rage that bubbles just underneath her carefully sculpted physique.
The chemistry between them lies at the heart of the success of the film and yet, Anna Baryshnikov (dancer Mikhail’s daughter) as the messy Daisy manages to steal every scene she appears in. As a young woman with an unrequited love for Lou, she is a catalyst for some of the film’s chaos, with a baby voice and some strange, but kinda sweet, energy that almost makes you feel bad for her. Almost, but not quite.
“Love Lies Bleeding” is a bloody and brutal twist on the neo noir that harkens back to films like “Wild at Heart” and early Coen bros. It comes equipped with a scruffy looking Ed Harris, some shocking violence, but also an attitude. It is a wild and occasionally thrilling ride that plays into old crime story tropes with fresh and fun execution.
On the Saturday March 9, 2024 edition of The Richard Crouse Show we meet Kathleen Munroe, “Law & Order” superfan, and the star of the new “Law & Order Toronto: Criminal Intent.” It’s the new adaptation of the legendary “Law & Order” brand, based on the classic series created by Dick Wolf. A psychological thriller wrapped in a criminal investigation, It will showcase original Canadian stories written and produced by, and starring, Canadians.
Kathleen Munroe, who you’ve seen for portraying Dr. Amanda Perry on Stargate Universe, Samantha Flack on CSI: NY, and on shows like Chicago P.D., Chicago Med and FBI, plays Det. Sgt. Frankie Bateman, part of an elite squad of detectives who investigate high-profile crime and corruption in metro Toronto.
Kathleen and I talked about how watching Jill Hennessy as Claire Kincaid influenced her decision to pursue acting and more!
Then, we’ll get to know reggae-fusion artist Ammoye, who recently received a JUNO Award nomination for Reggae Recording of The Year for her incredible song, “Stir This Thing”. Seven-time JUNO Award-nominee Ammoye presents an innovative and unique reggae sound that blends elements of old-school rocksteady, dancehall, soul, and R&B. With an infectious voice and messages of empowerment, Jamaican-born Ammoye is a self-declared soul rebel.
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.
It’s been eight years since Po, the accident-prone panda voiced by Jack Black, last brought one of his “legendary adventures of awesomeness” to the big screen. He returns, alongside some high-profile help in the form of Awkwafina, Viola Davis, Dustin Hoffman and Ke Huy Quan, to battle all the master villains Po thought were vanquished to the Spirit Realm.
As the film begins, Dragon Warrior Po is reluctantly about to ascend to the position of Spiritual Leader of the Valley of Peace. “I finally found something I’m good at,” he says. “And now you want to take it away from me?”
“No one is taking anything away Po,” says Shifu (Hoffman). “Who you are will always be part of what you become.”
As Po searches for the new Dragon Warrior, an evil shapeshifting sorceress called The Chameleon (Davis) sets her eye on Po’s mystical Staff of Wisdom. She is already able to absorb the martial art abilities of her victims, but if she gets her hands on the Staff she will have the power to jump between the Spirit and Mortal realms and restore villains from the past to the present.
“Once I possess the kung fu of every master villain,” she says, “no one will dare question my power.”
To keep the Valley of Peace safe Po recruits Zhen (Awkwafina), a sly corsac fox and thief whose cunning will help defeat The Chameleon.
“Kung Fu Panda 4” doesn’t reinvent the nunchuck. After three big screen entries and a popular video game version, there isn’t a lot of room for new adventures for Po, but the new movie does a good job at keeping the story and action before its “best by” date.
Likeable main characters, fun voice work and cool animation that, like the previous movies, embraces various styles—computer generated to stylized Kung Fu movie art—and loads of well-choreographed action, may not accurately be described as “legendary adventures of awesomeness,” but they are a good time.
Despite Zhen’s generic design, Awkwafina generates laughs as the fox who lives by “the rules of the street.” The Chameleon benefits from a more elaborate design, and Davis’s suitably villainous performance. Also welcome is a drunken fish (Ronny Chieng) who lives in the beak of a pelican.
