I join CTV Atlantic’s Todd Battis to talk about the epic “Avatar: Fire and Ash,” the absurd “The SpongeBob Movie: Search for SquarePants,” the feel-good divorce drama “Is This Thing On?” and the psychological thriller “The Housemaid.”
Watch the whole thing HERE!
I sit in with CKTB morning show host Steph Vivier to have a look at movies in theatres including the epic “Avatar: Fire and Ash,” rthe absurd “The SpongeBob Movie: Search for SquarePants,” the feel-good divorce drama “Is This Thing On?” and the psychological thriller “The Housemaid.”
Listen to the whole thing HERE!
SYNOPSIS: In “The SpongeBob Movie: Search for SquarePants,” the new animated comedy based on the popular kid’s show, and now playing in theatres, SpongeBob tries to prove his bravery by embarking on a perilous marine journey. “The Dutchman’s taken SpongeBob to the deepest, most dangerous part of the sea…” says Mr. Krabs (voiced by Clancy Brown), “the Underworld.”
CAST: Tom Kenny, Clancy Brown, Rodger Bumpass, Bill Fagerbakke, Carolyn Lawrence, Mr. Lawrence, George Lopez, Isis “Ice Spice” Gaston, Arturo Castro, Sherry Cola, Regina Hall, Mark Hamill. Directed by Derek Drymon.
REVIEW: Packed to the gills with silly visual gags and absurdist wordplay, “The SpongeBob Movie: Search for SquarePants” is aimed at kids and stoned adults.
The movie starts as many good stories do. “Once Upon a time,” says The Flying Dutchman (Mark Hamill), “the most pants wettingly pirate to ever roam the seven seas, “a long, long time ago…” With that the tale of how a curse doomed him to 500 years in an oceanic nightmare realm called The Underworld. The only way he can beat the curse, and return to his dry land home of Santa Monica, is to transfer the hex to someone pure of heart and innocent in mind. “Does such a soul even exist?” he asks.
Meanwhile, in the underwater city of Bikini Bottom, SpongeBob (voice of Tom Kenny) has grown half a barnacle taller, and now thinks he’s a “big guy.”
“I’ve never felt so respected before,” he says.
That feeling quickly fades when his boss, Mr. Krabs (Clancy Brown) tells him he’s not ready to be a Swashbuckler. To prove he’s not SpongeBob ScaredyPants, the innocent, kind-hearted SpongeBob embarks on a quest that puts him directly in The Flying Dutchman’s territory. But is SpongeBob brave enough to accept the Dutchman’s Deal?
Set at breakneck speed, “The SpongeBob Movie: Search for SquarePants” wastes no time in unfurling its hero’s surreal journey.
It’s whiplash fast and frenetic but never loses the underlying theme that has made the Nickelodeon show such a favorite for a quarter of a century, and that’s SpongeBob’s optimism, kindness and joyfulness.
The odd little character, originally designed as a tool to teach marine biology at California’s Ocean Institute, has the playful whimsey of Pee Wee Jerman, the energy of Jerry Lewis and naïveté of Stan Laurel, all wrapped up in a spongey, kid-friendly package. That’s been the bedrock of the television series and the other half dozen theatrical and streaming movies in the franchise, and that sweetness and comedic unpredictability remain at the core of “The SpongeBob Movie: Search for SquarePants.”
So don’t expect the new movie to break new ground. Like The Three Stooges, SpongeBob and Company deliver an easily identifiable brand of silliness all their own. From visual gags—like Mr. Krabs entering the Dutchman’s undersea world through Davey Jones’s Gym Locker or a literal showing of intestinal fortitude—to the dense ratio of jokes—it seems like every line is a laugh line—and hidden references to older movies—including a splendid tribute to Ray Harryhausen—it doesn’t feel new exactly, but is a welcome return to SpongeBob’s strange world.
SYNOPSIS: The third installment in the “Tron” series and the sequel to 2010s “Tron: Legacy,” “TRON: Ares” follows a super-intelligent AI soldier named Ares (Jared Leto) sent from the digital Grid to Earth on a dangerous mission. “Since time began, man has gazed at the stars and he has wondered, ‘Am I alone?’ So much talk of AI and big tech today,” says Julian Dillinger (Evan Peters). “Virtual worlds. What are they going to look like? When will we get there? Well folks, we’re not going there. They are coming here. I would like you to meet Ares, the ultimate soldier.”
CAST: Jared Leto, Greta Lee, Evan Peters, Jodie Turner-Smith, Hasan Minhaj, Arturo Castro, Gillian Anderson, Jeff Bridges. Directed by Joachim Rønning.
REVIEW: Given the attitude in Hollywood toward AI, it’s no surprise “TRON: Ares” can be boiled down to one basic premise: Humans, great; AI, bad.
