I sit in on the CFRA Ottawa morning show with host Bill Carroll to talk about the new movies coming to theatres including the high kicking “Karate Kid: Legends,” the mannered “Phoenician Scheme” and the unsettling “Bring Her Back.”
Listen to the whole thing HERE!
Fast reviews for busy people! Watch as I review three movies in less time than it takes to make the bed! Have a look as I race against the clock to tell you about the high kicking “Karate Kid: Legends,” the mannered “Phoenician Scheme” and the horrific (in a good way) “Bring Her Back.”
Watch the whole thing HERE!
SYNOPSIS: In “The Phoenician Scheme,” a new Wes Anderson film now playing in theatres, Benicio del Toro is Zsa-zsa Korda, a shady businessman who made his fortune through “unholy mischief.” On the verge of a new venture, he finds himself in the crosshairs, literally, of tycoons, foreign terrorists and determined assassins. “Why do you need to keep assassinating me all the time?” he asks.
CAST: Benicio del Toro, Mia Threapleton, Michael Cera, Riz Ahmed, Tom Hanks, Bryan Cranston, Mathieu Amalric, Richard Ayoade, Jeffrey Wright, Scarlett Johansson, Benedict Cumberbatch, Rupert Friend, Imad Mardnli and Hope Davis. Directed by Wes Anderson.
REVIEW: There was a time when I loved Wes Anderson’s movies. His holy trinity, “Bottle Rocket,” “Rushmore,” and “The Royal Tenenbaums,” were all unconventional gems; movies with a singular point-of-view that examined the lives of misfits and oddballs.
Then I stopped loving and stared merely liking Anderson’s movies as his signature whimsical style began to squeeze the life out of his stories of self-discovery and community. Still, his stop-motion “Fantastic Mr. Fox,” for example, was mannered but also hilarious and poignant.
These days, I long for the days of the relative restraint of “The Darjeeling Limited” and “Moonrise Kingdom.” Perhaps it’s a case of familiarity breeding contempt (although think that is too harsh a word), but to me Anderson’s films have lost the humanity of his earlier work. They still cover much of the same thematic ground, commenting on family dysfunction, failure and redemption, but they now feel as though they arrive covered in bubble wrap like precious museum pieces.
Such is the case with his latest, “The Phoenician Scheme,” a stylish story of big money, attempted assassinations and family, it features a topflight cast, who all seem to be having a swell time slotting themselves into Anderson’s carefully crafted, artisanal film. But there is an air of artificiality that settles over the movie like a shroud which sucks way much of the emotional depth.
“The Phoenician Scheme” is pretty, occasionally amusing and the commitment to deadpan performances is unparalleled, but even though I’ll watch anything with Benicio del Toro, it is more concerned with style than substance. As a result, its well-worn take on the evils of capitalism, as personified by del Toro, feels academic rather than authentic.
Set in Jerusalem in the year 33 A.D., “The Book of Clarence,” now playing in theatres, is unlike any other biblical epic.
Funnier than “Ben Hur” and more faith-based than “Monty Python’s Life of Brian,” it has to be the first biblical story to feature chariot races, a disco dance number and language that might make your pastor blush.
“Atlanta” star LaKeith Stanfield is Clarence, the “village mischief-maker” (and resident drug dealer) who admits, “I am not a man without faults.” And how.
His twin brother Thomas (also played by Stanfield) is an Apostle, but Clarence is too busy trying to hustle a buck to buy into any kind of organized religion.
But when he loses a chariot race to Mary Magdalene (Teyana Taylor) and ends up deep in debt to merciless gang leader Jedediah the Terrible (Eric Kofi Abrefa), he takes note of the attention Jesus Christ (Babs Olusanmokun) is getting and hatches a plan to present himself as a new Messiah sent by God.
“I can just replicate what he does,” he says. “Imagine the money people will give us.”
John the Baptist (David Oyelowo) calls him a “blasphemous swine,” but his pals Elijah (R.J. Cyler), Zeke (Caleb McLaughlin) and Barabbas (Omar Sy) are all in. Thomas, however, has doubts. “You know what it takes [to be spiritual],” he says, “but you do not possess what it takes.”
“Clarence,” says Elijah, “you need miracles.”
“I have a plan,” says Clarence.
Just as Clarence gains traction as a new Messiah, however, Pontius Pilate (James McAvoy) and the Romans crack down, announcing, “Clarence, you are guilty of the crime of fraud for your ill-gotten gains.”
Subversive, yet somehow solemn, “The Book of Clarence” is a brash alternate gospel buoyed by Stanfield‘s charismatic performance. For much of its running time writer/director Jeymes Samuel presents an irreverent biblical reimagination, but then takes a pious, respectful u-turn in the film’s final third.