The star of the show is Black as Po. He gives Po a charming childlike naiveté and a rock ‘n roll attitude, but while he has great fighting skills, he relies on his inherent goodness to guide his actions. The fight scenes are entertaining but it is his spirit that makes him lovable.
Even though it comes with a slight feeling of déjà vu, “Kung Fu Panda 4” will entertain the eye, and has good messages for the whole family, and, in this case, that’s enough for a good time at the movies.
“Ricky Stanicky,” a new feel-good comedy from director Peter Farrelly, starring Zac Efron, Andrew Santino, John Cena and Jermaine Fowler, and now streaming on Amazon Prime, is light on laughs but heavy on heart.
Ever since they were kids, best friends Dean, JT, and Wes (Efron, Santino and Fowler) have used a fictional friend named Ricky Stanicky as a fall guy for their hijinks. Even though he doesn’t exist, he’s been their alibi forever. They’ve used him as an excuse to go on guy’s weekends to Atlantic City, or catch a concert, and then blame him for anything that went wrong. “The best friend we never had,” says Dean.
But when Dean ups the ante and announces to his wife that Ricky has cancer, and the guys need to see him, Wes thinks they may have taken the ruse a bit too far.
“Why does it have to be cancer?” he asks. “You want everyone to get worried?”
“Yeah,” Dean says. “And that’s going to take us right into the World Series.”
When the boys split town, Dean’s wife (Lex Scott Davis) tries to track them down, only to discover there is no record of a Ricky Stanicky at any hospital anywhere.
Caught in their lifelong lie, they panic.
“If the truth does come out,” says JT, “my marriage is over.”
The plan to hire an actor to play Ricky leads them to Rock hard Rod (Cena), an X-rated rock and roll impersonator, who immediately ingratiates himself with their significant others and their boss Summerhayes (William H. Macy).
“Ricky Stanicky” has the earmarks of a Farrelly film; the outrageous premise, the jokes that come very close to the line and broad comedic performances (ie: John Cena dressed like “Baby One More Time” era Britney Spears). But underneath the silly stuff is an almost touching story about a man who finds a new way to get through life.
“My job sucked,” Ricky/Rod says. “I had no friends. But now I have all those things.”
It’s the same kind of subterfuge the Farrellys played with “There’s Something About Mary,” a gross-out comedy about finding true love. “Ricky Stanicky” doesn’t have the hard laughs of that film, but, in Cena, it does have a star who is able to effectively mix-and-match the silly with the saccharine. That combo is the key to the modest success of “Ricky Stanicky.”
It’s a shame Cena isn’t given a more convincing framework to play inside. The premise has lots of potential, but Farrelly and his laundry list of writers (five listed in the credits including Farrelly) emphasize the Hallmark aspects of the story over the humorous ones.
There’s something about “Ricky Stanicky.” There’s a good cast, bolstered by Cena’s charm, and the occasional deep laugh but the mix of humour and heart never quite finds the right balance.
As the title “Imaginary” suggests, the new Blumhouse horror film, now playing in theatres, is all about the power of imagination. Strange then, that so little imagination went into the story.
DeWanda Wise stars as Jessica, children’s book author and artist of the “Molly the Milliped” series and stepmom to preteen Alice (Pyper Braun) and fifteen-year-old Taylor (Taegen Burns). Jess and new husband Max (Tom Payne) are on “operation relocation,” moving into the house she grew up after her father is sent to a long-term care facility.
Jess has happy memories of living there, but may be looking at the past through rose-colored glasses. “No child should ever have to go through what you did,” says Gloria (Betty Buckley), an elderly neighbor who used to babysit Jess.
Soon, Alice hears voices coming from the basement. She investigates and finds Chauncey, a harmless looking, oversized Teddy Bear who becomes her constant companion.
“I found someone else to play with,” she says when Jess suggests they do something together.
Alice and the bear have long conversations, have pretend tea parties and Chauncey even creates a scavenger hunt, so Alice can show him how brave she is. If she completes it, they’ll go together on a trip to where Chauncey came from.
“Nobody loves Alice except for Chauncey,” he says.
As Jess, Taylor and the nosey neighbor do a deep dive into Alice and Chauncey’s imaginary world, the trauma of the past becomes the key that unlocks the secrets of the present.