The story of rival tech companies, Dillinger Systems, whose megalomaniacal CEO Julian Dillinger (Evan Peters) has his eyes on writing “his name on the face of time… in blood,” and Encom, run by the idealist Eve Kim (Greta Lee), the movie is an old-fashioned story of good and evil dressed up with a bunch of high-tech jargon.
As Dillinger unveils his latest project to an assembled group of military leaders, it seems like he has invented the ultimate fighting machine, an AI warrior named Ares (Jared Leto). He’s the most sophisticated security code ever written, completely controllable, virtually unbeatable, and, if anyone does manage to kill him, Dillinger brags, we’ll just create another version of him.
What Dillinger fails to mention is that his creation can only stay “alive” for 29 minutes before collapsing in a pile of digital dust.
Meanwhile, Kim has discovered the secret “permanence code,” a bit of programming that allows digital creations to survive and thrive in the real world. Dillinger wants the code and sends his fighting machines Ares and Athena (Jodie Turner-Smith) to retrieve it by any means necessary.
There’s more, mostly about Ares and his decision to embrace humanity and Kim’s grief over the loss of her sister to cancer but this movie is more about the whiz-bang special effects and trippy trip into the Grid than it is about Ares’s Pinocchio-esque transformation into a real boy.
As deep as a lunch tray, the story, such that it is, is mostly an excuse to set the AI creations into action with cool, neon-lit Light Cycles and menacing bat wings.
Also a vehicle for large dollops of pop psychology—”I guess that’s the thing about life,” Ares muses as he searches for the permanence code, “there’s nothing permanent about it.”—and even some rom com flourishes—“Can I trust you?” Ares asks Eve a couple times in the film. “Probably not,” replies Eve coyishly. —“TRON: Ares” tells its simple story with a blur of digitized gloss.
Worse, the script by Jesse Wigutow, treats the audience as though they’re not paying attention. For instance, mid-chase Eve pulls out the hard drive with the permanence code she’s carrying to remind us why the chase is happening in the first place. Need to get caught up non information you already have? Check out Ares’s high-tech exposition dump that looks cool but adds nothing new.
“TRON: Ares” will make your eyeballs dance (and you may even want to dance to the dynamic Nine Inch Nails soundtrack) but it won’t engage your brain.
“Road House,” the 2024 Prime Video riff on the much-loved 1989 cult classic of the same name, isn’t so much a remake of the Patrick Swayze flick, but a modern tribute to the cartoon violence of 1980s movies.
Jake Gyllenhaal is Elwood Dalton, a disgraced UFC fighter with a troubled past and an even more troubling left hook. A one-man army, he is a soft-spoken bruiser who usually gives his victims the chance to turn tail and run before he pummels the hell out of them. “Before we start,” he asks, “do you have insurance? Is your coverage good? Like, you have dental?”
After a self-inflicted near-death experience, he finds himself working as a bouncer at the Road House in the picturesque Glass Key, Florida. Brought in by second generation owner Frankie (Jessica Williams), it’s his job to bring order back to the place, even if that means busting a few heads.
As the fists fly, Dalton finds himself caught up in a turf war between Frankie and a rich, mobbed up local family who want to turn the Road House into a resort. When the family brings in a walking, talking wrecking crew (Conor McGregor) to seal the deal, Dalton becomes afraid… “Afraid of what happens when someone pushes me too far.”
Other than bars, bouncers and brawls, “Road House” doesn’t have much in common with the original. The previous film wasn’t exactly nuanced, but at least they took the time to give the bar, the Double Deuce, a name. Here it’s just called Road House. It’s a small detail, and they joke about it in a self-aware way in the film, but it signals a simplicity that permeates the entire, bloody affair.
Not that we can reasonably expect much depth in a movie about a bare-knuckle brawler. What you can expect is the dichotomy of Dalton as aa violent man who hates violence. Gyllenhaal plays him as an affable guy who’ll break your arm, but take the time to drive you to the hospital after the fight is done. The Tai Chi, philosophy and Ph.D. that defined Swayze’s take on the character are gone, replaced by Gyllenhaal’s wide smile and fists of fury.
His Dalton is interesting when the fists are flying—director Doug Liman has a way with staging big, fun fight scenes that mix MMA with slapstick and Russian car rash videos—but less so when he’s not in action. That is emphasized with the introduction of McGregor. With a maniacal grin, a skip to his step and an unstoppable Terminator approach to fisticuffs, his ridiculous performance is the blast of energy the movie needs after a saggy middle section.
“Road House” may disregard the original movie, but it doesn’t disregard its audience. The fight scenes, and let’s face it, that’s why we’re here, are high-octane, old-school battles that punch above their weight.
