I appear on “CTV News at 6” with anchor Andria Case to talk about the best movies and television to watch this weekend. This week I have a look at the epic “Killers of the Flower Moon” and the court room drama “Anatomy of a Fall.”
Watch the whole thing HERE! (Starts at 1:18:53)
I sit in with 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 he epic “Killers of the Flower Moon,” the court room drama “Anatomy of a Fall” and the John le Carré documentary “The Pigeon Tunnel.”
Listen to 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 epic “Killers of the Flower Moon,” the court room drama “Anatomy of a Fall,” the raunchy “Dicks: The Musical” and the John le Carré documentary “The Pigeon Tunnel.”
Watch the whole thing HERE!
I sit in on the CFRA Ottawa morning show to talk the new movies coming to theatres including the epic “Killers of the Flower Moon,” the court room drama “Anatomy of a Fall” and the John le Carré documentary “The Pigeon Tunnel.”
Listen to the whole thing HERE!
Fast reviews for busy people! Watch as I review three movies in less time than it takes to shut the door! Have a look as I race against the clock to tell you about the epic “Killers of the Flower Moon,” the court room drama “Anatomy of a Fall” and the John le Carré documentary “The Pigeon Tunnel.”
watch the whole thing HERE!
A look at a strained marriage through the lens of a public murder trial, “Anatomy of a Fall,” the Palme D’Or winning film now playing in theatres, is more concerned with human drama than the procedural aspects of the story. The result is a complex look at the search for truth in relationships and justice in court.
Set at a remote country residence in the Swiss Alps, home to best-selling writer Sandra (Sandra Hüller), her less-successful writer husband Samuel (Samuel Theis) and their visually impaired 11-year-old son Daniel (Milo Machado Graner). When Samuel is found dead outside the home, a pool of blood surrounding his head like a halo, questions arise.
Was it suicide or murder? Did he fall from an upstairs window, or was he pushed?
Sandra’s muted response to her husband’s death raises eyebrows, and soon suspicion leads to murder charges. In court her compassionate defense lawyer Vincent (Swann Arlaud), a man she once had an affair with, is pitted against a confrontational state prosecutor played by Antoine Reinartz in a trial that puts Sandra and Samuel’s complicated lives on display.
“Anatomy of a Fall” is not a “Law & Order” style procedural. As director Justine Triet moves through the story, the courtroom framework becomes a backdrop for a captivating study of human behavior.
At the film’s stone-cold heart is Hüller. In her hands Sandra is a compelling and complex person who confronts the usual courtroom trope of widowed wife as a sympathetic character. Her independence, powerful presence and chilly demeanor, broken by the occasional emotional outburst, stares down preconceived notions and subconscious prejudices about Sandra’s life and behavior.
Triet isn’t asking if Sandra is guilty or not. She is more interested in why we, as the observer, might pass judgment on the character, one way or another. Placing the onus of judgment on the viewer is a fascinating way to subvert the procedural genre.
At 2 hours and 30 minutes “Anatomy of a Fall” may test some viewer’s attention spans as it slowly layers detail upon detail, both procedurally and personally, but for patient audiences it offers up an interesting mystery and an opportunity to examine personal biases.
“Flora and Son,” starring Eve Hewson as a Dublin single mom trying to make a connection with her son, is a rousing crowd-pleaser that breathes the same air as director John Carney’s other films, “Sing Street” and “Once.”
A look at a strained marriage through the lens of a public murder trial, “Anatomy of a Fall” is more concerned with human drama than the procedural aspects of the story. The result is a complex look at the search for truth in relationships and justice in court.
Jessica Chastain and Peter Sarsgaard bring raw intensity to “Memory,” a story that essays memories that torment and memories as they disappear. Almost overwhelmed by melodrama, it stays on the right side with committed performances and a bold love story.
The 4K “Stop Making Sense” restoration of the four-decade old movie is a joyful, high-energy revisiting of a classic concert film. A document of a band working at the top of their game, it captures the love of music and performance in a way few other have. And it’s got a good and you can dance to it.
Phoebe Dynevor and Alden Ehrenreich star in the financial drama “Fair Play’s” blistering exploration of workplace gender dynamics. A throwback to the erotic thrillers of the 1980s, its story of sabotage is smart, sexy and sharp, if a tad long.
“Perfect Days” is a contemplative movie that examines the simple pleasures in life. Music, literature and nature are showcased, but this poetic, profound film celebrates finding contentment in all aspects of life.
“Dumb Money” doesn’t get bogged down by the financial jargon, although it may be worth a trip to “short sell” Wikipedia page before buying a ticket. Instead, it’s the rousing David and Goliath story of leveling the playing field.
Using first hand sources, the documentary “Sorry/Not Sorry” examines the accusations of sexual harassment leveled against comedian Louis C.K, and his subsequent career come-back. Not ground-breaking in terms of style, but thought provoking in terms of its “judge the art or the artist” perspective.
Edgy and tense, “The Royal Hotel” is a slow burn story about sexual violence and intimidation, power dynamics and revenge, wrapped up in a story about two young women on a work/travel visit to Australia.
Richard Linklater’s “Hit Man” is in my top two at TIFF. Glen Powell and Adria Arjona earned a well-deserved applause break after the movie’s best and funniest scene. Their chemistry ignites the movie.
“Limbo’s” black and white photography lends a stark and stately field to the study of damaged people, disguised as a police procedural.
Errol Morris‘s latest film, “The Pigeon Tunnel,” is a look at the extraordinary life of David Cornwell a.k.a. prolific author John le Carré. It examines the very essence of truth, and how memory and manipulation play a part in how we shape our world and our perceptions.
Set an a remote, Newfoundland seaport, population thirty, “The King Tide” is an effective supernatural thriller. It takes place in a very specific area, but the story address is universal concerns about parenting and the dangers of isolationism.
“Mr. Dressup: The Magic of Make-Believe,” a look at the life and legacy of legendary children’s entertainer Ernie Coombs, has the same brand of low-key kindness and empathy that made “Mr. Dressup” appointment viewing for several generations of Canadians.
“Finestkind” begins as a slice of life drama about a man following his dream, but soon morphs into a credulity stretching story of antiheroes, drugs and fish poaching.
Amanda Seyfried hands in a career best performance as a director helming a production of “Salome” at the Canadian Opera Company. An ambitious meditation on the healing power of art, “Seven Veils” is a dense psychological thriller that examines toxic masculinity and eradicating the male gaze.
“Reptile” is a standard good cop in a bad situation drama, given oomph by Benicio del Toro’s badass and quirky performance.