The PG-13 rated “Imaginary” feels like a reworked “insidious” with less atmosphere and a new, cuddlier malevolent entity. A few twists cut through, providing some grabby moments in a movie that doesn’t deliver the promised scares.
Wise hands in a sturdy performance and Braun does a pretty good creepy kid voice as she utters some of Chauncey’s lines, but none of that matters much by the time the complicated, incomprehensible supernatural stuff really kicks in.
It’s “Insidious” lite, a revamped mythology about the rage unleashed when a friendship bond is broken. Not only do the main players immediately buy into the loopy rationalization for the “Twilight Zonesque” goings-on, but poor Buckley is saddled with the unenviable task of delivering horror movie balderdash about just how imaginary Alice’s new friend really is. The reliance on exposition over scares in the film’s final third blunts the effectiveness of those scenes.
In its examination of childhood trauma and unresolved issues from the past, “Imaginary” has the elements of a good horror film but isn’t imaginative enough to do anything really new.
On the Saturday March 2, 2024 edition of The Richard Crouse Show we get to know Alex Mallari Jr. The actor is known for his performances in the television series “Dark Matter” and “Ginny & Georgia.” You’ve seen him in movies “The Adam Project,” with Ryan Reynolds and “Shotgun Wedding” with Jennifer Lopez. Today we’ll talk about his latest Netflix movie, “Code 8 II” and working with Ryan Reynolds and Jenifer Lopez.
We’ll also meet Liz Locke. If you like cocktails and classic movies like I do, you’ll want to check out her site CinemaSips.com and then check out her debut novel “Follow the Sun,” a portrait of the 1960s International Jet Set Era through the eyes of an aspiring singer-songwriter.
Then, Dianne Whelan stops by. She is an award-winning director and cinematographer known for making films in extreme locations. She’s made movies in the Canadian Arctic and Mount Everest’s base camp but her latest, “500 Days in the Wild,” tested her in ways she had never experienced before. She filmed herself traversing the entire 24,000 kms of longest trail in the world, Canada’s land and water trails from sea to sea to sea. It is an epic journey of discovery—hiking, biking, paddling, snowshoeing and skiing across the country–that provided challenges over the six year it took her to complete the journey, but at the end she emerged a bit wiser, and certainly more hopeful about the state of the world.
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.
Punk rock came roaring to life in a cramped, dingy bar on New York City’s Lower East Side called CBGB at 315 Bowery. More known for its filthy bathrooms than its drinks or food—legendary rock photographer Bob Gruen said with a laugh, “It was not a place you’d eat at.”—it is significant for its oversized influence on rock ‘n’ roll history. It’s the punk rock Cavern Club, a launching pad for new genres of music that still reverberate today. Punk scene likely would have happened without CBGB, but the grungy little club gave it a homebase.
In this podcast I’ll talk about the unruly story of an accidental cultural incubator born out of a unique moment in history where outsiders, like The Ramones, The Dead Boys, Talking Heads and Blonde, were brought together, celebrated and encouraged to be themselves.
Joining me to tell the story of CBGB are photographer Boib gruen, filmmaker, co-founder of “Punk” magazine and CBGBite Mary Harron, The ‘B’ Girls singer Lucasta Ross and The Punk Rock Museum co-founder Lisa Brownlee. Topping it off is an interview from the vault I did with CBGB’s owner Hilly Kristal in 1992.
I join “Moore in the Morning’s” John Moore on NewsTalk 1010 to talk about the passing of Richard Lewis, the greatest movie lines of all time and the worst songs of all time.
After 2021’s “Dune” was relegated to the small screen in the wake of pandemic related theatre closings, this weekend, the long awaited “Dune Part 2” brings the thunder, debuting on screens suitable for the story’s epic scale. The sci fi saga starring, well, almost everyone, in a sprawling cast headed by Timothée Chalamet, Zendaya and the giant sandworms who are literally and figuratively the film’s biggest stars, will play exclusively in theatres.
Wrestling novelist Frank Herbert’s expansive story of a psychedelic drug called Spice and reluctant messiah Paul Atreides, into a comprehensible movie has confounded filmmakers for decades. Most notably, David Lynch adapted the 1965 novel into a noble 1984 failure. The story is complex, with many characters and big, brainy concepts.