Before the traditional ending, Samuel takes us on a wild ride where Clarence and his friends float through the air, high on “lingonweed,” while the soundtrack plays like a best of old Hollywood with a contemporary bent to catch the ear. It’s bold, with traditional epic style photography and setting (it was filmed in the ancient city of Materna, Italy) mixed with Samuel’s often restless camera. It’s brash, exciting filmmaking that gives the biblical epic genre a facelift.
As Clarence, Stanfield leads the cast, and it is his shift from shiftless charlatan to conscientious do-gooder, that lies at the heart of the story. Clarence doesn’t suddenly become religious, he simply accesses the good part of his humanity, by thinking of others before himself. It’s this performance that smooths the film’s abrupt shift in tone, from sweeping epic to a personal story of suffering and redemption.
Clarence’s mother, played by Marianne Jean-Baptiste, tells him, “Be the body, not the shadow. Hold space,” and it’s clear Stanfield took the advice to heart. The final third is more traditional, less bold than the first two, but Stanfield’s magnetism keeps it on track.
He’s aided by an eager supporting cast, including McAvoy, who is equal parts imperious and manipulative as Pontius Pilate, Sy as the immortal and loyal Barabbas and Oyelowo as a quick-tempered John the Baptist.
“The Book of Clarence” is so layered, so original its reimagination of the gospel and pointed look at racism, that the odd misstep, like a third act miracle that seems like a plot contrivance rather than an organic story element, is easily forgiven.
The “Doctor Strange” movies are the trippiest in the Marvel Cinematic Universe. The mystical superhero’s introduction, 2016’s “Doctor Strange,” was a kaleidoscopic mix of images and ideas. The new film, “Doctor Strange in the Multiverse of Madness” starring Benedict Cumberbatch and now playing in theatres, kicks it up a notch. With a visual style that suggests M.C. Escher on an acid trip, it is a hallucinogenic ride that will make your eyeballs spin.
The action begins in Dr Stephen Strange’s (Cumberbatch) universe with the introduction of America Chavez (Xochitl Gomez), a teenager with the ability to navigate the multiverse and access portals into alternate realities. In the search for her parents, she has explored 73 universes, each with their own, unique sets of rules, all the while pursued by a demon who wants to steal her powers.
This is not sorcery, Strange says. As old Blue Eyes once sang, it’s witchcraft, so who better to consult than Wanda (Elizabeth Olsen), former Avenger and powerful practitioner of witchcraft?
He’s looking for advice that will help him save America, but instead is sent off on a wild and dangerous trip into a series of alternate realities to fight a power that threatens to subjugate the entire multiverse.
“Doctor Strange in the Multiverse of Madness” begins with a bang. A loud and proud action scene kicks things off with an exaggerated H.P. Lovecraft creature terrorizing Chavez. It sets the wild and wacky tone that applies to most of the picture. A mix of action, horror and comic book comedy, it recalls the sweet spot that made director Sam Raimi’s “Evil Dead” movies such a blast. Raimi brings a kind of anarchy here that is missing from the carefully controlled Marvel films and when it is fun, it’s really fun. There’s even a battle of the bands, a musical showdown, that is equal parts ridiculous and rad.
But there is much more to the story than interdimensional shenanigans.
At its heart “Doctor Strange in the Multiverse of Madness” isn’t a story about magic, it’s a tale about the things we do for love. Whether it is Wanda’s search for family, ably brought to life by Olsen’s poignant performance, or Strange’s attraction to Christine Palmer (Rachel McAdams), this story has a strongly beating heart.
Unfortunately, it also has a bumpy, uneven script. As it careens toward the Marvel friendly climax it loses steam as the action becomes muddied and the script begins to sew up any loose ends left dangling across then universes.
“Doctor Strange in the Multiverse of Madness” doesn’t have the weight of “Everything Everywhere All At Once,” another recent examination of the multiverse, but despite its unevenness, it’s a good, and sometimes gory, time at the movies.
Richard joins CTV NewsChannel and anchor Angie Seth to have a look at new movies coming to VOD, streaming services and theatres including the latest from your friendly neighbourhood crimefighter in “Spider-Man: No Way Home,” the dark carnival of “Nightmare Alley” and the ex-porn star drama “Red Rocket.”
Watch the whole thing HERE!
At the beginning of “Spider-Man: No Way Home,” the new two-and-a-half-hour-long superhero movie now playing in theatres, Peter Parker (Tom Holland) learns it’s hard to be a masked crime fighter when everybody knows who you are under your red and black suit.
Exposed by supervillain Mysterio at the end of “Spider-Man: Far from Home,” Parker’s life has been turned upside down. And not in a fun way as in 2002’s “Spider-Man” when Tobey Maguire and Kirsten Dunst shared an upside-down smooch in the rain.
That was harmless good fun.
These days, the friendly neighborhood web-slinger’s newfound notoriety makes it impossible for him to balance his personal life and relationships with girlfriend MJ (Zendaya), best pal Ned (Jacob Batalon) and Aunt May (Marisa Tomei) with his role as a world saving crime fighter.
