SYNOPSIS: “The Critic,” a new, melodramatic thriller starring Sir Ian McKellen, Gemma Arterton and Mark Strong, and now playing in theatres, sees a powerful London theater critic lure a struggling actress into a blackmail scheme.
CAST: Ian McKellen, Gemma Arterton, Mark Strong, Lesley Manville, Romola Garai, Ben Barnes, Alfred Enoch. Directed by Anand Tucker.
REVIEW: A tale of blackmail and revenge, set against the (somewhat) polite society of England, circa 1934, “The Critic” is a deceptively dark and grimy drama.
Handsomely mounted, with sumptuous period details, “The Critic” details mostly despicable people who hide their nefarious motivations behind an upper-class veneer.
Topflight performances from McKellen as a powerful theatre critic who’ll do anything to maintain his status, Arterton as a morally compromised actress and Stone as the nepobaby owner of a large newspaper, smooth over some of the rough patches in the movie’s storytelling.
Early on, actress Nina Land (Arterton) confronts the critic, Jimmy Erskine (McKellen), only to have her worst fears about her talent—or lack thereof—confirmed by the sharp-tongued writer. It’s a masterclass from McKellen in controlled cruelty and tells us most everything that we need to know about the unapologetic character. He’s an extravagant wordsmith, one who uses his words not only to entertain his readers, but to also eviscerate his enemies.
It’s a marvelous scene, sleek and caustic, that sets a tone that is, unfortunately, not continued throughout, despite the good performances. McKellen and Company are let down by a script that, time after time, falls for its basest impulses. Every dark turn, and there are many of them, pushes the story deeper into melodrama at the expense of interesting exchanges like the one detailed above.
“The Critic” slides by on the work of McKellen, Arterton, Strong and Lesley Manville, but doesn’t know how to use their performances to the story’s best advantage.
I spoke with CP24 host Bill Coulter about High Grant in the creepy”Heretic,” the devastating “We Live in Time” with Florence Pugh and Andrew Garfield, the wild Robbie Williams biopic “Better Man” and the Oscar baity “Anora.”
I sit in with NewsTalk 1010’s Jim Richards to talk about attending a screening of “The Apprentice,” then controversial film based on the early life of Donald Trump.
I join “Free For All Friday” host Amanda Galbraith to talk about why TIFF is important to the film business amd what to watch on the festival’s first weekend.
SYNOPSIS: In “The Front Room,” a new psychological horror film directed by Max and Sam Eggers, brothers of Robert Eggers, and now playing in theaters, a young couple is pushed to their emotional limit when they take in the husband’s ailing but demonically domineering mother.
CAST: Brandy Norwood (a.k.a. the mononymously famous R&B singer Brandy), Kathryn Hunter, Andrew Burnap, and Neal Huff. Directed by the Eggers Brothers.
REVIEW: “The Front Room,” based on the short story by Susan Hill, benefits from a bravura performance from Olivier Award winner Kathryn Hunter. As the mother-in-law from hell Solange, she is the catalyst for the growing sense of paranoia and fear that drapes over the proceedings.
Hunter, a virtuoso of physical performance, is, by times, frail, powerful and terrifying. She’s an unpredictable agent of chaos in her new home, and Hunter brings the spectrum of the character’s manipulative behavior to vivid life.
She is pure malevolence whose arsenal includes verbal abuse, guilt and even incontinence. Her presence changes everything in the house, proving that sometimes good deeds do, indeed, go unrewarded.
Hunter is the movie’s withered heart. Without her wicked performance, and the game of figuring out exactly what she is up to, you’re left with a horror riff on “Monster-In-Law.”
“The Front Room” tackles the price of obligation and the psychological stresses of parenthood, but it is Hunter who will grab and hold your attention.
SYNOPSIS: We first met Dean Murdoch (Paul Spence), the “Governor of Givin’er,” twenty-two years ago in the classic mockumentary “FUBAR.” “Deaner ‘89” sees the headbanger looking back at his life, revealing how he survived the 1980s and made a success of himself.
CAST: Paul Spence, Will Sasso, Mary Walsh, Kevin McDonald, Star Slade, Maddy Foley. Directed by Sam McGlynn.
REVIEW: Loud and proud, “Deaner ‘89” is an outlandish comedy, with, what must be one of the highest f-bomb to lines of dialogue ratios in film history, and yet it succeeds because of its heart, not just its humor.
Dean Murdoch, played by the forty-something Paul Spence from teen to adult, could easily have been a caricature of a devil horn flippin’, Dokken lovin’ metalhead, but Spence taps into something deeper. Dean is a devil horn flippin’, Dokken lovin’ metalhead, but he’s also rather sweet, positive and optimistic. The key to getting away with some of his more outlandish behavior is that ultimately, he’s a good guy and you root for him. Spence, who also wrote the script, ensures you laugh with him, not at him.