As a result, the spectacle of “Part 2,” on its own, isn’t for casual viewers. The last movie ended with Fremen warrior Chani (Zendaya) saying “This is only the beginning,” which means the new film isn’t a sequel, or a reboot. It’s a continuation, the second part of the story director Denis Villeneuve began in 2021, and to understand the story, you have to see the first film.
Equal parts action packed and philosophical, “Part Two” picks up where “Dune” left off. Set 8,000 years in the future, Atreides (Chalamet) son of an aristocratic family, and once heir to the planet of Arrakis, a desolate, almost inhabitable place, but rich in the lucrative, and psychedelic Spice, that is home to the Indigenous Fremen people.
Betrayed by Baron Vladimir Harkonnen (Stellan Skarsgård), the former steward of Arrakis, the family is all but wiped out, with Atreides and his mother, Lady Jessica (Rebecca Ferguson), left in the desert to die. If they are to survive it will be with the help of the Fremen—including Chani and Stilgar (Javier Bardem), leader of the Fremen tribe at Sietch Tabr—who call Atreides “The Chosen One” and believe he is a prophet with the power to bring peace to their world.
“Part 2” sees Atreides embedded with the Fremin in a mission of revenge against the House Harkonnen, the treacherous Baron, his sinister nephews, the brutish Beast Rabban (Dave Bautista) and Feyd-Rautha (Austin Butler), who Atreides holds responsible for the death of his father. Fighting gallantly alongside the Fremin, he’s mostly unconcerned with their belief that he is their messiah. His feelings for Chanti and his thirst for creating a conflict that will place him within striking distance of Emperor Shaddam IV (Christopher Walken), his daughter Princess Irulan (Florence Pugh), and Bene Gesserit Reverend Mother and the Emperor’s Truthsayer, Mohiam (Charlotte Rampling), are top of mind.
As the reckoning approaches, Atreides is plagued by terrible visions of the future.
There is so much more, but that is essentially the peg on which Villeneuve hangs his epic vision of Herbert’s tale. The director gives voice to the author’s study of vengeance, spirituality, fanaticism, liberation and conquest, articulating the story’s humanist nuances in the framework of a film that can only be described as a spectacle. It’s a bigger, wilder vision, an answer to the stately elegance of the first film.
The action sequences fill the screen. Villeneuve overwhelms the senses with grand images of desert warfare and Atreides sand surfing courtesy of giant “grandfather sand worms.” It’s blockbuster filmmaking writ large, exciting and laced with high stakes. Perfect for IMAX screens.
But the action sequences wouldn’t mean much if the film’s world building and characters didn’t set the stage. Arrakis is a sand swept hell, so immersive you’ll think you have sand in your underpants by the time the end credits roll. The vision of the planet is aided considerably by Greig Fraser’s gorgeous cinematography.
The devil, though, is in the details. On an arid planet, the Fremin syphon water from the bodies of their vanquished enemies to use in their cooling systems. Minutiae like this, and more, give the story depth, creating an exciting world for the characters to inhabit.
The stacked cast of a-listers deliver. Chalamet’s character comes of age on his hero’s journey, shedding any boyish traits Atreides may have had, to become a worm riding warrior and leader of armies.
Also making a mark is Butler as the eyebrow-challenged Feyd-Rautha (the part played by Sting in the Lynch’s adaptation). He maintains the rock star swagger of Elvis, his best-known role, but brings the danger as the sadistic nephew and heir.
It’s good stuff that showcases Villeneuve prowess, even if it feels rushed in its last act.
What Villeneuve isn’t good at, are endings. His first “Dune” film left audiences hanging, finishing up with no definitive ending. The end of “Dune Part 2” doesn’t dangle in quite the same way, but tensions are still unfolding as the end credits roll. Looks like we’ll have a “Part 3” coming in a couple years.
Despite the open-ended conclusion, however, “Dune Part 2,” with its stunning visuals, deep emotional core and good performances, suggests “Part 3” will be worth the wait.