“People looked up to this boy and called him a hero,” squawks J. Jonah Jameson (J. K. Simmons), the conspiratorial host of TheDailyBugle.net. “Well, I’ll tell you what I call him, Public Enemy Number One!”
Some think he’s a hero, others regard him as a vigilante. As his identities become blurred, Parker turns to becaped neurosurgeon and Master of the Mystic Arts, Dr. Stephen Strange (Benedict Cumberbatch), for help.
“When Mysterio revealed my identity, my entire life got screwed up,” Parker says to Strange. “I was wondering if you could make it so it never did.”
Parker wants Dr. Strange to conjure up a spell to brainwash the world and make people forget he is Spider-Man.
It’s a big ask. “Be careful what you wish for,” Strange says, warning Parker that casting such a spell will tamper with the stability of space and time.
Sure enough, the spell blows a hole in the multiverse, the collection of parallel universes with alternate realities, and unleashes “universal trespassers,” the most terrifying foes Spider-Man has ever faced in this or any other realm.
There’s more. Lots more. Big emotional moments, lotsa jokes, nostalgia and fan service, an orgy of CGI and Villains! Villains! Villains! The multiverse offers up a multitude of surprises but there will be no spoilers here. Your eyeballs will dance and, depending on your level of fandom, maybe even well up from time to time.
The trippiness of the story’s inter dimensional leaps, while entertaining, are secondary to the movie’s strongest feature, Spider-Man’s empathy. “Spider-Man: No Way Home” is a movie about second chances. Peter Parker doesn’t want to simply vanquish his enemies, he wants to understand them, to know why they behave as they do. By the time the end credits roll, the baddies may not be able to wreak havoc anymore, but not for the reasons you might imagine.
In real life the world is divided by ideology and opinion. “Spider-Man: No Way Home” asks us to examine those differences, look for their roots and try and heal them. It does so with plenty of trademarked Marvel action and overstuffed bombast, but the core message of empathy and understanding for others is the engine that keeps the movie chugging forward.
“Spider-Man: No Way Home” is a mix of exhilaration and exhaustion. It is inconsistent in its storytelling, overblown at times and the finale is a drawn-out CGI fest but when it focusses on the characters, empathy and the chemistry between the actors, it soars, like Spider-Man slinging webs and effortlessly zooming between skyscrapers.
Richard joins CTV NewsChannel and anchor Lois Lee to have a look at new movies coming to VOD, streaming services and theatres including the rebooted “Ghostbusters: Afterlife,” the fourth film in “Ghostbusters” franchise, the inspirational new Will Smith movie “King Richard” and Benedict Cumberbatch in “The Power of the Dog.”
Watch the whole thing HERE!
“The Power of the Dog,” now playing in theatres before making the move to Netflix, is a story of self-loathing that is equal parts straightforward and exasperating. Much like its main character Phil Burbank (Benedict Cumberbatch), the movie has moments of interest but is ultimately frustrating.
The film begins in mid-1920s Montana. The Burbank brothers, Phil (Cumberbatch) and George (Jesse Plemons), are wealthy ranchers and polar opposites. The only thing they seem to have in common is a reverence for their mentor, the deceased rancher Bronco Henry.
Phil, we learn, studied the classics at Yale, but prefers to live a basic life. He likes the company of horses and the ranch hands, rarely bathes and is quick with a cruel remark.
George is a gentleman rancher. He wears suits, topped with a bowler hat, throws dinner parties at the family home and falls in love with Rose Gordon (Kirsten Dunst), a widowed restaurant owner with a gay son named Peter (Kodi Smit-McPhee) who wants to study medicine like his late father. Although he says he’s happy not to be alone, George takes Rose for granted and she turns to the bottle.
Rose’s presence brings out the worst in Phil who takes every opportunity to belittle his brother’s new wife, and catcall her son. Peter is a quiet presence on the ranch during his school break, but as time goes on, it is clear he sees himself as his mother’s protector. “When my father passed, I wanted nothing more than my mother’s happiness,” Peter says. “For what kind of man would I be if I did not help my mother? If I did not save her?”
“The Power of the Dog” isn’t so much driven by its narrative as it is by the characters and an intense central performance.
As Phil, Cumberbatch is an enigma. An unwashed and gravelly-voiced bully, his guard is constantly up. Cumberbatch and director Jane Campion slowly reveal bits of Phil’s backstory through subtle references and scenes. We never get a full picture, and fear of revealing spoilers prevents me from elaborating, but it appears the character’s self-loathing and fragile masculinity seem to drive his vile behaviors. Cumberbatch maintains the mystery of the character, while allowing the odd slip of vulnerability appear, even if it sometimes feels as if he’s playing a studied caricature of a cowboy.
Campion delivers the material in a slow burn. Tensions build, but the level of repression on screen prevents total engagement with the characters. By the time the end credits roll “The Power of the Dog” proves itself to be a beautifully crafted film with a handful of emotionally affecting scenes but an underwhelming overall effect.
