Richard speaks to “CTV News at Six” anchor Andria Case about the best movies and television to watch this weekend. This week we have a look at the animated “The Ice Age Adventures of Buck Wild” on Disney+ and two on VOD, the shoot ’em up “One Shot” and the grim “Two Deaths of Henry Baker.”
Richard joins hosts Jay Michaels and Jim Richards of the NewsTalk 1010 afternoon show The Rush for Booze and Reviews! Today we talk about the first drink Neil Armstrong drank when he came back from the moon and review “The Ice Age Adventures of Buck Wild” on Disney+ and two on VOD, the shoot ’em up “One Shot” and the grim “Two Deaths of Henry Baker.”
Richard joins CP24 to have a look at new movies coming to VOD, streaming services and theatres including the animated “The Ice Age Adventures of Buck Wild” on Disney+ and two on VOD, the shoot ’em up “One Shot” and the grim “Two Deaths of Henry Baker.”
Richard sits in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to theatres, VOD and streaming services including the animated “The Ice Age Adventures of Buck Wild” on Disney+ and two on VOD, the shoot ’em up “One Shot” and the grim “Two Deaths of Henry Baker.”
Richard joins NewsTalk 1010 host David Cooper on the coast-to-coast-to-coast late night “Showgram” to play the game “Did Richard Crouse like these movies?” This week we talk about the animated The Ice Age Adventures of Buck Wild on Dinsey+, the shoot ’em up “One Shot” (VOD) and the western noir “Two Deaths of Henry Baker” (VOD).
The title of “One Shot,” a new action movie starring Scott Adkins, Ryan Phillippe and Ashley Greene Khoury, and now available on VOD, is a double entendre of a sort. The adrenalized action heroes at the heart of the film have one shot to quell an attack, and director James Nunn has cleverly filmed all the action in “real time,” using camera tricks to make it look like this was shot in one, long continuous take.
The story begins with a squad of Navy SEALs led by Lt. Blake Harris (Adkins) airlifting junior CIA analyst Zoe Anderson (Khoury) to a remote Guantanamo Bay-esque prison to a “United Nations of terror” suspects. Anderson’s job is to extract Amin Mansur (Waleed Elgadi), a British national who pleads his innocence, but is suspected to be a mastermind of a 9/11 style dirty-bomb attack on all three branches of the American government.
Deputy Site Manager Tom Shields (Phillippe) stalls the prisoner’s release, inadvertently allowing time for the ruthless terrorist Charef (Jess Liaudin) and his insurgents to overrun the place, freeing captives and trying to kill Mansur before he can spill the beans on the plot to bring down the government.
“One Shot” isn’t about the characters, political subtext or even the siege story. It’s all about the “one shot” gimmick, wall-to-wall video-game style gunplay and a sense of urgency.
For the most part the gimmick works, although, if you’re like me, you’ll be taken out of the story as you try and see where the subliminal edits are. It’s a distraction that fades as the running times passes because director Nunn choreographs the action expertly, creating a sense of unpredictable immediacy. You never really know who is around the next corner or hiding behind a pile of sandbags. It’s edgy you-are-there filmmaking, aided by cinematographer Jonathan Iles, that makes the generic story and stereotyped characters somewhat interesting.
The relentless violence, however, becomes tiering after a while. The first gunshot happens around the 19-minute mark and the bullet ballet continues pretty much nonstop for the rest of the running time. There are breaks in the action, usually as someone tends to a wounded person, but they are few and far between.
“One Shot” is a b-movie with efficient brutality and some edge-of-your-seat scenes, but the script is as riddled with clichés—”Sometimes it is harder to save a life than it is to save one,” intones Anderson when the going gets tough.—as the characters are with bullet holes.
Richard joins CP24 anchor Nathan Downer to have a look at the weekend’s new movies including Melissa McCarthy’s literary drama “Can You Ever Forgive Me?,” the “Hunt for Red October” copy cat “Hunter Killer,” the highfalutin hostage story “Bel Canto,” the comedic cautionary tale “Room for Rent,” the family drama “What They Had” and the operatic documentary “Maria by Callas.”
Richard has a look at Melissa McCarthy’s dramatic turn in “Can You Ever Forgive Me?,” the family drama “What They Had” and Gerard Butler’s action-adventure “Hunter Killer” with CFRA Morning Rush host Bill Carroll.
If there was ever more proof need to put Pablo Picasso’s remark, “good artists borrow, great artists steal,” to bed it’s the new Gerard Butler film. “Hunter Killer” borrows and out right steals elements from any number of movies, “The Hunt for Red October” chief among them, but is neither good nor great.
“Hunter Killer” takes place on land, on sea and on the phone. Based on the 2012 novel “Firing Point” by Don Keith and George Wallace “Hunter Killer” sees Butler as an unconventional US submarine Commander Joe Glass. He’s on a mission to find and rescue a missing U.S. sub when he stumbles across a popular 1990s plot twist—a Russian coup that threatens to demolish world order.
Stealthily cruising through enemy waters he becomes part of a three-pronged mission to rescue the Russian president, being held hostage in Russia by rogue Defence Minister Dmitri Durov (Mikhail Gorevoy). At sea level are Navy Seals led by Bill Beaman (Toby Stephens), National Security Agency analyst Jayne Norquist (Linda Cardellini), Rear Admiral John Fisk (Common), and, back home in America, Admiral Charles Donnegan (Gary Oldman in post-Oscar pay cheque mode) who barks orders at minions and into phones. It’s American-Russian collusion that could change the course of history!
Throw in a craggy-faced Russian submarine captain, Sergei Andropov (the late Michael Nyqvist)—we’re not enemies, we’re brothers—and you have a run-of-the-mill World War III scenario that was better the first few times we saw it. “It’s not about your side or my side,” Glass says to Andropov, “it’s about the future.”
“Hunter Killer” is so cheesy it should come with a side of saltines. Much of the dialogue sounds cribbed from the “Tough Guy ‘R Us” manual circa 1986—“He’s gonna play the hand he was dealt!”—spoken by characters so wooden they could easily double as buoys in the above water scenes.
At almost two hours ”Hunter Killer” is a waterlogged thriller, a sopping wet excuse for Butler to grunt his way through another film that is beneath his talent.