Posts Tagged ‘Abby Quinn’


I join NewsTalk 1010 host Jim Richards on the coast-to-coast-to-coast late night “NewsTalk Tonight” to play the game “Did Richard Crouse Like This?” This week we talk about the light-hearted Jane Fonda sports comedy “80 for Brady,” the new M. Night Shyamalan nail-biter “Knock at the Cabin” and the Anna Kendrick drama “Alice, Darling.”

Listen to the whole thing HERE!


I sit in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to theatres including the light-hearted Jane Fonda sports comedy “80 for Brady,” the new M. Night Shyamalan nail-biter “Knock at the Cabin” and the Anna Kendrick drama “Alice, Darling.”

Listen to the whole thing HERE!


Watch as I review three movies in less time than it takes to change a lightbulb! Have a look as I race against the clock to tell you about the light-hearted Jane Fonda sports comedy “80 for Brady,” the new M. Night Shyamalan nail-biter “Knock at the Cabin” and the Anna Kendrick drama “Alice, Darling.”

Watch the whole thing HERE!


I joined CP24 to have a look at new movies coming to VOD, streaming services and theatres.  Today we talk about the light-hearted Jane Fonda sports comedy “80 for Brady,” the new M. Night Shyamalan nail-biter “Knock at the Cabin” and the Anna Kendrick drama “Alice, Darling.”

Watch the whole thing HERE!

KNOCK AT THE CABIN: 2 STARS. “the tension slacks as repetition sets in.”

“Knock at the Cabin,” the new wannabe nail-biter from director M. Night Shyamalan now playing in theatres, forces its characters into a decision that makes the famous Sophie’s choice seem easy by comparison. A combo of the cabin-in-the-woods genre and a home invasion movie, it demands to know, “Would you sacrifice a loved one to save humanity?”

Based on Paul G. Tremblay’s 2018 award-winning novel “The Cabin at the End of the World,” the set-up is simple. A young family, Eric (Jonathan Groff), Andrew (Ben Aldridge) and their seven-year-old daughter Wen (Kristen Cui), are on get-a-way in a cabin in the middle of nowhere.

It’s idyllic, relaxing, a much-needed break from the pressures of the outside world until one afternoon as Wen is collecting bugs and is approached by a burly man named Leonard (Dave Bautista).

“Why are you here?” she asks.

“I suppose I’m here to make friends with you,” says Leonard, “and your dads too. But my heart is broken because of what I have to do today.”

Freaked out, Wen runs back to the cabin to tell her dads about the strange man she just met. A second later there is a loud knock at the door.

On the other side of the door are heavily armed invaders, the makeshift Four Horsemen of the Apocalypse, Leonard, hot-headed Redmond (Rupert Grint), a nurse named Sabrina (Nikki Amuka-Bird) and the nurturing Adriane (Abby Quinn).

Leonard explains they are not there to hurt them, “but you have to stay in the cabin with us.”

The quartet say they are tasked with “the most important job in the history of the world,” as they present the family with a decision that will change the future, for them and the rest of humanity.

“Families throughout history have been chosen to make this decision,” says Leonard. “Your family must willingly choose one of the three of you (to die) to prevent the apocalypse.”

As the clock moves closer to permanent midnight, Eric, the logical lawyer and Andrew, his spiritually minded husband, must decide whether this is a game of murder, manipulation or divine prophesy.

“Knock at the Cabin” drills down on some very hot button topics. The option of making a great personal sacrifice for the greater good thematically echoes the issues of societal responsibility that arose during COVID lockdowns, and vaccine and mask mandates. Shyamalan plays up the story’s rationality vs. uncertainty angle, which is perhaps the defining theme of the COVID conspiracy era, and yet the movie has none of the richness these themes would suggest.

It’s an intriguing premise, but the tension slacks as repetition sets in. I don’t want to give anything away, but Shyamalan establishes a series of events that repeats, sapping the suspense with each cycle.

The talky script hammers home the belief system that brought Leonard and his disciples to the cabin to the point of exhaustion. There are so many avenues for this material to explore, and yet Shyamalan sticks to the narrow lane established in the first ten or fifteen minutes. He plays up the obvious aspects of the story (NO SPOILERS HERE) while working his way toward the play-it-safe ending.

“Knock at the Cabin” mostly wastes an interesting cast and good performances on an underwhelming, hollow story that doesn’t dive deep enough into the collective sense of unease that fuels Leonard and Company’s apocalyptic visions and zealotry. Its single note story without the emotional basis to become a symphony.


Richard joins CP24 to have a look at the weekend’s new movies including the devil doll flick “Annabelle: Creation,” the Jeremy Renner thriller “Wind River” and Jenny Slate’s dramedy “Landline.”

Watch the whole thing HERE!

LANDLINE: 3 ½ STARS. “a wistful tone that gets under your skin.”

Theses days the word landline conjures up a specific retro feel. It harkens back to a time before everyone played Candy Crush on their mobile devices and when pay phones dotted the landscape. That’s the world where the new Jenny Slate dramedy “Landline” takes place.

It’s New York City, 1995. Dana Jacobs (Slate) is a layout artist at Paper Magazine when she isn’t at Blockbuster with her fiancée Ben (Jay Duplass) agonizing over what movie to rent. Younger sister Ali (Abby Quinn) is as free-spirited as her sibling is buttoned down.

“You’re like a piece of toilet paper stuck to my shoe,” Dana says to Ali. “You are the embodiment of constipation,” Ali snaps back.

Despite their differences the sisters bond when Ali discovers erotic poetry her father Alan (John Turturro) wrote for a woman who is not his wife Pat (Edie Falco). Their disgust for his actions brings them together, despite the fact that Dana has thrown off the shackles of engagement and embarked on a secret journey of self-discovery with Nate (Finn Wittrock). “I am flailing,” she says. “Trying to figure out if the life I have picked for myself is the one that I want.” “We are a family of cheaters!” Ali exclaims.

“Landline” uses infidelity as a backdrop for a study of partnership and family. Everyone’s relationship is teetering on the edge and yet this is a hopeful movie, a film that suggests monogamy is viable when given room to breathe.

“Obvious Child” director Gillian Robespierre brings a strong ensemble together, elevating the material with strong performances. Duplass is suitably milquetoast as Ben, the dull but lovable fiancée. Turturro and Falco breathe life into characters that in lesser hands might have been caricatures or worse, simply a plot device to support the sisters’ story.

The stars here, however, are Slate and Quinn. They look like sisters but their chemistry extends beyond the skin deep. Slate’s giggles and affectionate asides—“You’re a weird little bird.”—feel authentic, as though these two have a long shared history that predates anything we see on the screen. They bring humanity and sympathy to the film despite their foibles.

“Landline” is an engaging portrait of broken relationships in an analogue time. It’s a gently heart tugging story about the consequences of breaking relationship rules. There are jokes and there are tears but mainly “Landline” has a wistful tone that gets under your skin.