But “Deaner ‘89” is more than a small-town origin story. (FYI: We’ve been asked to point to out that it is not a “FUBAR” movie, nor is it connected to the “FUBAR” franchise.) Dean finds himself on a highway to hell, via heavy metal, shotgunned beers and decks of smokes, but the story is heightened by an examination of his recently uncovered, and life changing, Metis heritage. What begins as a story of small-town Canadian life becomes a larger story, flavored by the Sixties Scoop and anti-Indigenous racism.
Spence, who also wrote the script, never forgets this is a comedy. He weaves humor into every scene, but never settles for the easy joke. The funny stuff is situational, good naturedly riffing on the time frame and Dean’s aspirations of heavy metal glory. It’s part Canadian 80s nostalgia, part hero’s journey to a different life.
Twenty-two years after we first met the Deaner there’s still some juice to be squeezed from the character. “You’re never too old to start givin’er,” he says.
Betelgeuse, the bio-exorcist made famous by Michael Keaton in the 1988 film of (almost) the same name, thinks of himself as “nightmare material,” but for fans of the much-loved original movie, his reunion with director Tim Burton is a dream.
The new film, “Beetlejuice Beetlejuice” returns to Winter River, and three generations of the Deetz family, wacky artist Delia (Catherine O’Hara), mother of goth TV personality Lydia (Winona Ryder)—”The Living. The Dead. Can they coexist? That’s what we’re here to find out,” she says— and grandmother of the rebellious Astrid (Jenna Ortega), who thinks her mother’s clairvoyance is a sham.
Brought together by the passing of Deetz family patriarch Charles, (originally played by Jeffrey Jones), the trio becomes a quartet when Astrid opens a portal to the Afterlife, releasing the ghostly presence of Betelgeuse (Keaton). “The juice is loose!”
Lydia, now engaged to greasy television producer Rory (Justin Theroux), must reckon with her past betrothal to Betelgeuse—“When I was a teenager, a trickster demon terrorized our entire family and tried to force me to marry him,” she says—while the rambunctious spirit has marital troubles of his own. His ex-wife, the soul-sucking Delores (Monica Belucci) has pulled herself together—when we first see her, she’s reassembling her dismembered body—and looking for revenge.
Flip flopping between past and present, our world and the otherworld, “Beetlejuice Beetlejuice” explores Astrid’s crush on emo local boy Jeremy (Arthur Conti), the adventures of b-movie-action-star-turned-ghost-detective Wolf Jackson (Willem Dafoe) and the power of the “Handbook for the Recently Deceased.”
A sequel to a movie released when Ronald Reagan was the President of the United States, “Beetlejuice Beetlejuice” is in some ways a back-to-basics Tim Burton movie.
A return to the pop pastiche style that made his name, it’s an eye-popping collection of influences. From the German Expressionism of “The Cabinet of Dr. Caligari” and classic 50s kitsch to exaggerated dreamscapes and the gothic “Gashlycrumb Tinies,” his energized visuals will make your eyeballs dance. It’s a welcome return to the marvellously macabre window dressing that defined the original and made it so much fun.
But sequel culture, being what it is, means that the follow-up to a beloved hit must be bigger than what came before. So, “Beetlejuice Beetlejuice” is longer, louder and unrulier than the original. In its attempt to recreate the magic of the first film, it tries too hard, stuffing the story with side-stories, new characters and callbacks to 1988. It’s a new “Day-O” for Betelgeuse, and the effort is evident, but the extra stuff doesn’t do much in terms of freshening up Mr. Juice’s mouldy corpse.
Still, although bigger is not better, it brims with humor and heart, courtesy of a handpicked cast of Burton regulars. Keaton has an expanded role—he only appears for 17.5 minutes in the original—and goes for it. The character isn’t exactly subtle, but both Burton and Keaton use restraint, so the wild-and-wacky “ghost with the most” doesn’t overstay his welcome.
The Deetz family dynamic, the film’s beating heart, is well represented in the relationship between Ryder, O’Hara and Ortega. National treasure O’Hara is reliably hilarious, stealing every scene she’s in, while Ryder and Ortega do the dramatic heavy lifting.
You may not have the time of your afterlife at “Beetlejuice Beetlejuice” but it’s far from a dead end for Burton and Company. It doesn’t have the charm of the first film, but does deliver enough laughs, fan service and new ideas to cast its spell.
I join Marilyn Denis on CHUM FM to talk about some highlights of the upcoming Toronto International Film Festival, including “Anora,” “The Substance,” “The Last Showgirl” and more!
SYNOPSIS: “The Critic,” a new, melodramatic thriller starring Sir Ian McKellen, Gemma Arterton and Mark Strong, and now playing in theatres, sees a powerful London theater critic lure a struggling actress into a blackmail scheme.
