Richard joins CP24 anchor Jamie Gutfreund to have a look at the weekend’s new movies including “Wonder Park,” starring the voices of Jennifer Garner and John Oliver, “Gloria Bell” starring Julianne Moore, the morbid comedy “To Dust” starring Matthew Broderick and Géza Röhrig and the dystopian drama “Level 16.”
Watch the whole thing HERE!
A weekly feature from from ctvnews.ca! The Crouse Review is a quick, hot take on the weekend’s biggest movies! This week Richard looks at the the animated “Wonder Park,” starring the voices of Jennifer Garner and John Oliver, “Gloria Bell” starring Julianne Moore and the morbid comedy “To Dust” starring Matthew Broderick and Géza Röhrig.
Watch the whole thing HERE!
Richard has a look at the new movies coming to theatres, including the poignant animated fantasy “Wonder Park,” “Gloria Bell” starring Julianne Moore and the morbid comedy “To Dust” starring Matthew Broderick and Géza Röhrig with CFRA Morning Rush host Bill Carroll.
Listen to the whole thing HERE!
“Gloria Bell,” a new film starring Julianne Moore, tells a story about one woman navigating between loneliness and love.
In the remake of his 2013 film “Gloria” Chilean director Sebastián Lelio casts Moore as the title character, a fifty-something divorcee looking for love. An office worker by day, she haunts the discos of suburban Los Angeles in the evening. One night she meets Arnold (John Turturro), a recently divorced man still tethered to his former wife by his ever-present cell phone. They hit it off; he serenades her with quirky, romantic poetry, teaches her how to play paintball and makes her laugh. He meets her family, including the ex-husband (Brad Garrett) and son (Michael Cera) and seems to be falling hard for Gloria. Except for that damn cell phone. Every time it rings it splits his attention between his dramatic former family and Gloria. The prospects for long-term love become more distant every time his phone rings.
“Gloria Bell” is a shot-for-shot remake of Lelio’s 2013 film. It’s a movie that doesn’t rely on conventional narrative but rather focuses on the characters to tell the tale. To that end Moore works wonders. In each episodic snippet Moore illuminates Gloria, giving us everything we need to know in the subtlest of ways. A turn of the head, a too-loud laugh or the way she sings along to the radio. Each of these flourishes breathes life into a character fighting against becoming invisible in a world that values youth.
It’s an astounding performance especially in its understated moments. When Gloria gearshifts from tears to laughter as the weight of a bad relationship lifts or finally dances to her own beat on the dance floor, Moore is vulnerable and jubilant, awkward and comfortable, and always relatable.
Richard sits in on the CJAD Montreal morning show with host Andrew Carter to talk the new movies coming to theatres including “Gloria Bell” starring Julianne Moore, the animated fantasy “Wonder Park” and the morbid comedy “To Dust” starring Matthew Broderick and Géza Röhrig.
Listen to the whole thing HERE!
Richard joins CP24 anchor Nick Dixon to have a look at the weekend’s new movies including “Christopher Robin,” the wannabe spy comedy “The Spy Who Dumped Me” and two documentaries, “Scotty and the Secret History of Hollywood” and “McQueen,” the story of fashion designer Alexander McQueen.
Watch the whole thing HERE!
Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at the weekend’s big releases, the adult adventures of Winnie the Pooh in “Christopher Robin,” the wannabe spy comedy “The Spy Who Dumped Me” and two documentaries, “Scotty and the Secret History of Hollywood” and “McQueen,” the story of fashion designer Alexander McQueen.
Watch the whole thing HERE!
A weekly feature from from ctvnews.ca! The Crouse Review is a quick, hot take on the weekend’s biggest movies! This week Richard looks at the adult adventures of Winnie the Pooh in “Christopher Robin,” the wannabe spy comedy “The Spy Who Dumped Me” and “McQueen,” the story of fashion designer Alexander McQueen.
Watch the whole thing HERE!
“Don’t go getting all grown up on us.“ That’s the sentiment that hangs over “Christopher Robin,” a new film about regaining an intangible starring Ewan McGregor and Winnie the Pooh (voice of Jim Cummings), like a shroud.
The movie begins with 10-year-old Christopher Robin‘s going away party, just before he leaves for boarding school. His playmates, Piglet (voice of Nick Mohammed), Eeyore (Brad Garrett), Tigger (Cummings again), Owl (Toby Jones), Rabbit (Peter Capaldi), Kanga (Sophie Okonedo) and the honey loving bear have gathered to see him off from 100 Acre Woods, their home and Christopher’s escape from real life.
“I will never forget you Pooh,“ Christopher says, “even if I live to be 100 years old.“
But of course he does.
Like the quickly flipped pages of a story park the film rockets through Christopher’s boarding school, marriage, efforts in WWII and his difficulties after the war. Now a husband to Evelyn (Hayley Atwell) and a father to Madeline (Bronte Carmichael), he has a job he doesn’t like and responsibilities that keep him away from his family.
Christopher Robin got all grown up.
When his boss instructs him to cut 20% of his operating budget Christopher is pushed against the wall. The frivolities of youth are pushed even further to the background until Pooh, looking for his friends and in search of honey, shows up in London with the grumbling tummy and some sage words of advice. “I’ve cracked,” says Christopher when his childhood friend shows up. “I’ve totally cracked. “I don’t see any cracks,” replies Pooh sweetly, “some wrinkles maybe.”
A mix of live action and CGI characters, “Christopher Robin” doesn’t allow the special effects to get in the way of the film’s message of staying young at heart. The stuffed animals—Winnie and friends—don’t feel like and excuse to sell toys. Instead they are given distinct and engaging personalities that move the story and the message forward. Cummings, who has voiced Winnie since 1988, brings real personality to the character, imbuing his elliptical speaking patterns with equal parts humour and melancholy. Pooh also causes some Paddington-style chaos in the Robin household, adding to the slapstick factor in a movie that toggles between heartfelt and farce.
There is an undeniable sense of loss and longing in “Christopher Robin.” Loss, in the form of a childhood innocence gone missing—“I’m lost,” says Pooh, “but I found you.”—longing in the efforts made to regain the connection to childlike wonder and, in Robin’s case, his own daughter Madeline. Children might not get it, although I’m sure they will enjoy the stuffed characters, but adults will understand the curious tale about the importance of old friends and embracing the inner child.
